The Primacy of the Ear...Part 3

http://lance-bebopspokenhere.blogspot.com/2009/11/primacy-of-earpart-3.html

Wednesday, 4 November 2009

The grand success of any workshop is when seeds of new concepts are sown, to grow in a mind free to be receptive. Even more so, if the person casting them has explored their art to the extent that they can see it in its fundamental simplicity and want to show you what they know. That was what was so good (more than good) for me about this workshop with Gilad Atzmon. It was great to hear that the key to all those fabulous sound that he makes with his saxophone is so simple and clear.

His opening question was to ask whether we understood consonance and dissonance. The first thought that came to my mind as he described those words, was a memory of description of an essential character of Indonesian food, the subtle interplay of salt and sweet...

Tension and resolution and evidence that we were listening and responding to each other, I think that was what he was listening for as some of us improvised, eyes closed (to escape self conciousness) with our various voices.
That was the idea that I took away with me to explore, something which is subtle and captivating in any form of expression. There were other aspects of the workshop that I have to think on too, they have been described in the previous blogs, so I need say nothing more, really, except that those seeds of ideas have been sown in my mind, in this workshop, and are happily sprouting away.

Fiona.

THE PRIMACY OF THE EAR at Oct.31 Sage, Gateshead by Ann Alexander

http://lance-bebopspokenhere.blogspot.com/2009/11/gilad-atzmon-primacy-of-ear-oct31-sage.html

Monday, 2 November 2009

“ I’ll not ask your names, I never remember names, I can’t even remember the names of my children.” Said Gilad Atzmon, with typical self-deprecating humour. Thus began this fascinating and informative workshop.
About 10 of us attended, ages from 16 upwards, with a preponderance of sax players, but also a trumpet, violin, electric guitar, 2 pianists and 2 singers.
The session was in 2 parts, trying out improvisation and then discussing technique. And Gilad wasted no time in getting a few of us to play together creatively, and it actually sounded not too bad. Further attempts showed up the real problem, which was NOT LISTENING to the other musicians. Gilad explained it well, it’s the ear that matters in music, we shouldn’t be concentrating on looking at written music, but listening. We analyse too much, music isn’t academic. This applies to all music, not just jazz.
To improve technique, he declared that you must identify your problem and admit it, decide on the solution, then put it into practice. A demonstration of how to improve tone followed. The saxes were shown how to get a breathy tone out of the instrument with a simultaneous low tone. As a non-sax player I’ve no idea what they were doing but it sounded intriguing. Musicians were encouraged to sing some parts of the scale when practising. It seems we singers are doing it right anyway!
We then did rhythm exercises with clapping and stamping out the pulse, and rounded off with Indian Tabla rhythms. This bit was difficult to latch onto, and I think Gilad should return soon to extend our knowledge of this.
With loads of discussion and good humour this was a very successful session, which could be enjoyed by anyone who likes music, which is probably everyone.
Ann Alexander

GMF Workshops and Concerts Guinness Cork Jazz Festival, 23 - 26 October 2009

http://www.globalmusicfoundation.org/events_cork09.html

Teachers/Performers

Gilad Atzmon - Saxophones and clarinet
Jeremy Brown - Bass
Pete Churchill - Vocals
Frank Harrison - Piano
Stephen Keogh - Drums

Partners

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GMF International Music Seminar JZ Shanghai Music Festival, China 12 - 18 October 200

About this Seminar

This is a unique first time event in China. The spectacular setting of Shanghai, the team of outstanding performers and teachers and the varied schedule of activity all add up to an unforgettable experience for everyone who takes part.

• An exceptional roster of International artists/teachers
• A week of intensive music making and study including tuition, supervised rehearsals, instrumental classes, group workshops and evening jam sessions
• Free admission to Jazz Festival concerts given by members of the faculty and guest artists
• Free entry to the JZ Shanghai Music Festival

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