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“Writing outside the Box” – ASMAC Master Class with Scott Healy – Sept 23rd 2017 – 11am-2pm

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 – 2pm The Evergreen Stage – 4403 West Magnolia Blvd Burbank, CA 91505 $25 Members & Students / $40 Non-Members The master class on September 23rd will explore some of the ways a composer can extend the harmonic, rhythmic, orchestrational and emotional language of large ensemble jazz writing. Topics will include linear harmony, plastic meter, “off the grid” writing, controlled and notated improvisation, spatial and box notation, layered counterpoint, and techniques borrowed…

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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 much!) by the Academy of Scoring Arts.

The first two last fall were very well-attended;  we rebooted a bunch of material from past (pre 2015) classes, added some stuff, and got into it even deeper…Ellington’s “Diminuendo and Crescendo in Blue”, Gil Evans’ “Blues for Pablo” and “St. Louis Blues”… with more to come, including works by Bob Brookmeyer, George Russell, and of course my main man, Sun Ra.

This class is for pro’s: film composers, legit composers, jazz composers, jazz and classical instrumentalists, rockers, or any interested party with a bit of a background in theory and harmony. While some of these folks (mainly the composers) don’t do “music community” involvement very well, when they get together it’s pretty cool. As it turns out, lots of people know lots about writing, everyone has great ears and a love of music, and I end up learning just as much as the attendees.

More info, including materials from past classes is available at ellingtonstudygroup.com.
Join the E.S.G mailing list:





Here’s the agenda for the third meeting on Friday, December 18th, from 10 am to noon at Vitello’s in Studio City.

We’ll visit “Concerto for Cootie”, and revisit “Diminuendo and Crescendo in Blue” by Ellington, glean some more scoring and comp techniques from a time when the only rule was there are no rules. We’ll move quickly to Gil Evans’ Miles Ahead, and continue our discussion of  “Blues or Pablo”, which will feature a detailed analysis of voicing, composition and orchestration techniques. This piece is a primer in Gil’s techniques–and there are a few choice passages where he moves the music forward through orchestration – this adds a third dimension to the music.

I also want to touch on a few pieces which we’ll listen to without the score…something from “The Individualism of Gil Evans” (by Gil Evans), or perhaps a record I just rediscovered, an early small big band session by Bob Brookmeyer. Or both. Or maybe something from George Russell. Or Sun Ra.

I’m expecting a good turnout like the last two sessions. There will be handouts as well as copies of analog scores to look at, in addition to the projection. See you there! Scott

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“Live at Kilbourn Hall” Release

Live at Kilbourn Hall featuring Scott Healy with the Eastman Chamber Jazz Orchestra is scheduled for a mid-September release. Recorded on March 20th, 2014, at Eastman School of Music, and featuring a handpicked student chamber jazz ensemble, Live at Kilbourn Hall contains some brand new and previously unrecorded compositions and arrangements, performed live, in one take, onstage in a world-class recital hall. More info will follow, please join the mailing list for more info and updates on the pre-release and release…or visit Hudson City Records.

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Keyboard Magazine “Hudson City Suite” Review by Jon Regen

Triple Threat Jazz Composer review-Hudson City Suite

Scott Healy: Triple Threat Jazz Composer / Arranger / Keyboardist …Healy reveals himself to be a composer of serious sonic merit. Keyboardist, composer and arranger Scott Healy surprises with this seductive new release. Best known for his blues-tinged keyboard work in Conan O’Brien’s Basic Cable Band, here Healy reveals himself to be a composer of serious sonic merit. The album blends Healy’s unique brand of boisterous band grooves and horn-laden harmonies, while simultaneously saluting familiar forbears such as Duke Ellington, Count Basie and Gil Evans. Check out Healy’s “Summit Avenue Conversation” for an example of this triple threat in action….

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Again with the Linear Harmony? Too dry….

Linear Harmony #5: Block and Layered Counterpoint This is a new blog post at professorscosco – it’s dry as a bone but you composers will get the point. If you want an enjoyable read and fun content go read the Huffington Post. Click for the original article. I’m revising a piece for my ensemble, perhaps for a recording in the near or far future. I’ve used “Take it Inside” in many posts because it’s a good example of linear harmony. It’s also free and I have the score. During the process of taking this tune apart I’ve seen many missed…

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The Score: Jazz Scores after the Jazz Age After having watched Mike Hammer, My Gun is Quick (1957) on youtube, the interwebs led me to the below post from Hearing the Movies, a really cool blog by Jim Buhler, David Neumeyer and Rob Deemer. The opening credit sequence is the first installment of Marlin Skiles’ jazz score: a really cool big band piece, with a drum solo (what! say it isn’t so!)…turns out that Skiles was a prolific composer and arranger, and his jazz-noire score for this film rivals my all time favorite, Elmer Bernstein and Chico Hamilton’s Sweet Smell of…

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