The purpose of attending any workshop, jazz-oriented or otherwise, is to walk away with solid, reliable, time-tested knowledge which can be put to use immediately in the real world.
In today's competitive music business, talent is simply not enough. Experience is the key to a successful career...experience of one's own making as well as sharing the experiences of others. After more than thirty years as a professional musician, I have seen many changes in the industry. Performers come and go. Styles and public tastes take many twists. Electronic instruments proliferate.
But the fact is this: The musicians who endure are those comfortable in the acoustic environment and who remain well-rounded, flexible, knowledgeable and consistent.
Without a doubt, my jazz background has enabled me to become a more complete musician. Whether writing for the Maynard Ferguson or Basie bands, scoring a film or television show, or arranging Christmas carols for the London Symphony Orchestra, I constantly rely on the discipline and thought processes so ingrained in me since my days at Berklee. And being well-versed in the American standard repertoire (from which all jazz musicians draw) not only keeps me employed year after year, but also creates the basis for a universal, ever-evolving language to be shared and explored over and over again.
The bottom line: It is my privilege and pleasure to share my knowledge and experience with those who wish to venture into the fascinating, rewarding and ever-changing world of professional music.
My workshop format is geared toward instrumentalists, vocalists, composer/arrangers, or a combination of all of these. We do a lot of playing of my prepared original arrangements and class examples as well. And I always encourage as much Q&A as time will allow.
Topics we will cover include:
• Ear Training - making extensive use of NUMBERS
• Harmonic/Melodic relationships - scales, patterns, progressions
• Using jazz knowledge in the "real world" - club dates, studio work, etc.
• The lost art of listening...
• Playing live vs. in the recording studio
• Ear Training - hearing what you write without the use of the keyboard
• Stylistic characteristics
• Serving the project - picking the right keys, avoiding overwriting, getting more from less, etc.
• Writing for live vs. recording situations