Now fast forward twenty years, to The Village Vanguard and Kenny Burrell. Max Roach gets to solo too, though it is a little bash-the-boxes outing with a hint of reverb I think. Roach is ranked among the great bop drummers, but I find him more difficult to connect with than say Blakey’s roaring thunder, or Philly Joe’s split-kick. Everyone gets to stretch out, not just Rollins, and Clifford Brown is as much the star here, warm bright burnished tone, agile effortless twists and turns, his presence adds considerably to the desirability of this highly collectible album. ![]() Rollins Plus Four is an ensemble work quite unlike Sonny’s trio outings. A nagging insistent tune, just a handful of notes, a few chord changes, a tune as much implied as played, so simple it might be missed altogether, hardly qualifies as a tune. The tune in this case is Sonny Rollins playfully titled Pent Up House , and an excuse to play two contrasting versions, and in seamless link, to the growing up of Stereo.įirst: Rollins original, Pent Up House (1956) from the iconic Sonny plus 4.Ĭlifford Brown (trumpet) Sonny Rollins (tenor saxophone) Richie Powell (piano) George Morrow (bass) Max Roach (drums) recorded NYC, March 22, 1956 That’s better than reeling off Blue Note albums by their catalogue number. I thought I ought to be able to do that, but at the time I was still struggling with telling an alto sax from a tenor sax. As the jazz line-ups on stage worked through their repertoire, he called out every tune within a few bars. I recall chatting with a guy at a Jazz festival in France a few years back. He had been a drummer in various British jazz fusion combos in the ’80s (Paz, Barbara Thompson). Then I quickly return to my senses and poke the macro in closer, but to capture the thought, this post is a little more ♪♫♪ musical.Ī typical 50’s – ’60s bop album included a few standards based on show tunes, a few compositions of other contemporary jazz artists, and a few of the artists own compositions.Īs you develop greater familiarity with the modern jazz songbook you begin to recognise the tunes, as they appear in other artists albums. Selections from "The Art of Bop Drumming" (John Riley), full length charts from "The Jazz Drummer's Reading Workbook" (Tom Morgan), "Essential Styles, Vol.Sometimes I think I should write more about the music and less about the etchings in the wax. The audition will also include sight-reading within the context of a big band chart. Play-a-long recordings are encouraged including but not limited to the repertoire listed below. Perform at least one prepared piece showcasing knowledge of the jazz idiom, including playing over a form, comping, and improvisation. Optional: Ballad (w/ brushes) quarter = 65-80 Up-tempo Swing quarter = 220-250.Medium Swing quarter = 110-130 Bossa Nova quarter = 130-150 Funk/Rock quarter = 90-110.Jazz drum set applicants will demonstrate a variety of styles applicable to the jazz idiom including: Play selected major and minor scales in two octavesĪutumn Leaves, Blue Monk, Blue Bossa, Maiden Voyage, Now's The Time, Satin Doll, Take the 'A' Train, Summertime, Tenor Madness Drum Set.Improvise on a jazz blues progression in the concert key of Bb, F, or C.Play (with correct melody, chord changes and improvisation) at least one prepared piece (of your choice, from the recommended repertoire).Play bossa nova bassline over Blue Bossa (dorham)Īpplicants must be prepared to perform the following:.Play melody to Billies Bounce (parker) or Tenor Madness (rollins). ![]() Walking bass over standard blues changes in F, C, and G major.Reading standard music notation is mandatory. Jazz Bass applicants are required to demonstrate skills in a variety of styles including walking bass, latin/bossa nova, funk, and rock. Repertoire:Īutumn Leaves, Blue Monk, Impressions, Maiden Voyage, Now's The Time, Satin Doll, Take the 'A' Train, Summertime Jazz Bass In addition, you will be asked to perform major and minor scales, arpeggios, and to sight-read grand staff and chord charts. ![]() Repertoire:Īny blues by Charlie Parker (e.g., Now's the Time), Tenor Madness/Rollins, Blue Monk/Monk, Satin Doll/Ellington, Maiden Voyage/Hancock, Pent-Up House/Rollins, Take the A Train/Ellington, Summertime/Gershwin Jazz Pianoīe able to play (melody and improvisation) two prepared pieces of contrasting style and improvise on a blues progression in the concert key of Bb, F, or C. In addition, you will be asked to perform major scales and sight-read a short jazz excerpt. Perform at least one prepared piece (melody and improvisation) of your choice from the recommended repertoire below, as well as improvise on a blues in the concert key of Bb, F, or C. Department of Music audition requirements for jazz instruments are as follows.
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