Portrait of Tracy has become my favorite tune of all I’ve been studying over the last year in half.  I’m currently working on my own piece of improvising. Using the pentatonic major and minor with some improvising with a nice C blues scale, carried over to a A blues scale then E blues scale, then taking things up an octave to an D for the dorian mode with a minus note to give it a 6 note scale. All in all it sounds good so far.

Saturday morning – Jan, 17th 2009 I must admit started out unusual. I say this to say my routine  is definitely not the study and listening to Beethovens Piano Sonata No 14 in C sharp minor “Quasi una Fantasia”.  Obviously I’m a musician enthusist / novice exploring my own gifted journey.  I’m realizing more and more the infinity of music. Her highness, majesty has captured my mind, emotions and heart. Music is like an abyss (an immeasurably deep gulf or great space) potentially has the influence to sway the interest of such a soul.

I’m studying key signatures, modes, melodies, chords, etc. It gets so frustrating at times, yet euphoric. Being undiscipline doesn’t help at all. What do I mean by undiscipline, to improve in anything one has to dedicate themselves to the very thing that they wish to excel in. My philosophy is to set tangible realistic goals and everyday strive to get closer, as you near and ready for completion, set another one (goal). This way your always involved with your dreams, thus destiny.  Besides I would’nt want to do it any other way. 

Here is a clip of ‘Quasi una Fantasia” – Moonlight Sonata.

Paul Chambers – Whims Of Chambers (1956)
Label Blue Note
Mono/Stereo Mono
Bitrate: 320 kbps

Recorded at the Van Gelder Studio, Hackensack, New Jersey on September 21, 1956.

LEONARD FEATHER, from the liner notes, Whims Of Chambers, Blue Note:
The role of the jazz bass player was largely a metronomic assignment until, in 1939, Jimmy Blanton’s flight through time and space, when he alighted in the Duke Ellington airport, transformed the entire scene. Since that time scores of talented men have put hundreds of fingers to work proving that Blanton was right; that the bass is capable of melodic invention and rhythmic variety unknown before his day.

Oscar Pettiford is the man generally assumed to have inherited the Blanton mantle, though Ray Brown, Red Mitchell, Percy Heath and a few more have exhibited formidable prowess and extraordinary heights of inspiration. And now, to join the handful of giants of whom one can speak in the same breath as these few, the inner jazz circle has welcomed Paul Chambers.

Among other achievements Chambers can claim to be the first jazzman to earn dual reknown as an arco and pizzicato bass soloist. Born in Pittsburgh April 22, 1935, he entered music through a windy side entrance when he and several schoolmates were fingered to take up music and the baritone horn became his assignment. Later he took up the tuba. “I got along pretty well, but it’s quite a job to carry it around in those long parades, and I didn’t like the instrument that much.” (Besides, you can’t bow a tuba.) So Paul became a string bassist, around 1949 in Detroit, where he had been living for a while since the death of his mother.

Playing his first gig at one of the little bars in the Hastings Street area, he was soon doing club jobs with Thad Jones, Barry Harris and others who have since effected the Detroit-New York junction. His formal bass training got going in earnest in 1952, when he began taking lessons with a bassist in the Detroit Symphony. Paul did some “classical” work himself, with a group called the Detroit String Band that was, in effect, a rehearsal symphony orchestra. Studying at Cass Tech off and on from 1952 to ’55, he played in Cass’ own symphony, and in various other student groups, one of which had him blowing baritone sax. By the time he left for New York at the invitation of Paul Quinichette, he had absorbed a working knowledge of several armfuls of instruments.

The Quinichette job was Paul’s first time on the road. Since then he has worked with Benny Green’s combo; at the Bohemia in New York with George Wallington’s quintet; at the Embers and Birdland with Joe Roland; and on several jobs with the since-split trombone twins, J.J. Johnson and Kai Winding. For the past 18 months most of his working hours have been devoted to the furnishing of a solid understructure for Miles Davis, and it was with the help of two colleagues from Miles’ combo ( John Coltrane and Philly Joe Jones ) that the present LP gained much of its power and conviction.

Paul was about 15 when he started to listen to Bird and Bud, his first jazz influences. Oscar Pettiford and Ray Brown, the first bassists he admired, were followed in his book by Percy Heath, Milt Hinton and Wendell Marshall for their rhythm section work, Charles Mingus and George Duvivier for their technical powers and for their efforts in broadening the scope of jazz bass. Blanton, of course, is his all-time favorite, the perennial poll winner in his ballot.

Speaking of polls, a review of the last Downbeat critics’ referendum shows that Paul won in the New Star bassist category by a comfortable margin with 85 points. It may not be long before Pittsburgh and Detroit start a fight about which city can claim Paul Chambers as a hometown boy. He’s a valuable enough man on anyone’s team to generate just such a squabble and these sides, I’m sure you’ll agree, offer the most eloquent evidence to date.

Personnel:
Paul Chambers, bass
John Coltrane, tenor saxophone
Donald Byrd, trumpet
Horace Silver, piano
Kenny Burrell, guitar
Philly Joe Jones, drums

Paul Chambers – Whims Of Chambers Tracks:
01 Omicron (Donald Byrd) 7:15
02 Whims Of Chambers (Paul Chambers) 4:03
03 Nita (John Coltrane) 6:03
04 We Six (Donald Byrd) 7:39
05 Dear Ann (Paul Chambers) 4:18
06 Tale Of The Fingers (Paul Chambers) 4:41
07 Just For The Love (John Coltrane) 3:41

I picked up a bass pedal yesterday “digital delay”. It’s an awesome addition to add to the kind of fusion music I wish to convey. My bass lesson on friday was about chords, harmonics and creativity. There seems to not be enough time in the day to explore the many possibilities of my bass. On saturday I visit guitar city and came across a fretless bass. After holding and playing with this bass I got this strange sensation from this bass that it belongs to me. Who knows!

Here is a video I wanted to post and share titles “A portrait of tracy” by Jaco Pastorius.

 Early Jazz
1900-1930

The American musical art form jazz emerges in New Orleans around the advent of the 20th century. Jazz blends elements from varied traditions, including African and African American, religious, brass band, and blues styles. The improvisational music that results has a syncopated rhythm, and originally both the performers and audiences are African American.

New Orleans’ Storyville, a notorious Red Light district, is home to the brothels and bars that provide the only venues for jazz, since African American performers are banned from performing at white clubs. In 1917, the U.S. Navy, fearing dissipation and violence among sailors, shuts down Storyville, scattering jazz musicians, who join riverboat bands or move to cities such as Memphis, Chicago, St. Louis, and Kansas City, where local styles evolve. Ironically, the first jazz recording is made that same year by an all-white band.

Jazz’s popularity grows, and as it attracts a wider audience, so do campaigns to censor this “devil’s music.” Early detractors like Thomas Edison, inventor of the phonograph, ridicule jazz, saying it sounds better played backwards. A Cincinnati home for expectant mothers wins an injunction to prevent construction of a neighboring theater where jazz will be played, convincing a court that the music is dangerous to fetuses. By the end of the 1920s, at least 60 communities across the nation enact laws prohibiting jazz in public dance halls.

The introduction of Prohibition in 1920 brings jazz into gangster-run nightclubs, the venues that serve alcohol and hire black musicians. These speakeasies allow whites and blacks to mingle socially for the first time; they also draw young audiences from all social classes, attracted to both the music and the increasingly suggestive jazz dances. Both the mixing of the races and the widespread belief that jazz incites sexual activity causes critics of jazz to step up their efforts. “Jazz was originally the accompaniment of the voodoo dance, stimulating half-crazed barbarians to the vilest of deeds,” proclaims Ann Shaw Faulkner, president of the General Federation of Women’s Clubs, a powerful alliance of women’s social and reform groups that launches a crusade against jazz in 1921.

But the reformers do not halt the growing popularity of jazz among both black and white audiences. Recordings and radio broadcasts allow the music to reach beyond nightclubs, and the arrival of virtuosos such as New Orleans-born cornet and trumpet player Louis Armstrong and composer Duke Ellington propel the art form to a higher level.

In the following decades, jazz continues to evolve, attracting both black and white audiences. Increasingly it is identified as one of America’s greatest contributions to music and becomes a subject of academic study and analysis. Public opposition to jazz fades as new generations embrace swing, big band, bebop, and later styles. However, during the Cold War, jazz is still banned in some Eastern European countries for being subversive and decadent. Well into the 1980s, the underground clubs where it is performed in these countries provide meeting places for political dissidents.

 I spent a good part of the wee hours sorting through my newest gizmo. An Boss Micro BR Digital Recorder. I’ve managed to lay down a track of scrabble music if that make sense. My lessons are coming along pretty well. I’m learning alot at an unusual pace. Don’t know why but, I find Chord practice so boring and time consuming. Just want to play music. Gotta walk before run!

Overall things are going well. I can hold my own as long as willingness to improve is there which is totally up to me and how much I want to progress just like anything in life worth doing. It’s hard at times to follow your own philosophy or advice. When I teach (martial arts) it’s a matter of discipline and committment. Music has become a voice or language as Victor Wooten often says. Music (language) within us has something to say. I’ve always from deep within wish to express something remarkable. 

A novice player is extremely important in the music world because we’re a part of a whole that will contribute to the next generation. Two of my most rewarding interests if not evident is martial arts and the other playing the bass. Learning as much as I possibly can about the two. Funny how both is connected. I’ve found the meaning of space in the two – the similiarities. We (society) usually focus more on differences then similiarities. The inner awareness of everything being connected evades the most sincere at times. What is most important in life? Value fulfillment. What exactly is “value fulfillment” anyhow? For me VF offers the most all – encompassing basis for the meaning behind existence, life, thought, moment, everything and anything you can think of. VF offers a positive outlook on reality/life and the motivations of all interests. It has provided me with a powerful, life – affirming perspective & experience on how consciousness/inner mind creates on a mass level toward a betterment of the individual and the whole. I first heard this term put this way a number of years ago. The women by the name of Jane Roberts who was an author, writer of many genres. She was a psychic, trance medium who “channeled” a personality named Seth. He defined VF literally as endless values. Anyhow I trust you get my meaning. It’s simple, not complicated as the fragile mind would like to consider.

   My journey continues to get interesting. Every friday after my bass lesson I walk away with some much material, techniques to work on. There are times when I feel I’m being feed rapidy then I should be. Then again this is why we take lessons and follow the instructions of our teacher’s to the best of our ability. My playing has gotten better, although at times I feel like my note playing lacks the needed attention that I’m at times reluctent to give to a couple of hours. The chords, scales and harmonics are a big part of my daily practice, basics I can’t seem to get enough with the little time I devote to practicing.

My instructor usually listen to me playing and quickly can hear and see where I definitely needs some tweaking. Discipline comes to mind when I think to myself why my fingering of the notes/frets is not the way I want. You get what you put into it, right?

I picked up a Boss Micro BR digital recorder that has a lot of features to help me along with my learning of the basics and playing. Have’nt yet sat down to read the manual.

Yesterday I got to mess around with bass pedals my teacher brought with him. They work wonders for your playing, believe me. Got to hear what it sounds like and how to use it while playing. Eventually I would like to get a few.

This past thursday got to visit a friends studio and play alittle. Most importantly I learned many things about studio equipment. Can’t wait till I can play like them. My friend just knew where and what was lacking just from hearing. He knows his music and sounds. Hope to get the chance to play with them again.

Here is a clip I really enjoy from Victor Wooten doing a solo. I think it was from one of Bela Flecktones concert. I do hop you enthusiastic bass people can appreciate this as much as I did.

(Saturday night playing in NYC)

My next move obviously in life is music along with martial arts. Before I get into telling about how playing the bass guitar came into existence first, let me share about my passion for the study of Budo. Martial arts is something I always wanted to do ever since I can remember being a kid and my brother the second to oldest was a guardian angel on the streets and subways of NY. He would come home with his fancy red beret and tee shirt that had angelic wings on the front that captured my attention. There were a familiarity to that as I learned later on in life. Anyway he would show me techniques he learned in the kung fu classes he took. I use to ask him to show me techniques. Boy I wanted to be a guardian angel at the time, age did not permit that to happen for I was to young. Soon afterwards (couple of years) I found my way to a near by community center that taught Shotokan karate. Tried that for awhile didn’t like it to much so looked for something else. Came across TaeKwoon do karate and stood there for a good while competing and fighting. While in high school we and my best friend met this Chinese teen and quickly became friends, before I knew it he was coming over to my house to teach me and my best friend kung fu. I remember one day reading this book called Ninja assassins and thought to myself this is what I’ve been looking for my whole life. There was contact info at the end of the book and I decided to write. Shortly afterwards I got a reply from Stephen Hayes. Fast forward 20+ years later and I’m still training in the martial arts. My dream all those years ago finally came, and I was off to Japan with the help of my ex wife at the time to the dojo of the last living Grandmaster of the 34th tradition of the Ninja – Masaaki Hatsumi Soke. I’ve since gone back every year. In May of 2008 where I work a women ask me to help with her computer. So I went up and fixed her computer, she was kind to give me a 10 yr old electric guitar that needed a lot of work to fix. Eventually during the month of June 2008 the weekend of my martial arts seminar I decided to bring the guitar in to Sam Ash. Funny when I got there the saleswomen that helped me, turned out to be a neighbor where I live and traded my electric guitar for a 4 string jazz bass guitar. Mind you, I had no intentions on getting a new guitar let along find a teacher and start to play regularly. Guess I wanted to see if that vintage instrument was worth anything. A DVD came with my Squire bass that was interactive. I watched it and picked up some basics pretty fast. In the meantime the sales women had given me a number of a person who she considered to be the best at the time to teach me. So I called this gentlemen and haven’t regret it at all. I would highly recommend him to anyone interested in the NYC area.

My teacher is very knowledgeable about the bass. He’s teaching me music theory that I don’t find boring at all. In fact its very educational. I’ve since taken his style and information of teaching and applied it to my teaching. One of the things I need to do now in my life is discipline myself to play more. Everyone has areas in life that to be improved. Since my introduction into what seems to be my passion, I’ve composed a nice melody from some notes, arpeggios and chords. It’s pretty cool. Was hanging out with a friend one night, we spend some time talking about life, challenges and goals. I ask her if I can play something before we had to leave and I played the song I’m working on which is not finished by the way. From her expression she liked it. Right then and there it came to me – “Her voice speaks”.

It will take some time while I continue with my studies as I delve deeper into the abyss of music, the unspoken verbal language. I believe you cannot just hear the music. Music has to be felt and expressed across the medium of language.

Info about the where abouts of my dojo please visit: www.Kotekidojo.com