BUSKING. LESSONS FOR JAZZ MARKETING.

If you want to earn some money playing jazz then pay serious attention to this piece. There are vital general marketing lessons to be learned.

NO ONE IS STOPPING. NO ONE IS PAYING ANYTHING. EVERYONE IS HURRYING PAST. WHY IS THIS? COULD IT BE THE LACK OF A RECOGNISABLE SONG PERHAPS?


If you busk for fun, then you are into Home Truths. The lessons are learned fast, instantly. With an odd few exceptions people are walking by and only hang around a busker for a few minutes. In that time, if they like what you are playing then they give you money. If they don't think much of it they'll move on. You know within minutes if you've got 'em.

What you get paid depends upon the tunes you play and how you play them. Here is how not to draw a crowd and how to get zero money. Just play long jazz solos. Zilch return.

(My hypothesis is that you may get a donation from the odd person in the 7% of people whose ears are attuned enough to appreciate jazz because they've followed the music from their youth. These will be a few older people, not kids. More on this in a later blog piece)

You'll earn some money if you play standards, stick fairly closely to the tune and make them short. Embellishment is fine, acceptable to people, even liked, but people want to hear the tunes. If you have a singer with you then you'll do well with this. They like vocalists. But he/she will be the main centre of attention.

You'll earn most money if you play popular songs. You may get bored silly doing this, but life was ever thus for the musician. He/she has to play boring stuff to make a living. You'll do well if you can interact with the audience a bit, talk to them, show them you are human. Thank them for the money. Look as if you are enjoying it. Sell CDs obviously. Have business cards available. You'll pick up a wedding or two.

Where to choose your spot. The actual spot does not matter too much so long as many people are passing on foot slowly. You want to avoid other buskers as far as possible, but be within the "busking area" where playing is expected.

If you play in a rich neighbourhood, then you will get fewer people making donations, but each donation will be higher. If you play in a downmarket area you will get many more donations but they'll be small. I suspect this reflects society at large. In downmarket areas, people are used to giving support to others.

If you look as if you need the money badly people will tend to avoid you. Dress up a bit, make a simple show of it and you'll do well. Leave the Mercedes parked somewhere else.

WHAT BUSKING CAN TEACH US ABOUT MARKETING JAZZ IN GENERAL

If your audience is the general public, not jazz followers, then the right song list is critical. Yes, you can mix it up a bit with a few songs and styles which are out of the mainstream. People want to hear the songs they know.

If you are playing in a jazz club to an audience of jazz followers then play the jazz standards, for the most part but mix it up a bit. It doesn't differ from the advice about playing to attract the geneal public. It is just the song list which changes. If you make the song list all your own virgin compositions they'll get irritated however much they follow jazz.

This is not the complete story. Playing something different which looks appealing but they don't know much about it can work, too. The two most successful concerts out of ten in the recent Jazz month in Chichester, were the Gypsy jazz pair from Normandy, who played quite a few standards in a French kind of way and Terry Seabrook's Quinto who also included some Latin standards in his programme.

John

The Jazz Smugglers bands in Sussex
The Jazz Smugglers Masters workshop, Bosham, Sussex
FACEBOOK JAZZ SMUGGLERS SUSSEX BAND
FACEBOOK JAZZ MASTERS WORKSHOP BOSHAM
If you have a Facebook account can you LIKE our band pages on Facebook please 

In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

THE MOST PERECT SMALL JAZZ GROUP TRACK

JAZZ MASTERS WORKSHOP
From September onwards we shall run the Workshop for the Jazz Smugglers band and their friends, every two weeks. Sundays at 7.00 Creek end, Smugglers Lane, Bosham po188qp.
It will be quite demanding and will bring in specialist tutors from time to time.


THIS IS ONE OF THE MOST BEAUTIFUL JAZZ TRACKS EVER BY A SMALL GROUP.
In my view anyway, ok?

This group played together for 16 years.

This tune  is played by Desmond on alto with Brubeck on piano echoing. Brubeck's chords on his solo are downbeat as befits the tune with tension built into the bridge. This song was the anthem of the Depression. Notice how often he replays a phrase and displaces it. Desmonds solo follows the shape of the tune, Brubeck is playing fills in the background not comping. Desmond goes into characteristic repeats of his phrases and uses parts of the tune. Both play the final section, echoing each other, Desmond responding to Brubeck then switching around. Counter point, all the time. Both of them are still downbeat. Finally they play out the last 16 of the tune.

The tension in the group owes much to the airy, light, melodic alto sax and the heavier chord play of Brubeck with tension built into his voicings. It was very painful for him to play fast notes in his right hand after a bad accident damaged his nervous system.

How worthwhile that a group plays hundreds of time together.

Boys would you care to copy this in our workshop one night? Get it spot on and then transfer the technique to some new somgs?

John

HILLIER JAZZ MONTH. DETAIL OF FESTIVAL RESULTS

There are four people to thank for these results. Phil Hewitt, Arts Editor Chichester Observer, Barry Smith organiser of the Festival, Nigel Budgen manager of Hillier without whose support it would not have been possible, and maybe I had something to do with it. JW
Scroll down to the bottom for an activity list.

HILLIER JAZZ MONTH CONCLUSIONS
For JW reference
Audience sizes. Smallest paid audience was 8, largest was 91. 580 attended 10 gigs.

The PRODUCT is the single most important factor.
All the audiences were members of the general public with a very strong emphasis upon the over 55's. There were very few specialist jazz followers. They came to listen and watch, unlike most jazz events which are used for background music.

The three sell-outs were Quinto, Les Voyageurs, and Maria with Jazz Smugglers. The first two looked like a different kind of jazz act, the other one was backed by a good title and Jazz Smugglers' local reputation.
The failures were the first two gigs; "Watch the Jazz Greats on video". Only 8 bookings for this, dreadful title. The Country gig was also weak with 29 and these two gigs probably suffered also from the fact that this was the first weekend of the Festival and it was not widely known about.
Audiences built up as the month progressed. Many people repeated and came to 2 or more events.

Points for another time.
Take care with scheduling gigs at the beginning and at the end of the period.
Jazz Smugglers as a name was probably over-exposed. It might be noted that 2 Smugglers big concerts needed special measures by way of promotion The third was a sell out. Better to save the Smugglers name for one or two gigs, and just supply unnamed jazz backing for other events such as talks.
The Jazz Smugglers name should generally be under the title. The title is more important.
The advertising road signs leading to Hillier went up late but were very effective.
When jazz is associated with something else, such as a lecture on country life or gardening, the whole thing sells well if the personality is known.
In another Festival event they combined poetry and jazz and it was a success. Neither would have sold on its own.
Promote the notion that people can bring drinks and a picnic with them in each gig.
Think about a true prestige event, high cost, dinner provided and sell tables of 4 for charity.

PROMOTION
A small poll was carried out amongst some people who had brought small groups with them asking how they knew of the Hillier Jazz Month initially, how they knew of this particular gig, and whether they had attended another jazz month event beforehand.
The Festival Brochure or Website was the principle means of knowing of the Jazz month mentioned by over half.
Equal second were the Road Signs and the Chichester Observer articles.

Not mentioned by anyone was Facebook, other Event websites, emails, or Village notice Boards. This does not mean they were useless just that they did not feature prominently.
Our Facebook audience is strongly biased towards other jazz musicians, not the general public nor jazz enthusiasts. Jazz Smugglers band page has only 79 Likes and we need 1,000 to make it work. We did boost the important first Facebook post and received no results. We have done this 5 times in the past with no results even when a free ticket was offered.
We added about 23 new email addresses to our audience lists, from the special offers.

SPECIAL OFFERS
We reserved special offers for the gigs which were going to be difficult to sell, when judged by the early booking results. Generally successful results amongst people who know us.

We offered via email 2 4 the price of 1 for the Jazz Greats Smugglers gig to our general mailing list of 300 or so with 18 responses mostly from  people we know.  6% response rate
This gig had a dreaful title and only 8 tickets were sold. But with the emailed complimentary free tickets about 24 people came plus 31 friends of the band, making 63 in all.
Overwhelmingly, the best results are obtained from people who know of us already, and this has always been true. Keep existing customers sold is the main aim.

We offered 2 4 1 to specialised jazz audiences for the Latin Jazz Gig, Quinto. These were supposedly emailed to members of the Portsmouth Jazz Club and the Chichester Jazz club and advertised at Chi college. We had 12 (6 requests) more people from 2 4 1
In the end the event was well sold out (73) at the last minute from the general audience. Sales were shared equally between the Ticket office and Hillier.
Also 6 or so local gardening societies were emailed with 2 4 1 offers for Nigel's Gardening talk without response

To people attending the other concerts (500+) we handed out about 200 tickets offering 2 4 1 for our final Jazz Smugglers concert. This was always going to be difficult to sell because most had already seen the band.
This was very successful with 7 bookings, 14 people. We also emailed this offer to local residents and the band and we had 6 bookings, 12 people resulting. So 26 people (maybe a few more) out of the final audience of 60 used this promotion. Only 9 tickets for this were sold by the ticket office, so concentrating upon our existing loyal audiences worked.

Mailings with free tickets or 2 4 1 to our cold mailings lists did not attract responses.
In the final gig, 7 of the decision makers had been to previous concerts and 5 had not. (The decison makers brought others with them)

Altogether out of 581 people attending events, 93 came through special offers, nearly all for the first Smugglers gig and the last.
Special offers are expensive. 55 people did not pay anything, and the 38 accepting 2 4 1 offers received a total discount of £228. We have no way of guessing how many would have come anyway.
Conclusion. All media need to be used, People need to see it repeatedly and in different places. This is why Road signs work. People constantly are reminded, and the passing audience is huge - probably 100,000 cars pass in a month on the A259 each way. We could think about offering a season ticket to all the gigs.
Promotions work when you need to get out of trouble, but mainly to the people who know you already.

WHEN THE TICKETS WERE SOLD AND WHERE.
A few tickets, 30, were sold in the first weekend of the Festival opening. They did give a fair indication of the final popularity differences between the bands. Mostly the numbers came in within the final three days before the event. But we had enough indication before then to know which event was going to need special promotion.
In the beginning the ticket office sold most tickets but by the end Hillier was outselling them easily.
When supplying the actual results, and the final accounting the Ticket office was excellent. They did put up a large A1 poster showing all the Jazz months events, but despite efforts to show individual A4 posters there was no response.
There was also a mixed result when asking them for updated audience figures which we needed so as to know which concerts to boost. Generally ok, but a bit sloppy at the edges.
I could probably get up a new poster each week if I took it in to them, but it gets tiresome this way. I'd like to know the breakdown between online bookings and face to face bookings.

PRICING
There was little apparent difference in audience sizes between all the lowest priced gigs (£8) and the highest (£15). But there was a huge difference in rewards for the players. Les Voyageurs had 90 people at £8, total was £600
Quinto had fewer in the audience, 73, but their revenue total was £1000. Furthermore, Voyageurs quartet earned £144 each while the Quinto trio earned £270 each.
Price does not make a huge difference to sales but it does make a big difference to the rewards. I speculate that it is a very bad error to assume that because you are the cheapest you will sell more as bands are inclined to do. This is a rich area.
I also speculate that Les Voyageurs could have priced themselves at £15 and found an audience of 75, as big as Quinto.
It is the Product which counts, and its relative apparent merits against the others.
Discounts. My personal view is that it is pointless offering discounts for senior citizens. It does not pull any more sales, it just reduces revenue by a lot. In this area they are rich. They are not shy of asking for a discount at the door, and you can give it to them then, say £2.

PRESENTATION

We abandoned the usual yellow background to save printing ink in favour of Red White and Black.
The road signs need maximum type size and minimal detail. The first ones were too small,
They need positioning where the cars slow down at roundabouts and T junctions on the roadside leading towards the venue.
I suggest for the future, adding two sheets of freestanding A2 ply, positioned either side of roadside posts and clipped together, designed to take 4 x A4 upright posters to be done on a domestic printer. Not ideal, but cheap...
Posters. A3 posters were printed by Hillier in-store. Another time a simple template design would be useful, with the text able to be copied direct from the first paragraph of the press release.

PRESS RELATIONS

This started months ago with a luncheon with Phil Hewitt the Editor of the Chi Observer , Andrew and myself where we discuss the following year.
Before the Festival I asked Phil about story length, pic resolution size etc. Then we produced 10 press stories, one per event, each to 200 words long with a high res picture. All sent off together. Another time, make the 1st paragraph copy more exciting, (savage percussion, heartrending vocals, lightning riffs, etc etc) to be used also in the posters.
We did ask for big coverage of our final event and the Editor did us proud with a full page and two pics.

THE BANDS
Nothing but praise for the bands, all played to a high standard, all easy to work with. No quibbles about money, they agreed on 2 4 1 offers, they all filled in contracts on time.They gave me some copy but it needed expanding from their websites. Pics came mostly from websites.
Performances were first class, and universally enjoyed. I heard no complaint from anyone and a huge amount of genuine praise and warmth.

WHATG HAD TO BE DONE. Activity list.
9/5 Listings sent
5/5 Website done
6/5 Main press briefing done phil and barry
7/5 Rehearsal done
7/5 downland mag done for july
7/5 a4 leaflet done
8/5 postcard size leaflets done
9/5 road signs done
10/5 press story hillier month done
11/5 may 30th promotion concert press story done
12/5 press stories country, videos done
13/5 press story ramblers, williamson done
13/5 listing for bosham fete done
14/5 press stories 2 cubana bop, maria sings
15/5 press stories 3 nigel budgen, french gypsy band workshop
16/5 press story chicago 9
17/5 press story Interplay
17/5 set up ticket sales reports
17/5 meeting hillier
17/5 press story for broadbent and sidewinder
18/5 meeting nigel geoff video
19/5 photos update and finalised for Phil
19/5 blog site created.
19/5 collecting photos and sending to phil
19/5 nigel giving 3xa4s 2 x a3's and leaflets to ticket offiuce
20/5 pursuing photos for Phil
20/5 finalised photos Phil
21/5 Blog site published to Facebook and website, reques to workshop people to share it and link to it.
20/5 Links to new blog site from smugglers blog, and from enthusiasts website.
22/5 prepared and mailed request to bands to Facebook us
22/5 prepared draft tickets
23/5 prepare press release for blog asked kevin barber to share Facebook
24/5 posters with ticket office
24/5 tickets in hand for printing
25/5 prepare Jazz video press release for blog/ band to share it Fbook.
26/5 planning website listings, contact Barry.
27/5 listed on wherecanwego /applied visitchichester
27/5 tested mailchimp. no.
28/5 posted details festival and our gigs on West sussex info site
29/5 updated full mailing list and de duped
30/5 chichester concert
31/5 pick up tickets
31/5 prepare mailing for free tickets sent to band.
31/5 mail to smugglers lane residents. (28) and friends list(30)
31/5 meeting abigail charity
1/6 check tesco/js/village for poster sites
1/6 meet nigel tie up details.
2/6 cards for tesco.
2/6 ticket offers to Chi Obs staff.
3/6 preparing promotion, asking band
4/6 First mailings
5/6 Final mailings, correcting addresses
5/6 Facebook ad created.
5/6 cards for village boards
5/6 design and print small cards for village notice boards
5/6 design and print A4 this coming weekend posters for Hillier
6/6 posters delivered to Hillier. A4 poster for Nigel's talk designed and submitted for appro
7/6 picking up road signs, briefing Bob
7/6 posting on to village boards Bosham, Southbourne, Mundham, cards Westbourne, Emsworth
7/6 new page Facebook, and boosted £5. One day.
8/6 day off!
9/6 tidying up posters/tesco/hillier displays
9/6 briefing Bob Downe positioning new road posters 2
9/6 band joining instructions Sunday.
10/6 light day. song lists etc.
13/6 design 241 and bus cards
14/6 241 and bus cards printed, check road signs
14/6 Facebook ad £6
16/6 promotion, blogs, facebook for next weekends gigs 241 card
17/6 mailing portsmouth, chi coll/chichester jazz clubs for terry
19/6 prepare promotion blogs/poster for quinto/maria
21/6 new poster for maria hillier. promote quinto mailing. terry to promote.
24/6 emailed gardening club secretaries
24/6 Facebook most friends for terry's gig, and asked them to promote
25/6 prepared 2 4 1 tickets for remaining gigs
25/6 Advised other bands on their promotion
25/6 advised bands on set up and payments.
26/6 prepared double band poster for jul 4 5
26/5 maria on facebook Festival page
26/6 prepare music/history of songs
30/6 promotion of nigel's night sent out 2 4 1
30/6 facebook nigel's event
30/6 business cards for desert island discs
1/7 correct blues band material for hillier
1/7 bosham and bognor fetes, organise
4/7 prepare july 12 poster
5/7 new posters, road signs, facebook, blog, new page and event. post new signs
7/7 emailed most list 2 4 1 interplay
14/7 analysis of results
15/7 draft report on results


John. 14 July 2014

CHANCE OF 5 FREE TICKETS FOR DEC 11 JAZZ SMUGGLERS CONCERT

We have just put up this Event poster on our main Jazz Band website Just go to the FESTIVAL OF CHICHESTER Facebook page and "LIKE" IT. But "LIKE" our own Jazz Smugglers Band page please.

For the moment we are full, until someone drops out. There are about 10 of us each week.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account can you LIKE our band page on Facebook please, 

FACEBOOK JAZZ SMUGGLERS SUSSEX BAND 

https://www.facebook.com/pages/Jazz-Smugglers-band/203722132977929?ref=hl

and LIKE our workshop page as well.

FACEBOOK JAZZ SMUGGLERS WORKSHOP BOSHAM

https://www.facebook.com/pages/JAZZ-Smugglers-workshop-to-help-your-Jazz-playing/275919089138712?ref=hl

In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

WE'VE GOT TWICE AS MUCH WORK TO GET THROUGH ON SUNDAY. WE'LL DO EVERYTHING IN DOUBLE TIME.

Same plan for next Sunday workshop at Creek end same as for last Sundays workshop which was blown out. (Clever little play on words there, notice that? 



But one difference. We'll do Spooky as a new song. Maria is going to come in and sing it at 6.00 on the Sunday after next the 10th. Geoff, has listened to it, copied it down and put it into BIAB so just as some of you are planning to buy me a belated birthday present I'm planning to give Geoff a ride in the Ferrari when you have it delivered. Thanks Geoff.

Something else.
The pressure is on the rhythm section at the moment. Yes, I'd like us to crack the jazz funk routines please, but could you also work on Latin backing please.




Montunos on guitar
DAVE
Dave, could you work out some montunos please and familiarise yourself with them. I'd like to incorporate them into Wave and Dindi maybe a slow one in Spooky and any other Latin song. They all work on 3rds, 5ths and 7ths and it is the different rhythmic aspects which you could do and I can't. I attach a sheet to the email. They are more appropriate for Cuban Cha Chas and Mambos rather than Brazilian Sambas and Bossas but lets see what happens. A bit more laid back perhaps and mixed up with Bossa rhythm maybe?

DAVE AND BOB
Also Dave and Bob, could you try and copy some of the phrases made by the front line in their solos? FRONT LINE you need to give these chaps some clear statements. Handling them a melange of notes will not do. They need some strong rhythmic lines please.

BOB VIC DAVE AND ME. Can we build in some two bar breaks please either at the beginning of sections or at the end. Vic would you mind taking charge of this and calling it please. I'll forget.

I'll leave in the Guiffre video.

Jimmy Guiffre is known for his jazz arrangements which allowed for free interplay between the musicians.

HAVE A LISTEN TO THIS IN WONDER AT HOW BEAUTIFUL IT CAN SOUND IF WE DO IT WELL. Note the soft backing and dynamics. 




The beginning of his career was fine when he was arranging for the Woody Herman band but his ideas led directly into Free Jazz which wrecked the whole thing for decades. Disaster. Push anything to extremes in this life and you'll court disaster. 

YOU WERE ALL BRILLIANT ON SUNDAY Terry will confirm how good you all were, if you ask him. "Really good players, John" he said, "Really good ears, look at the way they picked up those riffs immediately." Actually, I was surprised myself. You all were very good.

Good session, we can build on that.

I've asked Andrew to draw up a couple of arrangements for us.

Here is what I'd like to work on, next Sunday, please.

Lover, in C and in D.

Also groove in the four songs we did: Greensleeves, Feel like making love, Chameleon, So What.

I'd like to do Love for Sale in the key Dave would like for his riff, Dmaj. I'll attach it to an email.

I'd like to get a real grip on this handing over technique. Not really happy with it, too many hand overs are just a melange of notes, they need to be firm lines to copy. Lets crack it properly this time chaps.

Harmonies, and riffs. I'd like to pursue the idea of one instrument leading the line and then others copying.

The rhythm section, including me, in the next few weeks.

Can we crack the Jazz Funk grooves properly.

Can Dave copy some of the solo lines in his comping, and Bob to do the same. To add interest.

Can we try a lot of 2 bar breaks rhythm section, some at the end of sections, but also at the beginning.

John

The Jazz Smugglers bands in Sussex

The Jazz Smugglers workshop, Bosham, Sussex

For the moment we are full, until someone drops out. There are about 10 of us each week.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account can you LIKE our band page on Facebook please, 

FACEBOOK JAZZ SMUGGLERS SUSSEX BAND 

and LIKE our workshop page as well.

FACEBOOK JAZZ SMUGGLERS WORKSHOP BOSHAM

In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

TERRY SEABROOK WITH JAZZ SMUGGLERS NEXT SUNDAY

Just to show you something a bit different. Spanish Sketch is one of several pieces composed for the Associated Boards exams by Terry Seabrook.
He is one of the country's greats in jazz, composer, arranger and leader of the famous Cubana Bop band. There is no other British band to touch this one for Latin Jazz.
Terry is coming on Sunday at 7.00 to work with us on three or four pieces we want at to do in a Jazz funk style. Terry's first ever band was a jazz funk band.

Can you all bring please, Greensleeves (with the re-harmonised chords), So What, (with Dave's intro) Feel like Making love, we'll have to arrange it, vocal Maria, and Chameleon.

Song notes
Greensleeves F Classic style gtr, swing re-harmonise, funk Dm solos, last 8 classic
Chameleon Ab As arranged
So What Dm Funk Intro Use me riff gtr.
Feel like making love Eb Maria vocal can we arrange it Funk style

We ought to bring in percussion (Herbie Hancock does) and congas.

John
ps. I did this Spanish Steps song for my Grade 3, the first year the Jazz Exams came out, but I didn't touch this young chap's improv obviously. Like the song?

The Jazz Smugglers bands in Sussex

Sussex Jazz workshop


For the moment we are full, until someone drops out. There are about 10 of us each week.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.
or jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

THANKS FOR RUNNING THE WORKSHOP GEOFF

Have I got a job to come back to?
I hear it all went well and you are all romping through remote keys for Autumn Leaves.
Here is the new song, played the the composer Herbie Hancock in 1974 a year after it was composed. Chameleon.



Autumn Leaves in Ab next Sunday. Lovely fun.

Just got a nice enquiry for the band for next year from Borde Hill Gardens. And a repeat Saturday afternoon fete from Burpham.

John
From a dreechit Scotland. (Ask Steve T. He knows all sort of odd things)

The Jazz Smugglers bands in Sussex

The Jazz Smugglers workshop, Bosham, Sussex

The workshop.
For the moment we are full, until someone drops out. There are about 10 of us each week.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account can you LIKE our band page on Facebook please, 
FACEBOOK JAZZ SMUGGLERS BANDS 

and LIKE our workshop page as well.
FACEBOOK JAZZ SMUGGLERS SUNDAY WORKSHOP

In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

Boxgrove gig Oct 18.

Jazz Smugglers bands West Sussex
Jazz Smugglers workshop, near Chichester, West Sussex

For the moment we are full, until someone drops out. There are about 10 of us each week.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account can you LIKE our band page on Facebook please, 
FACEBOOK JAZZ SMUGGLERS WEST SUSSEX BAND 
and LIKE our workshop page as well.
FACEBOOK JAZZ SMUGGLERS WORKSHOP BOSHAM

In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

JAZZ PLAYERS FEEL LIKE MAKING LOVE

Let's do this fabulous song next week. This is the hit by Roberta Flack. Listen to those guitars, Dave. Wanna sing it Maria?

Good night last night. Well done everyone.

Next week, I’ve asked Maria if she can come. If she can, then she will give me some songs she wants to try out and we’ll do those. I'll mail you all.

Attached is Autumn Leaves in Ddm. You’ll love it, I promise. Where else can you practise your Dbm with others listening? I’m not going to bring Bb and Eb flat copies, trusting you can do it yourselves from this attachment. But if you get into trouble with it, let me know.

We might have another go at Afro Blue, with other folks hitting things rather than stroking them, just to get the right Latin feel. We need a percussion intro really.

We can also do the following, as practise for Terry’s session coming up on October 20th. It is best if we know the material already then we can get further with him.

Greensleeves.

Love for Sale.

So What

Let’s do Feel like making Love. Geoff says we have to sort out how to get into it, and we could do it with a funky sound. Good song for that.

Maria could you plan to do this one if you come?

John

The West sussex Jazz Smugglers bands
Jazz workshop, Chichester, Sussex

For the moment we are full, until someone drops out. There are about 10 of us each week.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account then you can qualify for free tickets to our next concert if you LIKE our band page on Facebook please, 
FACEBOOK JAZZ SMUGGLERS SUSSEX BAND 
and LIKE our workshop page as well.
FACEBOOK JAZZ SMUGGLERS WORKSHOP BOSHAM

In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

NEW GOOGLE MAP JAZZ VENUES IN SUSSEX

You folks have got the very first look at this, a brand new Google map showing the main venues for jazz from Chichester to Dover. Can't get all the occasional and tiny ones in, obviously.

It has been produced by our jazz workshop member, Steven Gower

Man Jazz Venues in Sussex, East and West.

John

The Jazz Smugglers bands in Sussex

The Jazz Smugglers workshop, Bosham, Sussex

For the moment the workshop is full, until someone drops out. there are about 10 of us each week.

This site is to help the Jazz smugglers workshop group and provide information about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account can you LIKE our band page on Facebook please, 

FACEBOOK JAZZ SMUGGLERS SUSSEX BAND 

and LIKE our workshop page as well.

FACEBOOK JAZZ SMUGGLERS WORKSHOP BOSHAM

In this blog we will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

THIS COMING SUNDAY. WHO SAID THIS WORKSHOP WAS GOING TO BE EASY?

I've brought in Afro blue because it is a 6/8 song, which needs percussion. We'll have to sort out who does what.
Can you try and have a glance particularly at this first video. I've got no idea of how to get a groove started. Steve T, would you have a think about how we can all do it? That's a tough one.


Simple stuff. ! We can copy elements of this on the hand percussion perhaps



More complex. Poor Bob doing this stuff. You up for a try Bob?



This is Freddie Hubbard with Little Sunflower. He composed it, a wistful little tune with odd timings.


The wonderful composer Mongo Santamaria plays his standard Afro Blue.


Autumn Leaves in (Dmaj) Bm

Lover  C Chromatic descending harmonies
Love for Sale  Eb Intro Superstition riff gtr. Swell long notes, stop dead, guitar fast fill
So what  Dm Use me gtr riff throughout. Jazz funk

Greensleeves F 1st time gtr, 2nd time tune funk, 3rd solos in dm, 4th gtr
Afro Blue Fm
Little Sunflower (new) Dm

John W. See you there.



The Jazz Smugglers bands in Sussex
The Jazz Smugglers workshop, Bosham, Sussex

The workshop will be opening again on Sunday September 8th. For the moment we are full, until someone drops out. there are about 10 of us each week.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

HOW MUCH PRACTICE DO YOU NEED FOR JAZZ? INTERVIEW WITH CHARLIE AND PAUL DESMOND

If you practice like Charlie Parker for 10 hours a day, 6 days a week you'll have completed 12,000 hours of practice in about 4 years. Do it for much longer than this and you are an idiot. There is no need. It is OTT. We revere Charlie Parker for his fluency, speed and technique. On a personal note, he is too much for me (but you'll have different views, I know, says he, duckling head)

Oscar Petersen practised for an average of 5 hours a day. He said, "You need to do enough practice to get your technique to the point where you can express your ideas. It depends how heavy those ideas are."
Later in life he halved his practice routine. Sensible chap.

Most professionals I know do practice, and practice much more than amateurs. Quiet Paul Desmond seems to be in awe of Charlie Parker in this interview.

John

The Jazz Smugglers bands in Sussex
The Jazz Smugglers workshop, Bosham, Sussex


For the moment the workshop is full, until someone drops out. there are about 10 of us each week.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account can you LIKE our band page on Facebook please, 
FACEBOOK JAZZ SMUGGLERS SUSSEX BAND 

and LIKE our workshop page as well.
FACEBOOK JAZZ SMUGGLERS WORKSHOP BOSHAM

In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

WHAT WE'LL DO NEXT SUNDAY. THIS WILL KEEP YOU OUT OF MISCHIEF.

This is what I'd like to do next Sunday
Autumn Leaves in Gm (lets call it Bb maj), We'll do it in Dmaj (Bbm). This is part of our doing songs in unusual keys. Just 30 minutes on it.

Lets try out three things led by Dave's Guitar. The Use me riff for Lullaby of Birdland So What also the Superstition riff for Love for Sale. Dave can you just run through a mediaeval version of Greensleeves for us.
You are trying it out I know.

Geoff will try out something he has been working on (six or so songs, Geoff, ok?)
Can we also try out just one new song, Lover. BIAB file attached to email

CAN YOU FOLKS PLEASE PREPARE A PAD WITH THE FOLLOWING SONGS WHICH WE DID LAST YEAR. ADD NEW ONES AS WE GO.
We will select songs from this list for working on. Sometimes the key may have varied from the standard because of the vocal need. Add Autumn Leaves Gm please. We'll use it as a practice piece for more difficult key.

A beautiful friendship C S
Close to you C B
Darn that dream  G S
Dindi   L (vocal 8 bar intro out of time+bass)
Feel like making love Eb S
Green Dolphin Street  C J
Greensleeves F    B
Here's that rainy day F S
I remember April G   S
Love for sale Eb (not F, no vocals)  Gtr using Superstition riff.
Lullaby of Birdland Ab J Gtr using Use me riff
Mash  theme Am S
The look of Love F S
So What. Dm Use me riff on guitar
Sunny  Am and Bm S Switch Am to Bm, back to Am. (?Reverse this?)
Wave C L

During the season we will select from these songs we have not done before. I have in mind building a song list from the 70's for the new jazz show next year.
I'll circulate them on BIAB files when I get them all. One or two we have done years ago. I've also got in mind some of these for vocals.

TO DO
Afro blue L
Almost like being in love S
Cantaloupe Island J
Chameleon       F
Four     J
Get me to the Church on time   S
How long has this been going on S
Just friends   J
Ladybird   J
Little sunflower   J
Lover
Show me  S
Smooth operator L
What's new?   B
What are you doing the rest of your life G  B
Wouldn't it be lovely S

OTHER POSSIBILITIES

Ain't no sunshine	B
Home Cooking	L
Just the way you are G	S
Mambo inn	L

CHARTS FOR THE NEWCOMERS
We have a problem. We have three newcomers trying us out for the first time. Music sheets for them. Geoff has kindly arranged to have three copies of BIAB software for them. In a couple of weeks' time we'll have a 30 minute session about how to use BIAB.

We need charts for Eb and Bb instruments, and one is a Bb bari part. We probably have some music in the Bb and Eb boxes at present. If we select some other songs to do then, they can share existing charts.
I'll bring the charts for these.
Autumn leaves in Gm and Bbm
Lullaby of Birdland  Ab
Love for Sale Eb
Greensleeves F
Lover C

John


The Jazz Smugglers bands in Sussex
The Jazz Smugglers workshop, Bosham, Sussex


The workshop will be opening again on Sunday September 8th. For the moment we are full, until someone drops out. there are about 10 of us each week.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account can you LIKE our band page on Facebook please, 
FACEBOOK JAZZ SMUGGLERS SUSSEX BAND 

and LIKE our workshop page as well.
FACEBOOK JAZZ SMUGGLERS WORKSHOP BOSHAM



In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

LETS PLAY TOGETHER

 THE WAY YOU LOOK TO-NIGHT. LISTEN TO THE EXCHANGES AT THE END.

I copied the Blues in Time CD for everyone, without explaining why. I've got spare copies for the newcomers.

This is why.
These two do and their backing section do nearly everything that we plan to do in the workshop. Have a listen. They are listening closely to each other while they play. For example, on track 4 Mulligan plays a little quote in his solo. Not to be outdone Desmond then plays a quote in his. They are just having fun with each other. Behind Desmond's solo is a soft descending harmony which is Mulligans trademark in all his arrangements. Its soft, quiet and cool. On other tracks listen to the way they copy each other exchanging 4s, sometimes they use a counter point harmony.

Desmond's solos are full of little playing patterns transposed, Mulligan too plays patterns but with a more flowing line. We'll have a go at this.


WE DID IT ONCE. BRILLIANTLY.
there was a supreme moment in our last jazz concert with the big band at Hillier. It lasted for 32
bars.

Andrew and Geoff exchanged 4's, and they really played off each other, they copied, they drove, they played fast and slow, loud and soft but they had a huge amount of fun playing for each other. It made them laugh together, it made the audience laugh, and it was totally musical.

For me it was the epitome of what a band should be about. It was a team game with the two forwards exchanging passes in the box.

That is part of what we are going to strive for in the new workshops.


We are going;
TO MAKE MISTAKES
TO LISTEN TO WHAT THE OTHERS ARE DOING
TO PLAY OFF EACH OTHER
TO EXPERIMENT
TO TRY THINGS WE DO NOT NORMALLY PLAY

We are all at different standards but there will be no

judgement, no criticism, just fun.

THESE ARE SOME OF THE THINGS WE'LL WORK ON.

• PRACTICE THE REMOTER KEYS
• ADD SILENCE/SPACE LESS IS MORE
• DRAG A NOTE/ PUSH THE BEAT
• FAST AND SLOW / LOUD AND SOFT/ 8TH NOTES
• ADD A TUNE REFERENCE TO THE SOLO/ EMBELLISH TUNE  
• PLAY WITHOUT MUSIC!!
• PHRASE LENGTH SHORT/LONG
• STACCATO/LEGATO
• JAM SECTIONS
• REPETITION OF NOTES/PHRASES
• START PHRASES ON DIFFERENT BEATS/DISPLACE PHRASES
• PLAY SCALE/ARPEGGIOS
• PLAY BRIGHT AND CHEERFUL THEN GLOOMY AND SAD  
• QUOTE FROM OTHER SONGS
• FRONT LINE LEADERS TO INVENT VARIETY, melodies/melody plus solo/sharing/ensemble/ backing/breaks/ 8’s 4’s 2’s hand overs, harmonies, jamming, codas, intros all sorts of stuff.
• RHYTHM SECTION TO ADD VARIETY

The Jazz Smugglers bands in Sussex

The Jazz Smugglers workshop, Bosham, Sussex

The workshop will be opening again on Sunday September 8th. For the moment we are full, until someone drops out. there are about 10 of us each week.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account can you LIKE our band page on Facebook please, 

FACEBOOK JAZZ SMUGGLERS SUSSEX BAND 

and LIKE our workshop page as well.

FACEBOOK JAZZ SMUGGLERS WORKSHOP BOSHAM

In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

SO YOU WANT TO BE CREATIVE IN JAZZ?

This is what some of our country's top professionals have said about the following issue.

Alex Eberhard

Hi John, I see Jazz as a language. You have to learn grammar and expand your vocabulary,listen to to people who speak that language well and eventually get to the point, where you don't have to consciously think about grammar etc, but it becomes second nature. So being creative in playing jazz is very similar to speaking a second language: the more words you know, the more articulate you can express yourself. There is an excellent Youtube clip (more than 2 hours long) by Gary Burton: Gary Burton video clip (2 hours) Have a look if you have time - very interesting! Thanks, Alex

Tristan Banks

Interesting topic, most music that I've come into contact with has genre specific vocabulary, that's to say that each style of music has its own peticular rhythmic, harmonic and melodic structures, licks and cliches.
it's very important as a contemporary musician to be aware of what these are so the layman and scholars alike can identify what kind of music they are listening to.
As a drummer I'm happy to say that my instrument (the drum kit) was being developed at the same time as jazz music was one of the most popular music forms, so you could say that jazz music is inherent in everything that is played on the drums up to this day, but you would be wrong as various technical and stylistic advances have been made since the 1970s ( ie linear patterns, hybrid rudiments) from where jazz music's major developments have been through mixing it with rock, world and other musical forms.
So being creative??? Or improvising within a recognised musical framework or instant composition. Like any part of music the more you practise improvising the better you will become, but soloing isn't just wiggling your fingers or noodling. It should be based on phrasing, rhythmic and melodic development. I personally only use practised patterns or licks as platforms to start with or to refocus a solo if I feel that it has become too abstract. This of course is down to personal taste which gives my solos the stamp of my own musical identity.
So this leads to my question, which is: how creative can you be if you are restricting your solo to fit within a certain genre? I personally feel that you should express your full experience and artistry in all scenarios, even if it means playing some Lydian dominant quintuplet arpeggios on a gypsy jazz gig. If you can hear it play it, but don't try and crowbar the latest lick you've just been shedding.
So in conclusion, learn the history and the vocabulary of the music (and your instrument), listen to how the greats do it, don't be afraid to experiment, don't be a jazz snob. John Coltrane was the best at being himself and you will never be a better John Coltrane than he was. Enjoy yourself.

Paul Richards

Hi John, thanks for your question! Well I believe that if you actually use a creative approach to your practice sessions thinking of as many creative, fun and exciting ways to work on a concept then this will come out in your playing. So basically taking a concept or idea, working on it to get it under your fingers & in your ear then the next step practicing it in as many crazy ways as you can come up with. This is what I do with my students at Sussex Jazz Guitar School. The blog attached describes the Creative practice process we will be exploring in our next class 28/9. All the best..
Paul Richards Practice regimes at his guitar school
September 28th class will be taking a jazz standard tune and tackling it using a multitude of approaches, expanding on concepts from previous classes plus new ones.  We will be developing Creative and fun approaches to practice specific material because if we practice at home in a fun, creative way.

.Paul also wrote: "Thanks John, on this other blog here there's a section "exploring concepts" which explains it a bit. If you practise creatively you'll play creatively.

Julian Nicholas 

said this in response to the creative question and sent in this brilliant clip of "Elvis" discussing atonality. You must look at it.

"John I really like it - and I like the idea of making a few provocative statements to get the juices flowing! I must find the Elvis extract for you - it is about this!!

"Also I think it is always worth emphasising how life-changing this music can be, and how that is reinforced when we get together and exchange knowledge and enthusiasm for artists and recordings that we know and love... listening is the key!!"





James Wheeler 

I really enjoy Eric Dolphy and I think it takes great skill to know which is the most "Out to Lunch" note to pick. I think you can't create in a vacuum, you need to draw on inventive influences, a bit outside the box. A lot of other art forms can inspire you also, not just music. There's a great feedback between art and jazz music. Check out Broadway Boogie Woogie. It's not a tune, it's a painting by Mondrian. Final word: synesthetics. (Editorial note:is a neurological condition in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway)

THE ORIGINAL POST THEY ARE RESPONDING TO.
CREATIVITY IN JAZZ

Oooh! Hot topic. I can feel the coals about to be dropped on my head.

Who is this guy who can't play, doesn't know anything much, to put forward a view on creativity in this highly specialised field?

Well, no more than the average viewer in the Tate Gallery who likes/dislikes a painting even though they can't draw.

Personal comments these, but they relate directly to our workshop and what we plan to do. These are not your views maybe, there as many views on this topic as there are players. Start heating up the coals now. Comments welcome.

Jazz musicians are improvisers by nature. We constantly explore the unexplored, experiment, and try new things. That is what we do, once we have our technique established and even before then. From the start we'll be encouraged to do our own thing.

But look at the notes below. You notice how many of these great innovators did their best work with others. They feed off their rhytm section, they feed off each other. Without their favourite playing partners they were often a bit diminished.

Scientific studies, carried out in  laboratories show that when jazz musicians improvise, their brains turn off areas linked to self-censoring and inhibition, and turn on those areas that let self-expression flow.

To develop creativity you take big problems and then break them into small tasks.

It takes a lot of courage to be willing to sound awful from time to time in order to develop. Everyone is scared of making mistakes. If not, we are not trying hard enough.

You learn more from mistakes than you ever learn from success. Some of the best musical ideas have come from what originally were “mistakes.”

SO WHAT WE WANT TO DO IN THE NEXT WORKSHOPS FROM SEP 15TH IS TO ENCOURAGE EVERYONE TO DO THEIR OWN THING

• TO MAKE MISTAKES
• TO LISTEN TO WHAT THE OTHER ARE DOING
• TO PLAY OFF EACH OTHER
• TO BREAK DOWN WHAT THEY DO INTO SMALL BITS
• TO EXPERIMENT

Is that so wrong?

MY PERSONAL SELECTIONS OF JAZZ CREATIVES

THELONIUS MONK Known to his wife as Melodius Hunk. 
Who were the creative jazz people of my generation? Thelonius Monk - a legend in his time for his unusual harmonies and soloing style, his chord voicings, his timing, his original songs, copied by everyone in his day. Self-styled founder of Bebop. Some top jazz players would not play with him. I can take him in small bites, but I don't want a full evening of him. He hasn't been copied. Notice that. Genuinely creatively people leave a legacy, if it doesn't last it is more likely to be a novelty. Thelonius Monk was hospitalized twice for what was probably bipolar disease. Notice how some disability can lead you into original directions.

THE MJQ, Modern Jazz Quartet. 
They made a genuinely, long lasting impression on the music world as a whole. They were probably the foundation of much of the more melodic contemporary jazz style of to-day. They made jazz acceptable to classical musicians who recognised some of their baroque influences. I could listen to them all night. John Lewis plays the simplest of solos, spare, and open, a perfect counter to the powerful Milt Jackson on the vibraharp, with Percy Heath the driving force on the bass.

GERRY MULLIGAN AND CHET BAKER
Mulligan and Baker in their pianoless quartet. The pianist forgot to turn up one night. They found that this enabled them to free off from the harmony more easily. For me they were really original in the way they harmonised behind each other. Sometimes they did not even discuss the songs before they played them but they achieved wonders just playing off each other Their quartet only last for 9 months but they left a long lasting impression on the jazz world and helped to set up the West Coast movement. 

DESMOND AND BRUBECK
Their original work in using different time signatures is what they are known for, but I loved their Jazz at the College gigs from their early days. Desmond's fluent patterns, Brubeck playing chords. Interesting point here. He had to play chords at this time because he had an accident that stopped his fingers from soloing. Wonderfully original and musical were these tracks. Later he dropped the chord playing, when his fingers got better. Pity. Notice how some disability can lead you into original directions.

ERROL GARNER
Going back a bit now, but his trademark was the heavy block chords. Self taught, he sounded like a one man orchestra. Lovely sounds. He couldn't read music. Notice how some disability can lead you into original directions. 

GEORGE SHEARING quintet. 
A lot of argument here. He was put down by jazz musicians for being a Hotel pianist. So much of a hotel pianist he outsold nearly all the others with his records, with very sweet harmonies. This is George Shearing speaking, "Your intent, then, is to speak to your audience in a language you know, to try to communicate in a way that will bring to them as good a feeling as you have yourself" Notice his concentration upon the audience result. Lesson there for some players.
He was blind. Notice how some disability can lead you into original directions. 

BILL EVANS and his trio. He changed the style of piano playing more than any other. Introspective, deeply thoughtful, amazing range of different ideas which all fitted together somehow. He developed rootless chords and relied hevily on chords tones. First man to rely heavily on the bass player so heavily.

CHARLIE PARKER. He might not have started bebop but he and others pushed it to its limits. His trademark was unique phrasing and complex melodic lines. This, for me, is jazz musician's music. I can understand its brilliance, the technique but it does not sit easy on my ear. That's just me. I don't like Tracey Emin, but I do like David Hockney.

ATONAL
The atonal movement which followed Bebop, wrecked jazz. It was not creative, it did not have a long lasting effect it was nothing more than a novelty. For my ear it sounded awful. A disastrous novelty.
John
References
Research into jazz creativity, using brain scans.
Guide to creative jazz practise
= = = = = = = =

THIS IS US

The Jazz Smugglers bands in Sussex

The Jazz Smugglers workshop, Bosham, Sussex

The workshop will be opening again on Sunday September 15th. For the moment it is full, until someone drops out.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account can you LIKE our band page on Facebook please,
FACEBOOK JAZZ SMUGGLERS SUSSEX BAND 

FACEBOOK JAZZ SMUGGLERS WORKSHOP BOSHAM



In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

THE NEW WORKSHOP STARTS WITH YOU

I'm just in the process of planning the new workshop. We have two new people coming in on the 15th. (Our workshop family party is on the 8th, don't forget.)

We are going to work on doing jazz things which you can't do on your own, you have to be playing in a group. That is the purpose of a workshop after all.

FOR YOU YOURSELF TO THINK ABOUT.
However, before we get to that I think it is important that each person makes up your own mind about what you want to improve personally, or try out for yourself.

We already know of one or two of us who want to improve our reading. Once I know that then we can help by getting you to play along with the good readers when they play the tune. By sending you the tune in advance, you can at least look at it. No soloing, just reading, do it slowly the first few times, then end up fast. Does not take long.

I know that Vic is getting to grips with a new bass toy, er, instrument.

For myself as an example, I want to :

xx Create little patterns in the solo and displace them. Most of my jazz heroes do something similar in their solos.
xx I want to play more question and answer with the chords and the right hand
xx I want to follow the shape of the tune more, and find the strong notes of the tune in the solos
xx Yup, improve reading

If you'd like to tell me what it is you want to work on yourself, then I might be able to build something into the sessions for you.

WELCOME
Welcome to new workshoppers Paul Lyons, alto/tenor and to Steve Gower, alto, ten plus pno and bass!
You'll be pleased to know that we have no rock stars, big heads or people who want to tell other people how they should play. Makes for a more comfortable life.

John


The Jazz Smugglers bands in Sussex

The Jazz Smugglers workshop, Bosham, Sussex



The workshop will be opening again on Sunday September 8th. We can take one extra front line player, possibly. If you would like to try out you would be welcome that evening, but let me know in advance.

This site is to help the Jazz smugglers workshop group and provide informtion about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account can you LIKE our band page on Facebook please, 
FACEBOOK JAZZ SMUGGLERS SUSSEX BAND 

and LIKE our workshop page as well.
FACEBOOK JAZZ SMUGGLERS WORKSHOP BOSHAM

In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.

WHEN I NEXT HAVE A GOOD IDEA, SHOOT ME

We had to go to a 40th party near Monmouth. I had this good idea. "Why don't we spend a few days on the Gower peninsula?"
"Where's that?" she said.
"No idea but it sounds good"
"Good idea" she said. She needed a gun.

The Gower peninsula is quite nice if you are walkers, many routes to follow. We are not walkers.
The Gower peninsula is nice for children, with lovely beaches at the foot of cliffs. We are not children. We cannot climb down cliffs either.

"Why don't we go to Tenby to-morrow, it looks nice from Google images?"

Google images lie. Tenby is a walled town for pedestrians only. Everyone in South Wales was there that day. We cannot walk....etc

Dire, the whole thing. Plus I got this stinking cold.....now Gillian has got it.....

CELEBRATE THIS LOVELY WONDERFUL SUMMER WE HAVE JUST HAD. AND THANK OUR LOVELY NEIGHBOURS FOR PUTTING UP WITH US ON SUNDAY EVENINGS.

OPEN HOUSE TIME FOR THE WORKSHOP FAMILIES AT CREEK END.
SEPTEMBER 8TH, from 4.30 onwards.

We can get you and the family on the water if conditions are right, you can swan around Chichester Harbour.

You and the family can swim in the indoor pool whatever the weather. Bring a towel and cossi. Good for youngsters.

From 6.00 the workshop folks will play for you all some of the tunes we did last year. We'll play in the garden. Just for an hour - -finish at 7.00. If it is wet, we will do it indoors in the lounge..

WHAT WE ASK YOU TO DO
Bring your spouse and family, but let us know how many grown up and how many youngsters under 12 will be coming please. If an under 12 swims, then a responsible adult needs to be there please.

FOOD.
The kitchens of Marks and Spencer Food to Order are working overtime for us.

DRINK
The vineyards and cellars of Marks and Spencer will produce their finest for us. If they run out, then the vineyards and cellars of Aldi will produce their finest.

PLAYERS
Lets play some of these songs - we did them last year. Andrew, Maria, you coming? Hope so.
Mike you are very welcome.

SONG LIST AND ORDER
Watermelon Man F
Green dolphin Street  C
It Could Happen to you
I remember April G
Sunny in Am then Bm
A beautiful friendship C
Wave C  jobim
Lullaby of Birdland Ab,
Dindi
Yardbird Suite/Rosetta
Here's that rainy day F
Close to you C

Please let me know yes/no if you can come. Ta.

John

The Jazz Smugglers bands in Sussex
The Jazz Smugglers workshop, Bosham, Sussex

The workshop will be opening again on Sunday September 8th. We can take one extra front line player, possibly. If you would like to try out you would be welcome on the following Sunday, but let me know in advance.

This site is to help the Jazz smugglers workshop group and provide information about the following weeks work. We will be working on widening our range of playing styles as individuals, working together in a band, and practising the more difficult things. You need to be able to read.

If you have a Facebook account can you LIKE our band page on Facebook please, 
FACEBOOK JAZZ SMUGGLERS SUSSEX BAND

and LIKE our workshop page as well.
FACEBOOK JAZZ SMUGGLERS WORKSHOP BOSHAM

In this blog We will produce tips for jazz piano, and jazz guitar together with jazz saxophone. We will cover jazz chords, jazz guitar chords, and we will deal with jazz scales. We will cover jazz songs. This site is all about jazz improvisation. you can sign up directly to this blog site as a FOLLOWER, bottom rh side panel, you'll get all the posts.