Submersed Songs

Newport Jazz Festival Saxophone Summit!

"Saxual" The Festival of the magic continues throughout the weekend. The hip-transcendental mastery of the tenor saxophone Charles Lloyd and Sangam combo teams with Indian tabla master Zakir Hussain, with drummer Eric Harland James Farm to provide the was friendly, Lester Young / Traneish love vibes on Sundays. The winner flamboyant Filipino-American, Illinois, born alto saxist Jon Irabagon, Thelonious Monk Competition in 2008 saxophone, the fronts of the unit irrepressible enough other people do the killing on Saturday. The forward-thinking, Indian-American alto saxophonist Rudresh Manhanthappa, a master of improvisation; American and sub-continental, and his Chicago counterpart Bunky Green, a legendary educator whose learning didn't stand in the way of his swinging, bring their dynamic duo to Newport on Sunday.

Source: Jazzcorner

The Gospel According to Jazz Great Kirk Whalum | news4usonline.com

by Dennis Freeman

By Dennis J. Freeman

Music and faith are both closely linked to the world of Kirk Whalum. We can not be without the other. He received his musical education first in the church. His baptism in the faith has simply become a part of his life as he sat on the benches and listen to his father's sermons on Sunday morning.

Whalum has for years been spreading the message through his music, using the tenor saxophone as his pulpit invisible. His career has benefited greatly from playing smooth jazz.Albums such as Cache, colors, joined at the hip

"My base is a core group of people, at least, are open to the Gospel message," Whalum said in a telephone interview. "I've never really interested me in the gospel music. The shape of the music I play has a more to do with jazz than with the kind of gospel. He (gospel albums) was more another vehicle to communicate or to convey the message of the Gospel. The Gospel is eternal. It's a musical and spiritual growth....

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Zack Moir Music: Blog » More Practicing, Listening and Writing…

by Zack

I never had much to say of any interest over the last fortnight so decided not to say anything! Since then I have just been practicing a lot(!), working on some harmony ideas and also trying to do as many dexterity exercises as possible. I’m loving it as it is allowing me to explore things that I have not thought much about in the past but also to brush up on things that I should be a lot better at than I am at the moment. Taking time to really go into detail, rather than skirting over certain issues, has been really nice (and illuminating) but has also helped with developing some compositional ideas – largely because it helps with hearing things more clearly and, in turn, considering and understanding the application of what I’m playing.

In addition to all the practice, I have had a bit of time for listening too. One of the things that captured my attention most was the band Alasnoaxis who I got into when I heard their album ‘ Houseplant ‘ (Winter & Winter, 2009) and then quickly tried to get a hold of as much of their back-catalogue as I could find. I really enjoyed their albums and overall sound and was constantly aware of the fact that there was something unusual, yet strangely familiar, about the music. The record came out in 2009 so it would be ridiculous (and boring for all involved) for me to try to give any sort of ‘review’; rather, I’ll mention a few things about why it interested/influenced me.

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