News and Posts
Join ASMAC for an exciting Master Class with Grammy nominated composer SCOTT HEALY! “Writing Outside the Box Techniques for Expanding Jazz Composition” Saturday, September 23rd 2017 – 11am... Read more
Music and Mirror Records has released Laura Dickinson’s extraordinary performance of my arrangement of Victor Young’s classic jazz ballad, “My Foolish Heart”, and now... Read more
I’m posting this lesson from Keyboard Magazine last Spring–for no other reason than I began a draft of this post (which involves pretty much simply copying and pasting from their website), and... Read more
The Return of the E.S.G. …as opposed to MSG, MDA, MMA or ESL… Announcing the THIRD meeting of the newly-reformed Ellington Study Group LA, now officially underwritten (thank you very... Read more
I had the honor of meeting bassist and producer Adam Small at NAMM last January. As it turns out, he’s also an entrepreneur, having built a website which features instructional videos from... Read more
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SATURDAY, MAY 5TH, 2018 – 10am – 12:30pm
Ellington’s auspicious Carnegie Hall debut in 1943 gave us the masterpiece “Black, Brown and Beige”, arguably the first long form, extended “legit” concert jazz work. Contemporary critics and aficionados were skeptical that Duke, or anyone for that matter, could pull off such a feat. Seriously, given that jazz is an improvised art form, how it be “composed” enough for the deadly serious concert stage? How can an a jazz artist sustain interest and craft a meaningful jazz work longer than the a few sides of a 78 rpm record? In the last class we spent some time on the first movement, of “Black, Brown and Beige” using a few contrasting recordings. We’ll continue on from where we left off.
A few decades later with Miles’ “Bitches Brew”, the line between written and improvised sound had grown opaque and the process multi-dimensional. Plus there remained no doubt that even the freest sounding jazz can be composed and legit. Concepts like exploiting musicians’ individuality, evolved common practice techniques, free improvisation, electronics, rock and R n B influences, and modern production all coalesced for Miles and the “Bitches Brew” band. Last month we took a hard look at “Pharaoh’s Dance”, I want to continue on and look at the rest of the record. Also I’ve been waiting to introduce Sun Ra to the group, maybe now’s the time? We also might check out a bit of Trane’s “A Love Supreme”.
After a short break I’ll introduce our guest speaker, five-time Grammy Award winner Mervyn Warren, a highly accomplished film and television composer, record producer, arranger, songwriter, lyricist, pianist, and vocalist. Mervyn is equally adept at many styles, his work spans the genres from film score, pop, R&B, jazz, orchestral, classical, vocal, country, and more. His filmography includes The Wedding Planner, A Walk To Remember, The Preacher’s Wife, and A Raisin In The Sun. His artist roster includes Whitney Houston, Michael Jackson, Queen Latifah, Boyz II Men, Barbra Streisand, Dolly Parton, Rascal Flatts, Chicago, Michael Bublé, Al Jarreau, & many more.
Mervyn will be joining us to shine the light on the recently completed project by legendary jazz vocal group The Manhattan Transfer. It’s been almost a decade since their last studio album (2009’s The Chick Corea Songbook), and their new 2018 album, The Junction, sets the group on a new course with hybrid elements of jazz, swing, hip hop, and more. We’ll be playing tracks from the new album and talking to Mervyn about his arranging, the recording process, and more.
You’re definitely going to get your money’s worth on Saturday. And there will be free food and … oh yes, coffee. See you there. Scott
Cover charge: $15 includes continental breakfast
Purchase tickets in advance on Eventbright or at the door.
Vitello’s E-Spot Lounge – 4349 Tujunga Ave Studio City, CA 91604
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Live at Kilbourn Hall
Scott Healy with the Eastman Chamber Jazz Orchestra
Live at Kilbourn Hall
"...terrific large ensemble work led by composer and pianist Scott Healy. A mix of originals and covers (“Anthropology,” “Solitude,” “In Your Own Sweet Way”), with the transitions between the two groups sounding fluid and cohesive. Some nice soloing by members of the Eastman Chamber Jazz Orchestra, but it’s the best moments are those of group interplay when the energy of a song seems close to ripping its form apart just to have it all coalesce back into its original shape. -Dave Sumner, WonderingSound.comA pristine, intense live recording of new music, previously unrecorded works, and two numbers from Scott’s Grammy-nominated 2012 release Hudson City Suite – it's an “instant” record – one take, no fixes – just mix, master, release..maybe repeat... CLICK HERE FOR MORE INFO, DOWNLOAD AND PURCHASE LINKS...