Q&A with Camille Thurman – Part 1

Part One of Night is Alive’s exclusive interview with Camille Thurman

This week we had the privilege of speaking with Camille Thurman, the accomplished and multi-talented jazz musician whose powerhouse vocals and distinctive saxophone are showcased in the hot new album Radiance. Thurman may be the youngest musician on the album, but with five full-length studio albums and numerous prestigious awards under her belt, she is quickly becoming a name to remember. From touring and performing as a bandleader in Paraguay and Nicaragua, to founding a mentorship series and serving as cultural ambassador in Cameroon, Mozambique, Nigeria, Senegal, and Mauritania, Thurman has done it all!

Night is Alive: You are a saxophonist, singer and composer; and I’ve read that you practiced vocals, piano and flute as a child. What is your earliest musical memory? Which of your many musical pursuits were you originally drawn to most as a child?

Camille Thurman: Probably playing violin at age five. I remember my mother introduced me to Noel Pointer in Brooklyn and he had this blue violin and I was very intrigued by the blue. It had this lacquer on it that just shined.

NiA: Oh wow, I can imagine the blue being very intriguing at age 5! Did you get your own blue violin?

CT: I got a regular violin, it was great. I got to do it for a year, there was a great teacher at my school, Miss Young. And both of my parents appreciated music–my mom sang and played the piano. She would practice at night when I would sleep and I could hear her, then in the morning I would try to pluck the song she was singing on the piano. I learned a lot of songs this way and then they had a talent show at school and I signed up and told my mom and she was like, “wait what?” I just told her, “Oh, I’m going to play the piano, I hear you practice at night.” At that time I think she was playing Bette Midler’s “From a Distance” and I played the melody and she was floored, and I played it from beginning to end at the talent show in the 3rd or 4th grade.

NiA: That’s amazing! I bet she was so impressed by that. You’ve also played with musicians such as Tia Fuller and Mimi Jones.

CT: Tia Fuller and Mimi Jones were my mentors. Tia took me under her wing when she got out of college and she introduced me to Mimi Jones and I got to work with her. Tia was like my big sister–I learned so much from her about being a musician, being a woman in the industry, she got me through a lot and we had some amazing times together.

I didn’t play all the gigs with her; it was more like an apprenticeship, then after that I started playing with other people too–a mixture of playing with her and other musicians, getting on the scene, playing as much as you can. I played with Mimi and Terri Lyne Carrington, Wynton Marsalis and the Jazz at Lincoln Center Orchestra, and got to do a few things with other people, like Nicholas Payton, and so many others.

NiA: Do you have a favorite musical performance?

CT: No, you’re just doing it–every time you get to play it’s an accomplishment. Musicians are a dime a dozen. Everyone is trying to make a name for themselves, and I just wanted to play with my heroes. So just to get a call from them to play, that in and of itself was an accomplishment. Getting a call from one of your heroes saying, “Hey I want you in my band” is such an accomplishment. I’m getting to play with this person with all this history, like Louis Hayes, that was another wow. Every opportunity was special, getting to play with Terri Lyne Carrington. There wasn’t necessarily one particular moment.

Look for the second part of this compelling interview, coming soon! In the meantime, check out Night is Alive’s albums page for the very best in jazz.

Learn more about Camille Thurman at https://www.camillethurmanmusic.com/

written by Jacqueline Knirnschild

Q&A with Lonnie Plaxico – Part 2

Part Two of Night is Alive’s exclusive interview with Lonnie Plaxico

We’re back with part 2 of our chat with Lonnie Plaxico, whose album Radiance is receiving critical acclaim!

Night is Alive: When did you first become involved with Night is Alive?

Lonnie Plaxico: I got called to play in the session with Christie Dashiell, on the Christmas album. It’s fun, the sessions with Kathy Salem’s label always go well.

NiA: You’ve been a part of many Night is Alive albums. Which one has been your favorite?

LP: All of them. I mean because to me it’s all connected, it’s just another opportunity to make music. I don’t have a favorite, they’re all special.

NiA: Could you tell us more about your album Radiance, which came out last summer?

LP: When I started playing jazz, we had to learn the music of the elders, which was the pop music of their time. So, the music that I’m playing on this CD is for the young musicians. We’re the elders now. For a 16-year-old kid, playing music from the 70s, that’s grandparents’ music. For me, playing jazz was like playing my grandparents music, so for this album I wanted to do some music that my parents know. That made it special for me. Because sometimes we play original music and don’t nobody have a connection to it. So, I wanted to play some songs that the average person can listen to, and think “hey, I know that song,” and have a connection to it. And also, my brother–I got into music through him and he really don’t play jazz, so I was willing to do something that he’s comfortable with, that we grew up having the same musical experience with. The piano player, he grew up with this music too. The singer, Camille, she’s much younger, so it’s like we’re bringing her in to our culture, and what we grew up on, and that’s what all the musicians have always done with the younger musicians. We’re pulling them in, and that’s how we learn from the elders.

NiA: Was there a specific moment that inspired you to create the album?

LP: Well, I’ve always loved 70s music and early 80s music and sometimes I feel like I’m starving to play it, because a lot of young musicians play more original music and I don’t feel they connect to the audience. And I know that when you play something people know, it’s a whole different connection. I wanted to play some music that would connect with the people because when I grew up, musicians loved playing for people. But now, most musicians go to college and just want to play their own original music. And we don’t listen to the radio like we used to, so nobody has hit records, so the music, I feel like it doesn’t connect with the audience. And I grew up in a time when you didn’t write original music, you performed in clubs what you heard on the radio. People didn’t write original music until they got a record deal and it was very hard to get a record deal in the 70s. You had to get “discovered” and until then you played what was on the radio, played strictly for the audience, and I used to love doing that because people knew the music and we made them happy.

Check out Night is Alive’s albums page for the very best in jazz, including Lonnie Plaxico’s Radiance.

Learn more about Lonnie Plaxico at http://www.lonnieplaxico.com/

written by Jacqueline Knirnschild

photo from https://www.facebook.com/lonnie.plaxico1

Q&A with Lonnie Plaxico – Part 1

Part One of Night is Alive’s exclusive interview with Lonnie Plaxico

This week we were lucky enough to speak with the extremely talented double bassist, Lonnie Plaxico. You may recognize Lonnie from the five Night is Alive albums he’s featured on: Night is Alive’s First Christmas; Christmas Ain’t Like It Used to Be; Cryin’ in My Whiskey; Old, New, Borrowed and Blue; and most recently, Radiance, the last of which just came out this July! Lonnie also won the Louis Armstrong Jazz Award, and played with countless legendary musicians, including Chet Baker and Hank Jones. Now, let’s hear from Lonnie . . .

Night is Alive: You’ve been playing the double bass since you were twelve years old. What originally drew you to the instrument?

Lonnie Plaxico: I actually started with electric bass, then I got into acoustic bass. The music at that time, the 60s and the 70s was R&B. A friend of mine who played saxophone and knew about jazz started telling me about jazz and John Coltrane, Charlie Parker, acoustic bass. And I got interested around that time. By the time I was 14/16, they had acoustic bass at the high school and that was the first time I touched the acoustic bass.

NiA: Did you fall in love with the acoustic bass and stop with the electric bass?

LP: It was like learning history. Electric bass has a history that no one had told me about when I got one. I didn’t know I was supposed to learn the history of music, you know I was a kid and just heard the music on the radio, but then I realized there was a history. I was naturally curious, like hey where does this stuff come from? I was surprised that people were playing a different kind of music in the 50s. I was a kid and didn’t know, didn’t have a music education that holds you responsible for learning where the rules come from. As the R&B music started changing and going more towards disco and non-instruments, I could tell I really need to learn where this stuff comes from. Studio musicians had to be able to play anything. I was with my family band, and I realized I didn’t see no career in that. I wanted to be able to play with everyone, not just my brothers and sisters, and jazz was a whole ‘nother mystery for me. And I love playing electric bass too, but you just realize there is so much more out there.

NiA: You’ve played with many talented musicians throughout your career, like Chet Baker and Dexter Gordon. What is one of your favorite performance memories?

LP: All of them. I mean because these are people I listened to when I started listening to jazz, so to play with any one of them was like a dream. We recorded with Dizzy Gillespie, and I saw these people on TV when I was just getting into music and I never thought that I’d be performing with them.

NiA: Yeah, it sounds like a dream-come-true! Do you remember which performance was the first one where you really felt like you had to pinch yourself, and couldn’t believe it?

LP: Sonny Stitt when I was 16, in a small club in Robbins, Illinois, a small suburb outside of Chicago. It was not like a regular jazz club. He needed a band and someone asked if we could play behind Sonny Stitt, and I thought it was a joke because you know they were asking us teenagers to back up Sonny Stitt. We said yeah, but we didn’t think Sonny Stitt would show up, but he did, and we played behind him. We were playing the first set and this old guy–probably in his 40s but to us he was this old guy–he came in with his horn, and it was Sonny Stitt. And my brother-in-law–he plays saxophone and was in the band–he took a picture. I didn’t even say hey let me take a picture with Sonny Stitt, so he’s the only one in the picture. It was just one gig but that was the first gig with a legend. Then in Chicago, where I’m from, I played with the elders, all of them basically. And then I got to New York to play with Wynton Marsalis, that was my way to New York, and that lasted me, and then Art Blakey.

Look for the second part of this compelling interview, coming soon! In the meantime, check out Night is Alive’s albums page for the very best in jazz.

Learn more about Lonnie Plaxico at http://www.lonnieplaxico.com/

written by Jacqueline Knirnschild

photo from https://www.facebook.com/lonnie.plaxico1

Songs & S’mores

Photo by Leon Contreras on Unsplash

Bonfire tunes your family and friends will love.

The weather is starting to cool down and the school year is winding back up again, which makes it an ideal time to host a bonfire! Just imagine how nice it would be to put on your favorite worn and cozy hoodie, gather round the fire with friends and family and watch the flames crackle. And of course, no bonfire is complete without some s’mores! So, grab some sticks, marshmallows, graham crackers and chocolate, and turn on this playlist.

Harry Allen Trio – Seems to Me I’ve Heard That Song Before

The repetition and cycle of the seasons each year carry a sense of routine and ritual, which reminds me of this song, from Night is Alive’s album It Takes 3. Seems to me I’ve heard that song before–the song of autumnal winds rustling the leaves and replacing the stagnancy of humidity and heat; the song of school buses replacing ice cream trucks; a peaceful and relieving darkness descending earlier and earlier each evening.

WJ3 All-Stars – Star Eyes

What is your s’mores style? Do you like to burn your marshmallow and peel back the smoky top layer to reveal mushy goodness inside? Do you like to patiently rotate your marshmallow over the coals until it’s golden and toasty? Or do you simply enjoy a raw, uncooked marshmallow straight from the bag? Well, no matter how you enjoy your marshmallow, I hope you can look at it with stars in your eyes while you listen to this song from Night is Alive’s album My Ship. Making and eating a s’more gives you a chance to be mindful and present and enjoy a simple pleasure in life!

Lonnie Plaxico, Camille Thurman & Douglas Plaxico – Mona Lisa

Everyone knows the famous enigmatic painting of Mona Lisa. What does the expression on her face mean? Is she smiling or hiding something? Allow this beautiful new rendition of the 1949 song from Ray Evans and Jay Livingston to transport you back in time to the Renaissance. From the brand new album Radiance, this song can also help to open up conversation around the bonfire–maybe you and your friends could discuss the nature of art and reality? Or maybe someone has a story to share about when they saw the famous painting in person?

Lorca Hart Trio – Ness and His Family

Sitting around the bonfire means storytime, right? While this instrumental song, from Night is Alive’s album Inspiration and Gratitude, is playing, why don’t you share a spooky story? Whether it came from your imagination or whether it’s a true story, it’s fun to entertain your friends! Maybe your story is about the Loch Ness monster? Or maybe y’all can do the round robin style of storytelling where each person builds off the previous person’s short piece.

Bill Cunliffe, Tim Horner & Martin Wind – Looking Back

Making, and munching on, s’mores is a great time to reflect on the past, look back at the summer and make goals for the future. Listen to this tune from Night is Alive’s haunting album Border Widow’s Lament while you share experiences from the past few months. My friends and I sometimes even enjoy sharing our “rose, bud, thorn,” which refers to a positive or successful

Check out this music and more on Night is Alive’s albums page!

written by Jacqueline Knirnschild

Photo by Leon Contreras on Unsplash

An Interview With Dave Darlington

In a career spanning over thirty years, GRAMMY award winner Dave Darlington can proudly attest to being a master of many varied musical styles. With over 1000 album credits to his name, Dave Darlington’s work has touched many lives and garnered much deserved praise in the process. His experience ranges from composing and producing the soundtrack to all six seasons of the groundbreaking HBO series, OZ; to being on the Sonic the Hedgehog production team; contributing to the Free Willy soundtrack; various J-Pop and rock albums; and, of course, jazz, with multiple awards to show for his incredible work and talents.

Now, after mixing & mastering Night is Alive’s newest album, It Takes 3, we were fortunate to be able to sit down with Dave and ask about his illustrious career…

Night is Alive: How did your childhood contribute to the music that you mix today?

Dave Darlington: I was 12 years old when the Beatles were on Ed Sullivan. Like every adult American male, I instantly fell in love. When I went to college, I discovered my passion for jazz music. However, I was a bass player, which was a different world than the music I fell in love with. I knew the symphonic orchestra was not the place for me. My love of jazz music guided the next steps of my musical endeavors, which led to what I do today as a mixer.

NiA: So you switched from a focus in symphonic orchestra to mixing and producing. What exactly contributed to that change?

DD: I got a little recording device and played around with it. I continued to improve with the equipment, so much so that I began working as a part-time programmer for some smaller recording companies. Then I met Jerry Ragavoy, who said he needed an in-house engineer at his recording studio. He took notice of my skills and offered me a job as a house engineer. I took the job from Jerry and began working at his studio. Jerry said that because of the time commitment, I had chosen between playing the bass or engineering. The choice was easy, given that I had contributed to various successful projects from the mixing side.

NiA: What is the difference between the producing side of records and the playing side?

DD: When you’re mixing, you must worry about balancing the elements of the whole song. You must make sure that each instrument is balanced with the other to make it a pleasant listening experience. Balancing all the elements of the piece out is the central part of my job as a mixer, as opposed to someone who is playing.

NiA: What was your favorite part about working on It Takes 3?

DD: Well, I love Harry Allen; he is one of the cats. It’s first-tier when you work with an artist of his caliber. I had never worked with Rossano before, but I had heard about his stunning reputation. That combination turned out to be really musical. My favorite part was just listening to the music come together by two remarkable, talented individuals. And Bryan [Carter] is a gem! He is the consummate pro and always asks my opinion before making adjustments. Musically, he is world-class.

NiA: What should listeners expect to hear from It Takes 3?

DD: There is a warm envelopment of sound, and Harry tells the story of the song. There are fireworks moments where you see how good these musicians are. However, the most crucial aspect for listeners is not necessarily how good the musicians are. The most critical element is having a beautiful melody. You want something that listeners want to listen to more of. To accomplish this, you need to have a melody that the listener can get lost in.

That is where my job as a mixer is important because I need to balance all the elements to create this melody. I think we did a good job on the ‘It Takes 3’ trio of balancing those elements to create a melody that leaves the listener wanting more.

It Takes 3 is available now! Be sure to order your copy today.

An Interview With Rossano Sportiello

We hope you’ve listened to a track or two of Night is Alive’s newest album, It Takes 3, and that you’ve checked out the other blog interviews with members of this unique trio. Continuing our conversations with these world-class musicians, we sat down with pianist Rossano Sportiello, a classically trained pianist who transitioned to jazz at very young age.

Night is Alive: Talk to me about your childhood. How did you come about playing the piano?

Rossano Sportiello: I did not come from a long lineage of musicians; in fact, nobody else in the family was particularly musically inclined. I took it upon myself to become the musically gifted member of the family. I began taking classical piano lessons around age 9. Around the age of 14, I discovered my love of jazz music.

I was particularly inspired by jazz of the 30s, 40s, and 50s, which featured a lot of improvisation. Be-bop jazz artists in particular really inspired me with their playing style. Once I graduated, I already began touring Europe, playing at different venues. So my upbringing was not the traditional route that most musicians take. However, it greatly contributed to the player I am today.

NiA: Are there any important individuals who helped you to become the musician you are today?

RS: The individuals that I met when I first started playing jazz had a profound impact on my career as a musician. However, there are a few notable players from America that helped me along the way. Dan Barrett, a trombone player from California, set me up with my first American record deal. He also introduced me to Harry Allen. Barry Harris was also another pianist that made an impact. According to Barry, “Rossano is one of the best piano players I have ever heard in my whole life.” One other player I should note is Harry Allen. He introduced me to a vast array of different players that helped move my career forward.

NiA: How did you feel playing such a vital role in the It Takes 3Trio?

RS: It is weird to have a jazz band playing without a bass today. However, if you go through the history of jazz music, there were some groups that played with no bass. The Coleman Hawkins trio was one example of a group that played without a bass. The style that piano players played back then involved more of your left hand. If the left hand of the piano player can play with a certain degree of accuracy, the bass component can be filled. I think that playing the piano like this can be extremely powerful and moving. Jazz bands today do not often have this bass-less element, which makes for a very unique sound. I enjoyed being able to add this element to the It Takes 3 Trio.

NiA: Talk to me about Harry Allen and Bryan Carter.

RS: I have to say both Harry and Bryan are two of my favorite musicians worldwide. I brought both of them to Switzerland with me because they are the absolute best to play with. Harry Allen is one of my mentors and is an incredible tenor saxophone player. Bryan is a world-class musician in his own right. He is an incredibly gifted musician with specialties ranging from drumming, composing, and vocals. He is truly in a league of his own.

NiA: What Should Listeners Expect from the It Takes 3 Trio

RS: A beautiful melody and harmonious playing!

It Takes 3 is available now! Be sure to order your copy today. 

An Interview With Bryan Carter

Did you know that Night is Alive’s newest album, It Takes 3, is available now? Showcasing showcases the exceptional talents of tenor saxophonist Harry Allen, pianist Rossano Sportiello, and drummer Bryan Carter, this album is a testament to the enduring appeal of jazz and the remarkable chemistry that can be achieved when masterful musicians come together.

To celebrate this new release, we decided to speak with each member of the dynamic trio for the inside scoop on recording and music in general. After hearing from Harry Allen, we decided to ask Bryan Carter (drums & vocals) the same questions…

Night is Alive: What was the inspiration behind the idea to record this unconventional jazz trio with Night is Alive?

Bryan Carter: It’s Harry’s and Rossano’s project, really. I meet Harry and Rossano about an hour before we started playing together. I thought it was a great opportunity to play with two incredible talented musicians on such a unique project. It’s very rare where you get an opportunity to play on bass-less trio now a days.

NiA: Looking back at recording and production process, what was your favorite part?

BC: The best part about playing with these guys was the amount of improvisation that went into the project. Everything you hear from the trio is in the moment. It’s quite a joy to be able to meet someone an hour before playing together and be able to create great music. Especially given that we do not have a bass playing on the piece.

NiA: What should listeners expect from the new album?

BC: Harry and Rossano are both champions of the great American song book. Mix that with the amount of improvisation and the bass-less trio you get a unique sound. I think listeners will get a taste of some American classics but also a new unique sound.

NiA: If you were to look back on your musical career, are there any moments that have had a lasting impact on it?

BC: My Dad was jazz musician. I grew up around a community of musicians. There is this kind of shared understanding between us that music has this almost spiritual power. This shared community I grew up with helps me to be able to work with various musicians. Music is one of the only languages that can be understood by different cultures around the world. It is really one giant shared community.

NiA: Were has been your favorite place to travel?

BC: I find its usually not about the place but rather the audience and people your playing with. The more receptive the audience and musicians are to your music, I find it’s a more enjoyable experience to play there. There have been so many different places I have played around the world, and I could not possibly name a favorite. Our music has been received positively in so many different places around the world.

It Takes 3 is available now! Be sure to order your copy today. 

An Interview With Harry Allen

Night is Alive is always looking to provide the very best in jazz to our listeners, and that means thinking outside the box to create unique musical experiences. It Takes 3, our newest album, does just that. Showcasing the exceptional talents of tenor saxophonist Harry Allen, pianist Rossano Sportiello, and drummer Bryan Carter, this collaboration brings together three renowned jazz musicians, each contributing their unique style to the project. The tracklist features a blend of jazz standards and original compositions and offers listeners a rich tapestry of melodies and rhythms that pay homage to the jazz tradition while infusing it with fresh interpretations.

Night is Alive sat down with tenor saxophonist Harry Allen to hear some of his thoughts and feelings surrounding the recording experience and his dynamic career in music.

Night is Alive: What was the inspiration behind the idea to record this unconventional jazz trio with Night is Alive?

Harry Allen: The inspiration came from the idea that we could have a trio without a bass. You don’t see a lot of trios nowadays that can play without a bass. To do that you have to have a strong pianist with their left hand. Our pianist in this piece, Rossano Sportiello, is incredibly gifted with his left hand. That makes up for the fact that we do not have a bass in the trio. You see the bass in the foundation of the band for keeping the rhythm section in time. Most piano players are strong in their right hand, and therefore cannot make up for the fact that there is no bass. However, a pianist strong in their left hand can make up for this fact.

NiA: Looking back at recording and production process, what was your favorite part?

HA: Playing with everybody was truly the best part of the production process. It was a lot of fun playing with these talented musicians. Each one of them brings something unique and its great to see a piece of music come together.

NiA: What should listeners expect from the new album?

HA: We did an array of song from the great American song book as well some of my and Rossano’s songs. It’s a great combo of looking back as well as looking forward. In the 1930s and 1940s, there were a lot of jazz trios that played without a bass. There were stronger left-handed pianists than there are now. We pay tribute to this past in the album, but we put our spin on the songs to make the album modern as well. This makes the album unique compared to others.

NiA: If you were to look back on your musical career, are there any moments that have had a lasting impact on it?

HA: Right out of college I was hired by a famous musician named Oliver Jackson. We traveled around Europe playing and he introduced me to various promoters. He told these promoters about how good I was, and it helped me get my career started as a jazz musician. This was truly a moment that shaped my career as a musician.

NiA: Were has been your favorite place to travel?

HA: There are several places and each one of them brings something different to appreciate about it. Japan has some of the greatest jazz fans in the world; a lot of them come up to you and recognize your music which is a cool experience. Paris and Rome are also two beautiful cities that have amazing jazz venues. Lausanne Switzerland was also an incredibly beautiful city. The great thing about being a musician is you get to travel and visit all these incredible places.

It Takes 3 is available now! Be sure to order your copy today. You can also hear Harry Allen in other acclaimed Night is Alive albums Call Me Irresponsible and Cryin’ In My Whiskey.

Decoding Musical Notation: Unveiling the Meaning of Different Notes

(Featured Image: Dayne Topkin on Unsplash )

Music, the universal language that transcends cultural boundaries, has the power to evoke emotions, tell stories, and bring people together. At the heart of this intricate art lies musical notation, a system of symbols that conveys melodies, rhythms, and harmonies to musicians. Among these symbols, notes stand as the fundamental building blocks of music. Each note carries a distinct meaning, and understanding their significance is essential for any aspiring musician or curious listener. In this blog, we’ll embark on a journey to decode the meanings behind the different notes in musical notation.

The Basics: Pitch and Duration

Before delving into the specifics of individual notes, it’s crucial to grasp two fundamental aspects of music that notes encapsulate: pitch and duration.

      1. Pitch: Pitch refers to the highness or lowness of a musical sound. In notation, this is represented vertically on a set of five parallel lines called a staff. Notes placed higher on the staff indicate higher pitches, while notes positioned lower represent lower pitches.

      1. Duration: Duration refers to the length of time a note is held or played. It’s symbolized by various note shapes and their associated stems and flags.

    Understanding Note Values

    In musical notation, different note shapes represent distinct note values, indicating the duration of each note. Here are some of the most common note values and their meanings:

        1. Whole Note: A circular note head without a stem. It represents the longest duration among note values. When played, it’s typically held for four beats in 4/4 time signature, the most common time signature.

        1. Half Note: A note head with a stem pointing upward or downward. It’s held for two beats in 4/4 time signature.

        1. Quarter Note: Similar to a half note, but with a filled-in note head. It’s played for one beat in 4/4 time signature.

        1. Eighth Note: An eighth note has a filled-in note head and a flag attached to its stem. It’s played for half a beat in 4/4 time signature.

        1. Sixteenth Note: With two flags attached to the stem, a sixteenth note is played for one-fourth of a beat in 4/4 time signature.

        1. Thirty-Second Note: This note has three flags attached to its stem and is played for one-eighth of a beat in 4/4 time signature.

      Combining Notes: Understanding Rhythmic Patterns

      Once you’re familiar with individual note values, the next step is to comprehend how they combine to create rhythmic patterns. Rests, symbols representing periods of silence, are also essential to understand rhythm. Here are some common combinations:

          1. Ties: Ties connect two or more notes of the same pitch, indicating that they are held for a combined duration.

          1. Dotted Notes: A dot placed after a note increases its duration by half. For instance, a dotted half note is equivalent to three beats in 4/4 time.

          1. Triplets: Triplets divide a beat into three equal parts. Three triplet eighth notes, for example, would be played in the time normally occupied by two regular eighth notes.

        The Last Word

        (Songs for Ganda, by the Lorca Hart Trio, is a masterpiece of Jazz notation in action)

        In the world of music, notes serve as the bridge between the composer’s imagination and the performer’s rendition. By understanding the meanings behind different notes in musical notation, you gain the ability to read, interpret, and bring to life the intricate melodies and rhythms that have shaped human expression for centuries. Whether you’re a musician or an appreciative listener, delving into the world of musical notation opens up a new dimension of understanding and enjoyment, enriching your musical experience. So next time you hear a beautiful melody, remember that the notes are like the words of a language that speaks directly to our hearts and souls.

        Remembering Jimmy Heath: Triple Threat

        Photo by EAVONE Jazzman on Unsplash

        Jimmy Heath, also known as “Little Bird,” was a legendary jazz saxophonist who appeared with the Cleveland Jazz Orchestra at Playhouse Square in April 2012. Short in stature but long on talent, he was known as a “triple threat” for being a jazz composer, arranger, and musician.

        Heath was born in Philadelphia, Pennsylvania, on October 25, 1926. Both of his parents had musical backgrounds. His father played clarinet in a marching band and his mother sang in the church choir. Jimmy’s older brother studied violin and later became a founding member and double bass player for the Modern Jazz Quartet. His younger brother Albert (Tootie) played drums. Jimmy Heath began playing alto saxophone at age fifteen. He and Percy attended high school in Wilmington, North Carolina, where Jimmy played saxophone in the marching band. Heath founded his first big band, the Jimmy Heath Orchestra, in 1946. After the band broke up in 1948, Jimmy and John Coltrane joined Dizzy Gillespie’s band. Jimmy also played with Gil Fuller’s Orchestra. Around that time, he switched to tenor sax. He was influenced by Charlie Parker and Johnny Hodges. Unfortunately, Jimmy became addicted to heroin, which ultimately led to his dismissal from Gillespie’s orchestra. He was later convicted of selling heroin and sent to Lexington, Kentucky, where he underwent withdrawal. After his release, he was convicted
        again in 1955 for dealing drugs and sentenced to six years in prison. While incarcerated, he composed a number of songs and conducted the prison orchestra. He also learned to play the flute.

        Heath was released from prison early and met his future wife Mona Brown shortly afterward. He recorded his first album for Riverside Records in 1959. He briefly toured with Miles Davis, but the terms of his probation made it difficult for him to travel with the band. Riverside Records went out of business in 1964, leaving Jimmy without a record contract until the early 1970s. He began teaching at Jazzmobile, a free music training program in Harlem, where he was commissioned to write several major compositions.

        In 1975, Jimmy, Percy, and Albert Heath formed the Heath Brothers, along with Stanley Cowell on piano. Later, Jimmy’s older son James Mtume joined the group as a percussionist. Percy Heath died in 2005, but Jimmy and Albert continued to perform and record as the Heath Brothers with other musicians.

        Jimmy Heath joined the music faculty of Queens College at the City University of New York, where he taught for over 20 years.

        Jimmy Heath wrote over 100 compositions and appeared on 125 recordings during his career, which spanned over 7 decades. He was nominated for a Grammy Award three times and received the NEA Jazz Masters Award in 2003. One of his noteworthy compositions, “Gemini”, was written for his daughter Rosyln and appears on his 1962 album, “Triple Threat. “ The instrumental has a ¾ time signature and features a haunting flute solo as the piece begins. “Gemini” became a hit for the Cannonball Adderley Sextet, whose live version was released in 1962. Other notable songs include ”Gingerbread Boy” and “C.T.A.”

        In January 2020, the scrolling marquee at Playhouse Square announced the sad news that Jimmy Heath had died at age 93. I recalled how thrilled I was when he signed his CD “Turn Up the Heath” for me after the show in 2012.

        Saxophonist Wayne Escoffery was one of Jimmy Heath’s former students at the Thelonius Monk Institute of Jazz Performance at the New England Conservatory. He appears on the recent Night Is Alive releases, “Old New Borrowed and Blue” and “My Ship.”

        Author: Patricia Martin for Night is Alive