Meet The Musicians of Marshall McDonald LIVE – May 9 TOKYO

I’m proud to have an outstanding group of Japanese and American musicians with me on Tuesday May 9th at B Flat Jazz Club of Akasaka Tokyo.  Please read about this amazing band.

5月9日(火)、東京・赤坂のBフラット・ジャズ・クラブで、私と一緒に優れた日系アメリカ人音楽家グループを誇りに思っています。 この素晴らしいバンドについてお読みください。

B Flat Club Press Release
Click to download PDF

Marshall McDonald New York Live

Saxophonist from The Count Basie Orchestra!

2017.5.9 MAY 9th TUESDAY at The B Flat Club
NO CHARGE NIGHT!!! 7:30 PM & 9 PM Shows
6-6-4, Sakae Bldg B1, Akasaka, Minato-ku, Tokyo 107-0052 http://bflat.biz

Marshall McDonald – saxophones
Mayuko Katakura – piano
Ryu Kawamura – bass
Gene Jackson – drums

Zenimac Productions is proud to announce that Marshall McDonald, from The Count Basie Orchestra’s, Marshall McDonald will be bringing his group to Akasaka B Flat on May 9, 2017. Featuring original compositions and classics. It will be a swinging New York Jazz night!

Born in Pittsburgh, PA, saxophonist Marshall McDonald spent over 25 years working and performing in New York City. He has performed on six continents and at virtually every major concert hall, jazz club and jazz festival in the world including – Carnegie Hall, Kennedy Center, Royal Albert Hall, Walt Disney Concert Hall in Los Angeles, The Sydney Opera House, The Dewan Filharmarnik Concert Hall in Malaysia, Esplanade Concert Hall in Singapore, Bunkyo Hall Tokyo, Tokyo Blue Note, Nagoya Blue Note, Fukuoka Blue Note, Blue Note Milan, Blue Note New York, Tokyo TUC, Yoshi’s Jazz Club, The Blues Alley, Ronnie Scott’s, Birdland, Smalls Jazz Club, The Iridium. The Newport Jazz Festival, The JVC Jazz Festival, Monterey Jazz Festival, North Sea Jazz Festival, Toronto Jazz Festival, Nice Jazz Festival, The Playboy Jazz Festival, Aspen Jazz Festival, Montreal Jazz Festival.

As the Lead Alto saxophonist with the 17-time Grammy Award winning Count Basie Orchestra, Marshall has spent over 15 years leading the sax section to great heights. The Basie Orchestra has no parallel in jazz. They have won more awards, polls and Grammys than any other jazz big band in history. The lead alto chair was famously filled by the Who’s Who of lead alto saxophonists – Marshal Royal, Earle Warren, Bobby Plater, Danny Turner and Jackie Kelso.

Marshall has played or recorded with The Lionel Hampton Orchestra, Paquito D’Rivera, Frank Foster, Melvin Sparks, The Chico O’Farrill Afro-Cuban Orchestra, The Illinois Jacquet Big Band, The Duke Ellington Orchestra and The Charli Persip Big Band.

For more information please visit http://www.marshallmcdonald.com

MAYUKO KATAKURA – PIANO

宮城県仙台市出身。両親共にプロのジャズミュージシャンであり、幼少よりジャズを聴いて育 つ。洗足学 園短期大学入学と 同時にジャズピアノに転向、ピアノを今泉正明氏に師事。同大学 を首席で卒業後、200 2年、バークリー音楽大学より奨学金 を受け、入学する。在学中より、ボ

ストン市内のライブハウスで、 クリスチャンスコット, デイヴサントロらと演奏を重ね る。 2004年、piano achievement awardを受 理し、卒業する。卒業後は、ディックオーツ, ジェリー バーガンジーらと演奏を

重ね、また、2004 年8月に行われたLitchfield Jazz Festivalに、デイヴサントロトリオのピアニス トとして出演す る。 2005年9月、ジュリアード音楽院入学。ピアノをケニーバロンに、アンサ ンブルをカール アレン, ベンウォルフに師 事。在学中より、ハンクジョーンズ, ドナルドハリソ ン, カールアレン, ベ ンウォルフ, エディーヘンダーソン, ビクタ ーゴーインズ ,ドミニクファリ ナッチらと共演する。2 006年、Mary Lou Williams Women In Jazz Piano Competitionで 優勝し、翌 年5月に、同 ジャズフェスティバルに自己のトリオを率いて出演する。また、2006年9月に開催 された Thelonious Monk International Jazz Piano Competitionのセミファイナリストに選ばれる。2 008年に帰国後は、ジュリ アードジャズオールスターズの一員として、カールアレン、ロンブ レ イクらと共に韓国、日本でのワークショップ やコンサートを行う。また、ジャパンジャズ オールス ターズの一員として韓国、釡山でのジャズフェスティバルに 参加したり、ブルーノー ト東京でのブ ランフォードマルサリスカルテットのピアニストとして参加、ラヴィコルト レー ンカルテットへの参加、ピーターワシントン、ケニーワシントンとの共演など活動は多岐にわ たる。 現在は自 己のトリオ、クインテットをはじめ、山又真文カルテット、伊藤君子グルー プ、竹内直カ ルテット、土岐英史グル ープ、北川潔トリオなどのメンバーとして活動中。2009 年9月には、リー ダーアルバム「インスピレーション」をリ リース。第43回スイングジャーナ ル社主催の「ジャズ ディスク大賞」において、ニュースター賞を受賞。2010年9 月、セカンド アルバム「フェイ ス」をリリース。今秋、自身3枚目のリーダーアルバム「The Echoes Of Three」 を55 RECORDSよりリリース。洗足学園大学非常勤講師。

RYU KAWAMURA – BASS

1965 分 まれ。’90 ウッドベースを始める。第5回イムズジャズコンテスト特別 賞受賞。’03 拠点を関東に移し、バイソン トリオに加 、ルー・タバキンのツアー に参加。その後ホテルギグやレコーディングサポート等を ねながら、渡辺貞夫のFM 番組にてカルテットでのセッションに参加。’14 サイモンコスグローブトリオで 豪 マ ンリージャズフェスティバルに参加。’16 Sasebo JAZZ に参加。これまで、フランク・ ウェス、ノーマン・シモンズ、デューク・ジョーダン、ハンク・ジョーンズ、ビル・メ イズ、ルー・タバキン、渡辺貞夫、 皓正、 村英治、世良譲、 島 雄、杉原淳

等々、数多くの内外著名ミュージシャンとの共演経験を持つ。またQueenのライブト リビュートバンドのQueenessでも、John Yamamura として活躍中。

GENE JACKSON – DRUMS

Fans worldwide are aware of Gene Jackson’s drumming talent and expressive performances. While Roy Haynes, Philly Joe Jones, Elvin Jones, Billy Higgins, and Tony Williams were some of his drumming inEluences, Jackson has a style that can change in accordance to what genre of music he plays. His ability to range from African to Latin to Cool rhythms have afforded Jackson the opportunity to be recommended by dozens of eminent musicians since his career took off 15 years ago. Jackson was born October 16, 1961 in West Philadelphia, Pa. Though he grew up as an only child, Jackson began to focus on music with the help of his guardian’s grandson, Greg McDonald who played the drums. “(Greg) would have rehearsals with a band of excellent musicians, which helped inspire me early on,” Jackson said.

His capability to do this is reElected in Jackson’s recording and travel career with such artists as: Dianne Reeves, Christian McBride, Hugh Masekela, Cyrus Chestnut, Greg Osby, Terence Blanchard, Andrew Hill, George Coleman, Steve Turre, Chico and Von Freedman, Don Patterson, Elvis Costello, Art Farmer, Mark Ledford, James Williams, Carla Cook, Craig Harris, Dave Kakowski, Conrad Herwig, Gonzalo Rubalcaba, Claudio Roditi, Donald Brown, Joe Lovano, Billy Childs, Joe Locke, Craig Handy, Michele Rosewoman, The Scream Headless Torsos , Anthony Cox, Lonnie Plaxico, Steve Slagle , The NDR Big band, to name a few, to the cutting edge post bop swinging of The Herbie Hancock Trio/Quartet , who Jackson says playing with was one of the high points of his career, along with Wayne Shorter and Dave Holland.

Jackson began working with Herbie Hancock in the fall of 1991 after he was recommended by drummer and good friend Terri Lynne Carrington to do a tour with The Herbie Hancock & Wayne Shorter Quartet. Gene continued his association with Herbie until 2000. Although this group did not record ofEicially, in Gene’s opinion, “It was one of the hottest groups in Jazz. Not because of my involvement!” Gene says, ” But because of the mastery and science that Herbie Hancock brings to the music in addition to mastery of bassist Dave Holland. I had the honor of witnessing this magic night after night for years and I still can’t believe it was not ofEicially documented.”.

Herbie Hancock’s groups toured the globe extensively from 1993 -2000 and despite numerous personnel changes, Gene was always in the drummer’s chair. From 1993-95 the Herbie Hancock Trio highlighted the fat groove of bassist Jeff Littleton. The next Trio (95-96) was with master veteran bassist Dave Holland. This group pushed the boundaries of the traditional jazz trio. It was during this period that Gene developed at good musical relationship with Dave Holland. Gene then began touring and recorded with Dave Holland’s band.

How to Learn Jazz, a Sample lesson with Marshall McDonald of Count Basie

This is Marshall McDonald, lead alto of The Count Basie Orchestra for 16 years, I’ve also played both tenor chairs and the second alto chair.  Today I’m going to talk about how to learn to play jazz and improvise jazz solos.  In addition I will discuss learning how to hear.  Transcribing solos BY YOURSELF AND NOT READING OTHER PEOPLE’S transcriptions is today’s main topic. Reading solo transcriptions teaches you how to read music better but it involves a different part of the brain than does picking the solo off of a recording by yourself, and then writing it down.  By learning it for ourselves and playing it over and over, that process puts  the solo into your mind’s ear. Picking notes off teaches us how to hear the language, how to hear intervals, how to phrase, what to play over chords, how the masters approach the chords, articulation and it sharpens our ear to learn jazz in real time.

First, don’t slow the solo down, learn it in real time.    (If it’s a really fast section you want to learn, just like Bird used to slow the turntable down to 16, you can use a computer program to slow that part down  but you should try to hear the solo the best that you can in real time).   You want to go slowly: play the track, listen, sing, repeat: play the track, listen, sing.  Then play it on your horn and then write it down.  I remember once I was at University of Pittsburgh down in the practice room area, and a buddy of mine was having trouble hearing the flatted 9th of a dominant chord.  I said, man, listen to Charlie Parker on bar 9 of the blues, he hits the interval from 3 to b9 over and over again!   I emphasized to sing and hear the lick the The Big Birdie played so many different places, I learned how to hear that interval by sitting with Charlie Parker tapes (yes tapes and records, mostly cassette tapes then), and I could hear that b9!!  That’s the way to do it.

It’s much better to transcribe a few solos yourself and immerse yourself in those solos, take a solo, pick it off, write it down, then dig deep into it. Play along with the track, each day, analyze the solo, the phrases, the chords, the substitutions, articulation etc.  If you want to PLAY jazz, don’t spend time being in a contest to see how many solos you can transcribe, and put into Finale and then post online….honestly, it’s better to work for a few years on 20 to 30 solos, but really dig into them.  I remember a trumpet player once told me he transcribed Giant Steps, and every morning he started his day playing along with Coltrane with the solo he transcribed.  Speaking of Giant Steps, there are lots of books with that solo written out, but I sat and spent the time writing out Coltrane’s complete solo myself, the only thing reading someone else’s work would have taught me was how to read better.

Alright then, I’ve attached a picture of a solo that I picked off of a tape and wrote down, Steve Grossman playing Blues Walk, Live at Praga, it’s a slammin’ solo.  I completed 26 choruses of this solo, and I’ve come back to it, to finish the final choruses and complete the whole thing.  For years, I’ve sat and played along with this solo, as well as others I did myself, like Blues to You, John Coltrane, I wrote that out, and played along with it day after day.  Learning solos yourself is one of THE MOST IMPORTANT steps in learning how to hear and play jazz.   Along with practicing scales, chords, patterns, tunes in 12 keys etc etc.   This is my method that I teach.  Learn how to hear!  Whether you play in a big band section, or play David Sanborn tunes, or play straight-ahead, you need to learn how to hear!   Here’s a pic, of my handwritten first page of Steve’s solo.  You don’t have to write it for others to read, you write it so you can read.  I’ve put below this the audio of this solo.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Review New D’Addario Tenor Jazz Select Mouthpiece

I received one of the new D’Addario Select Jazz tenor mouthpieces from Kevin Garren at D’Addario in New York, #6, a 100 tip opening.  I usually play 95 tip openings.  When I first opened it, I thought to myself, the tip, the chamber walls, the curve, the facing all look very interesting, this might be something.  A few days later I popped it on for a spin and was really impressed with the playability of the piece.   I understand that it’s based on Jeff Coffin’s Freddie Gregory piece, with some modifications, and this mouthpiece has vibe.

It’s easy to play from the bottom of the horn to the altissimo, and the enunciation is great, notes come popping out with clarity, in fact so much, as the video sample above shows, I just wanted to play fast and a lot of notes!  I’m playing a Jazz Select 2M reed here with my Silverstein CYRO ligature.   I’ve been practicing this mouthpiece every day for the last week, and it’s a quality piece, I like the rubber, the resistance is good for a pro player, and the way notes pop out is actually quite good.  I’m getting a lot of sound out of it, that reminds me of the edge Bob Mintzer and Bob Berg were getting back in the day.   I recommend this mouthpiece, give it a whirl.

D’Addario Select Jazz Tenor Mouthpiece