Jazz School News, Thoughts and Events.

Though informed jazz musicians know that Wes Montgomery was one of the greatest guitarists, he was way more than a guitar player - he was one of the greatest jazz players who just happened to play guitar. Whatever Wes played had clarity, direction, patience, vulnerability and a beautiful sound.  It is a shame that for many musicians the most important two facts about him are that he played with his thumb, not a pick, and that he played octaves. These trivial observations are tantamount to looking at Picasso’s “The Old Guitarist” painting and only commenting on the frame.

I had the good fortune to see Wes several times, but the one that I will never forget was in 1967 at the Light House in Hermosa Beach California. For ten choruses on the tune “Sunny” each chorus he played was more intense than the previous one, climaxing in the last chorus with an outpouring of pure passion and soul. Everyone was stunned in awe looking like they were kids in nursery school who had just seen fire for the first time. His emotional honesty neutered any negativity in a 200-foot radius, elevating the audience to a place of religious exhilaration. The world was truly a wonderful place for those attending that set and I will never forget it or him.

Wes’s playing was a tribute to the wide range of human emotions. He could make you cry with “For Heaven’s Sake”; excite you to death with “Impressions”; groove you out with “Bumpin’ on Sunset.” In his music he showed us a world of deep feeling and imagination.

Although Wes made numerous recordings I highly recommend that everyone listen to Boss Guitar, The Incredible Jazz Guitar, Portrait of Wes and Live at The Half Note. These are some of the greatest recordings in any category and clearly distinguish Wes from all other jazz players, old and new.

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Topics: wes montgomery, jazz guitar, jazz, inspiration

Topics: jazz courses, chicago jazz, practicing music, jazz school, bloom school

Everybody knows that in order to improve any skill, practicing is critical. But what constitutes practicing is quite variable.  Some think that if a guitar is in your hands while watching TV, you are practicing.  Others think repeating the same exercises you have been doing for years or sitting in on a jam session is practicing. There is a huge difference between playing and practicing.  Although some people can improve while they’re playing a gig, most improve while practicing effectively.  There are four secrets great players know and use when they’re practicing:

1.

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Topics: jazz, jazz courses, chicago jazz, david bloom, practicing music

I remember when I used to go out dancing in the Division St. bars in Chicago. There were always bouncers standing outside of the clubs to insure that the occupational limit was not exceeded. Their presence was troubling in that these bouncers seemed to make an aggressive proprietary statement with those 16 square feet outside of the club. They acted as if they owned it because they could grant or deny entry.

What I realized years later is that all of us need that 16 square feet. It's a place where we are somebody, where what we think is important, not to just us, but to anyone on our turf - a place where we can feel like we can have power to refuse or to allow, where we can call the shots. Anyone, regardless of his or her station in life, must pass through our gate. It’s a world we can call our own.

Many of us have a space somewhere. It might be at home, at work, a health club, the bandstand, the stage, box seats or wherever. All of these locations may help you feel there is somewhere that makes you feel special, noticed, powerful and important.

There is only one location where you can guarantee to find that 16 square feet, and that is in your mind. That territory no one can take away - it's yours alone. It can be as expansive as 1000 miles or as small as a square inch. It's only limited by the depth of our imagination.

Whether it’s a physical 16 square feet or in your mind, it’s how you feel about it that’s important. It’s all up to you.

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Topics: chicago jazz, david bloom, jazz school, inspiration

The legendary jazz guitarist Pat Martino invaded (and I do mean invaded) the Jazz Showcase for three days last weekend. Pat plays hard core jazz - there is no question that he means business. He has always been a messenger of swinging jazz, but unlike many other guitarists he doesn't use a lot of hammerons… he articulated all notes.

To me, he is the cleanest guitarist playing today. Although his playing may be a little predictable to those of us who have heard him before, his unrelenting attack and articulation, beautiful sound and fabulous time are exclusive to him.

This was an experience that confirms the power of jazz when it's played at the highest level. His music comes from a deep respect for the legacy and history of jazz, and like all the greatest players, he has developed his own instantly and delightfully recognizable voice.

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Topics: david bloom, jazz school, bloom school, pat martino

Topics: jazz, jazz courses, chicago jazz, jazz intro

Topics: jazz, bloom school, the best i could do, potential, i can do better