The NY Flute Clubs Flute Choir, my opinion!
by Greg Henry Waters on Monday, January 17, 2011 at 7:49am
NY is suppose to have the best of everything, but the flute ensemble is awful, we do not have the instruments, and we do not have a conductor or leader who knows what she is doing.
I got so upset yesterday I walked out of the rehearsal, we rehearse once a month. She is never prepared, the group is always waiting for her to learn the piece and we teach it to MaryAnn-Tu as we go along.
The flue players are really nice and very supportive, but without the instruments and a qualified conductor it is impossible to have a modern flute choir.
When I was on my way home I said to myself why do I put myself through this?
EditAfter 91 years The New York Flute Club presented Irish Music with Christopher Layer.by Greg Henry Waters on Sunday, November 21, 2010 at 10:12pm
Well, folks if your organization never had a Irish Flute Concert you should. You can read about Christopher at his blog or here http://www.nyfluteclub.org/. I am sure they may still have his bio there. His Blog is here. http://www.christopherlayer.blogspot.com/
He can do more with a bamboo flute than many a flutist I am sure of that. He spoke throughout the entire concert informing us what the tradition was and what he is going to play. It would have been nice to have a few Irish dancers there too, but that wasn't the purpose of the program. He spoke and performed music from Scotland, Ireland and Sweden.
He invited a few of his friends too, Paul Woodied a Violinist and Brendan O'Shea a singer song writer of Irish music.
He played a lot of music by himself or solo
His performance with Paul was very interesting in that the balance between the flute and violin was so perfect and I never heard anything like it before. It is amazing how they put so much time and effort into this music and place it on a classical level performance, but still being Irish Folk Music. Most of the concert was from memory too.
He gave a clinic for young players before the concert.
What was most interesting was the sound of his flutes. Wood and Bamboo, not into modern flute sound, but I didn't miss that at all. Some of the music was almost classical in theme and was very interesting to listen too; not just jig music.
I was kind of interested in what came first Irish or folk music or flute Baroque music? Also it is always fun to note how certain musicians latch on to a style of music, like Christopher, Irish Music and Paul, they both perform regular classical music too. But are very happy performing this music and really got into a groove as we would say in jazz.
You know that Bach's music was very rhythmic too and for me sometimes sounds like a moving train. The rhythm is so strong and forceful.
Brendan O'Share really has an Irish voice and you know that he is really Irish.
Christopher and Paul know 26 songs from memory that they can play anytime anywhere. It is like an Irish Club Date system.
For Flutist I think it is important to hear this music played on this level. I know it is not necessary but one should have a concept and have it in your ear for your own knowledge.
I would recommend him anytime.
EditMore articles on my web site about the latest in my ideas about music.by Greg Henry Waters on Thursday, November 18, 2010 at 12:21pm
All about computer music and what one can do. In fact all this confuses me. What kind of musician should one be?
The greatest era of instrumental music.
My CDs buy with credit cards or paypal http://www.greghenrywaters.com/mp3
My classical music from Orchestral, Chamber Music, Band, Chamber Jazz Orchestra, Sonatas for most all instruments,
flute ensemble music and solos, plus jazz tunes and more.
OK I hope you take the time to view my web site.
Osho's remarks on political lies. What about our government? USAby Greg Henry Waters on Saturday, November 6, 2010 at 2:58pm
One can see how politicians can be hypocrites, how they can manage ugly lies. And this is such a lie—because we can prove that we were in the hotel. When we were leaving the hotel the press was present and photographers were present. They took photographs of us in front of the hotel and they took my statement. And the hotel is fifteen miles away from the airport.
But the minister deceived the parliament and deceived the country. And perhaps…he must have forced the journalists not to publish my statement and not to publish the pictures; otherwise I don't see how he could have managed it. And these are all civilized countries, cultured people, educated people—and flatly lying, that I had never been in Ireland. And he knew, his government knew, the chief of police knew.
I am thinking that once I get settled somewhere then I will start…one by one each country has to be dragged into court for their lies, for calling me "dangerous," for saying yes and then refusing after one hour. I am going to expose it to the world for the simple understanding that there is no democracy anywhere. mystic39
Wherever we are looking, as we start looking at any country, immediately American pressure reaches ahead of us—because all our telephones are tapped. You will be surprised that all our telephone calls go through the American Embassy, everything first reaches to the American ambassador. They know where we are searching, where we are going, where our people are working; and immediately, before our people reach there, their pressure on the government of that country reaches there. transm25
A request is made for Osho to visit Holland, but on 14 March, the Ministry issue a press statement denying Osho entry; by Dutch law this denial is illegal.
The Dutch minister for foreign affairs has said that I have been denied entry into Holland because I have spoken against homosexuality, I have spoken against Mother Teresa, the pope, the Catholic religion. And each democracy contends that it is secular.
The pope can criticize any religion and he is welcome—I cannot criticize the pope. If he has any guts he should reply to my criticism rather than pulling the strings of these politicians—he has a Catholic majority in these countries so the politicians are afraid of losing votes.
I can understand catholicism, the pope, Mother Teresa; but homosexuality is a totally new thing. I was not aware that homosexuality is Holland's official religion—criticize homosexuality and you cannot enter Holland. That minister has condemned the whole of Holland as homosexual. If the people of Holland have any sense, they should force that minister and his ministry to resign, because he's abusing the whole country.
And I am dangerous because I have criticized homosexuality. I am criticizing every perversion, and I will continue to criticize them. transm34
Just the other day the secretary of the Dutch parliament, answering the questions of journalists, said that I have not been allowed in Holland and I will not be allowed in Holland because I have said something in praise of Adolf Hitler. And the journalist pointed out that I have contradicted it—and it was the German magazine Spiegel which had misquoted me. And the secretary accepted that that was true, it was a misrepresentation, but still…"His coming may create a disorder." And the journalist said that when the pope came there was tremendous protest against him and great disorder, and yet he was allowed, and he was a guest of the government.
And, as far as I am concerned, in no country have I been protested against by the people. There is no precedent for it, it is just their assumption.
"And Holland has thousands of sannyasins," the reporter said, "who would welcome him."
And I am ready to face those protests. I would really love to see who are those people who want to protest against me, on what grounds. And I don't even want government security. I don't even want them to be responsible if anything happens to me, it is my responsibility.
But the fear is somewhere else. All others are excuses. The fear is that I can change the mind of the younger generation….
There are six hundred fifty million Catholics—you don't have a single Catholic who can argue against me? What is the problem? It should be simple and human. I am ready for any public discussion. I am ready to come to all these parliaments who are talking about me. In fact, if they have any guts they should invite me to their parliament—and I am ready to face their whole parliament. But the fear is—they themselves know—they have no future, their death is so certain that they are afraid that I will expose them.
But they are not concerned that I am not exposing them in a destructive way. I am exposing your fallacies so that I can substitute the positive, the right dimension which can help the West, its creative people,
Wake up or stay asleepby Greg Henry Waters on Friday, October 22, 2010 at 11:24am
A note from the Buddha
That's what Buddha has done, that's what Bodhidharmahas done, that's what Lao Tzu and Chuang Tzu have done: they have shouted at you, they have taken you byyour hands and shaken you. Very few understand. In most of the cases people become angry, they becomeannoyed, because you are disturbing their sleep. They are sleeping and having beautiful dreams, goldendreams, sweet dreams, and you are disturbing their sleep. That's why they had to kill Jesus, murder Mansoor, poison Socrates -- these people were greatdisturbers. They were disturbing your sleep.
It is very difficult to see; when truth knocks at your door, it is very difficult to open the door and receivethe guest, and welcome the guest -- because when truth knocks at your door, suddenly you become awarethat you have been living up to now with lies, that up to now you have been untrue, that all yourdeclarations were false and all your dogmas were false. When truth comes face to face with you, suddenlyyour whole life is nullified. Your whole past has been just a darkness. It is too much for the ego to accept. Itis better to deny the truth, it is better to close the door, and say that truth never knocked at your door. It isbetter to say that there has been never a Buddha, never a Jesus, never a Krishna. It is better to say that tosave your own face.
Where is jazz going is it lost? A lot of people think so.by Greg Henry Waters on Thursday, September 23, 2010 at 9:12am
Marsalis Swing Symphony performed on the 23 of September 2010 at Lincoln Center,
a review of sorts by Greg Henry Waters
Wynton does it again. What I do not understand is that his continued presents on the past in jazz history. I believe Wynton is the outstanding studio jazz musicians not an original one.
His piece goes through all the periods of jazz history up to the be-bop era from rag-time to Latin.
The orchestra is very interesting in that he calls it the Swing Symphony, but in the 50 minute piece I heard very little swing or ride cymbal feel in this composition. Instead I heard Broadway orchestration, Scott Joblin, Dixie land, a lot of wood block effects, sax section movements, with 1940 styles solos, New Orleans really had an effect on him that is for sure. He left out modern jazz in this piece which maybe be a good thing. Really not sure in this era of music pollution. In the short interview I heard he explains all of this. I am wondering who he is trying to please, old ladies, students, jazz history buffs?
I must say I really don't get it.
His orchestration of his jazz orchestra was more woodwind style rather than the brass style of a Maynard Ferguson. But maybe Wynton doesn't think Maynard is a jazz artist. He used all kinds of mutes in the brass and made his band sound more orchestral. He featured each section of his band, saxes, trombones, trumpets at different times. I believe this comes from his classical back ground I am sure of that.
A+ for his orchestration that is for sure.
Jazz musicians do not have the solid educational history that classical musicians do. They concentrate on improvisation and sound style. Not on the exercises of a classical musicians training.
Wynton worked really hard on this piece, he said 20 hours a day for six months. I think maybe 16 at the most. Well, he even counted the notes.
You know North Texas University has a jazz program and they have 9 jazz bands perform everyday for an hour 4 days a week. My question is what are they doing with new music and jazz? Wynton is just bringing the past into the present. How about placing the present in the present. Of course with all this music pollution we have, I think everybody has a different idea. You place five jazz musicians in a band and you have five different bands. It is so polluted with egos that is for sure. I do not have a fix just a question.
Jorge Sylvester, stated, "jazz circles lately to repertory and history have perpetrated a false impression that every contemporary musician only makes tribute albums or just records standards." Please read his article on my notes page at facebook/gwatersusa. I have learned to distaste jazz because of its pollution of everything and this idea of tribute music. Jazz was never a tribute music but an attempt to express oneself in a new and original way. An at the same time trying to reach the average public with their music.
Everybody is into Saturday night live jazz, pop jazz, fusion jazz, rock jazz, Broadway jazz. Jazz is so watered down with so many other venues and styles and Wynton's piece is certainly an example of it.
So I have turned to flute music which I believe is still a pure form of new music. They are inventing new instruments, experimental ones, new styles of improvisation music, and have a pure policy of friendship not based on race.
I just don't understand how a piece can be a new piece of music when it is based on older forms of music. Wynton must be an arranger more than a composer I believe. Anyway, he works so hard; I wrote an article about Wynton years ago and asked myself the same question when is he going to be his own artist?
Sincerely, Greg Henry Waters
Write me for comments and complaints at email@example.com
Jazz isn't Lost by Jorge Sylveste, a great article by a true jazz musician. added comment by Greg Henry Watersby Greg Henry Waters on Sunday, September 19, 2010 at 11:45am
Jazz Hasn't Completely Lost It's Edge The exaggerated emphasis being paid in jazz circles lately to repertory and history have perpetrated a false impression that every contemporary musician only makes tribute albums or just records standards. Actually, experimental, edgy jazz remains quite popular in Europe and Japan and has a decent following in several big U.S. cities. However, major labels usually avoid this music with a vengeance. Although Branford Marsalis has been stereotyped as simply a neoconservative player by some critics, he signed David S. Ware, Jeff Tain Watts and David Sanchez to Columbia during his tenure as head of the jazz division.
These decisions ultimately cost Marsalis his job because none of these people made safe, predictable mainstream records. Saxophonists Ernest Dawkins and Jorge Sylvester, pianist Martial Solal, bandleader Kip Hanrahan and the combo Los Hombres Calientes aren't cutting predictable mainstream dates either. Thats why they aren't on conglomerate labels. Only independent companies in America have the wisdom and courage to release sessions where musical values rather than commercial considerations are the prime consideration. Ernest Dawkin's New Horizons ensemble has ranked among Chicago's most ambitious and adventurous groups over the last two decades. Jo Burg Jump (Denmark) features a three-horn frontline keyed by furious sax work from Dawkins on tenor and alto, trumpeter Ameen Muhammad's bristling answering lines, trombonist Steve Berry's loose, wiry trombone solos, plus crafty arrangements and songs that smoothly mix funk influences, hard bop patterns and African and Latin beats. Sometimes, as on the title cut or Turtle Island Dance,the groove is quick and appealing.
Other times, as one The Gist of It or Transcension, Dawkins and cohorts stretch out, offering slashing dialogues and searing statements. There are no covers of Stella By Starlight or Night and Day on this session, just hard-hitting originals with six of the seven pieces being Dawkins own compositions. Jorge Sylvester can match Dawkins fury, but he often also plays soothing, bluesy refrains on alto. In the Ear of the Beholder (Music Magnet) features Sylvester's Afro-Caribbean experimental trio. The threesome includes electric bassist Donald Nicks, who provides a feathery, rock and soul-tinged background. Drummer Bobby Sanabria attacks and pushes the tempos, letting Sylvester establish each tunes focus and direction. Sometimes, as on the almost 18-minute title track, the trio rambles on too long. However, their best numbers, especially Sly Mongoose, the reggae-inflected King's Highway and Tambor The Mix, combine sterling musicianship with careening, arresting melodies and solos. Martial Solal's Dodecaband isn't doing a traditional tribute album with their disc Plays Ellington (Dreyfus). Instead, they take established works like Caravan, Take the A Train or It Don't Mean a Thing and deconstruct them. Sometimes the 12-member unit will play a familiar passage and then begin improvising until they've almost rewritten the song. Other times, they take breaks within selections, as crackling trumpet or sax solos weave in and out, before the entire band returns and completes the song. Solal has long been considered one of Europe's top pianists, but he takes minimal solo space on this album. He prefers to spur on the band and let such players as baritone saxophonist Jean-Pierre Solves or trumpeters Roger Guerin and Eric Le Ann have the spotlight. New Orleans Los Hombres Calientes and Kip Hanrahan's East Coast group Deep Rumba each incorporate Afro-Cuban and Afro-Latin nuances into their music.
However, Los Hombres Calientes also fuse reggae, brass band arrangements, funk, blues, soul and bop into the songs on their latest date Vol 3: New Congo Square (Basin Street). Hanrahan's ensemble explores salsa and Latin jazz on A Calm in the Fire of Darkness (American Clave). Both releases are marvelous. Trumpeter Irvin Mayfield and percussionist Bill Summers are Los Hombres Calientes main players. The group nicely melds with a host of great guests, among them Burning Spear, vocalist John Boutte, trumpeter Kermit Ruffins and the Rebirth Brass Band. Their songs are alternately rousing, engaging, fiery and delightful with an ideal blend of individual acrobatics and group interaction. Deep Rumba shares one thing with Los Hombres Calientes. Each band gets outstanding percussive assistance from drummer Horacio Hernadez. But on A Calm in the Fire of Darkness Hernadez's drums are merged within a wave of syncopated, slicing rhythms that are fortified by additional conga players and percussionists Giovanni Hidalgo, Robby Ameen, Paoli Mejias and Richie Flores.
Against this backdrop of shifting accents, patterns, sounds and styles, vocalists Pedro Martinez, Velibor Pedevski or Xiomara Lougart shout, chant and will entice anyone who enjoys exuberant singing. Special guests tenor saxophonist Charles Neville and violinist Alfredo Triff add musical flavoring and kick, while bassist Andy Gonzalez and leader Hanrahan anchor the proceedings. Although many mainstream jazz albums are enjoyable, these releases prove more challenging and surprising. They are a throwback to the days when jazz was an outlaw rather than an established sound.
Years ago jazz was easier to understand. Now that we are in the 21 Century I believe Jazz is so polluted that it is hard to find it.
Are world is so polluted so why shouldn't jazz be too because it is an art form. I find it difficult to listen to it now because it has so many personalities in the same performance. Please write an opinion on this if you can. The young students at NT are following into the traditional path of pop music jazz. We have to separate ourselves from the pop music and be our own music like classical music is.
Sincerely, Greg Henry Waters
North Texas Lab Bands and the jazz tradition from Facebook conversations on Morris Martin Pageby Greg Henry Waters on Friday, August 20, 2010 at 10:11am
Greg Henry Waters: A bio about Leon, do you have it? Tuesday at 12:56pm Morris Martin yes, we do actually, it is an autobiography it was first available only at Pender's!
Tuesday at 1:21pm Greg Henry Waters:
Oh, were there many people at the funeral? I am surprised more students didn't write something about Leon, just a note or experience. Cannot believe the story about the rat, When Leon showed up for work the first day there was a rat in a can in his office, he got many phone calls day and night telling him to leave his new job, of course he s-tayed, how to wonder what is going on in people's minds. Maybe nothing!
Tuesday at 2:11pm Greg Henry Waters:
I liked the letter from Dr. Hall about the dance band degree later, the lab bands. I listened to the 2009 videos on You tube of the lab band. I think they should learn something from dance band music. Jazz came out of the era of dance music and night club music not bebop or modern jazz. Even Kenton had a feel for dance band music or Broadway tunes, done in a jazz style. In New York I learned so much about jazz playing dance music, solo, small group, big band, Latin band, only in NYC one could learn that. I do not know about now that era has past now. All those musicians have past on.
Tuesday at 2:20pm Greg Henry Waters:
Tito Prente told me he was very unhappy when the weekly night club dance gigs stopped coming in and they just worked concerts or week-ends. He said that working every night kept his playing together and he would not get out of shape.
Tuesday at 2:24pm Greg Henry Waters:
Mel Lewis, the last of the big band leaders, I was working a dance job and Mel showed up as the drummer. His was asking me if I could help him find work for members of his band. It was in a night club in NJ. He had cancer and was not sure of his condition. Anyway, I said I would do what I could but work is hard to find. Anyway, Mel died a few days later. His band is still performing at the Village Vanguard and John Riley is the drummer there, I believe for 15 years now, an NT graduate and one O'clock ex. John always loved my chamber jazz group, but without support I cannot do it. Money destroys so many things in life.
Greg Henry Waters:
Mel Lewis past. This was in 1990. He died February 2. 1990. John Riley plays this musical soft touch of drumming not the loud noise of a Buddy Rich. Although, Buddy could play soft but loved the power. I prefer cool style more because it is closer to classical music my first love. John is a great replacement for Mel because Mel was not a banger either. My updated Leon page with links to get the complete story. http://www.greghenrywaters.com/musicnews/leonbreeden.html
Most of Leon's Grandchildren are musicians too. Piano and Clarinet, thought this was interesting to know. I cannot believe that gig was 20 years ago. Time sure fly's doesn't it?
EditConversation with Morris Martin NT Music Lib. Un. of NT, Denton, Texasby Greg Henry Waters on Saturday, August 14, 2010 at 8:41pm
He (Leon Breeden) use to sit in his office and work, work and work. There were a mountain of papers there. I wondered what he was always working on! Friday at 11:30am · Like
· Morris Martin Indeed, he was an example of someone who continually worked hard in order to accomplish so much with so little support at the time. We have all those papers in the library now; just beginning a big project to digitize them. Friday at 1:14pm · Unlike
· 1 person Greg Henry Waters digitize them.how about my music or are you waiting for me to die, haha he put in 20 more years than I have though Friday at 2:12pm · Like · Greg Henry Waters Since I was in both departments, classical, + Merril Ellis, who was really by himself and the jazz department, the jazz guys would look at me funny, the classical people hated the jazz department, and Merril's group was up in the computer room with no one noticing them very much. When I performed the electronic piece with Adolf, the jazz guys would point their fingers at me and shake their head. They still are by the way, a little note of humor. I even cried yesterday was surprised about that.
Friday at 2:17pm · Like · Morris Martin the digitizing projects take a lot of planning to bring the money, the equipment, the knowledgeable staff, etc all together at the same time! just got Leon's materials organized enough to get the work going his papers were VERY organized when... See More Friday at 3:42pm ·
Like Morris Martin
yes, there are the same isolationist problems, but things have vastly improved in recent years; we try to be sincere friends of everyone Friday at 3:43pm · Like
Greg Henry Waters I sent my music to you and the American Music Center because I just did not know what to do with it. It has to go somewhere, so it can be of use to someone. My life was never about wondering about the past but creating more music for the present.
.. See More Friday at 4:00pm · Like · 1 person · Morris Martin we will get to you for a digitizing project someday! you have done the right thing to get it to a safe place; otherwise, so many collections go into the landfill FGS! btw, i think UNT still has a flute ensemble: go for it! Friday at 4:03pm · Unlike · 1 person
Greg Henry Waters I got a flute ensemble to look at my music in Texas. They have a huge group and are beginning their new season soon. firstname.lastname@example.org this is her e-mail address. Janice Spooner, she was at NT in 1968 in the band. Do you see my l... See More Friday at 4:52pm · Like ·
I did not know my own feelings about Leon until I heard he died.by Greg Henry Waters on Friday, August 13, 2010 at 2:59pm
I went to NT to learn about jazz. Since I was mainly a classical musician it took a long time to make the transition. NT was the only school at that time one could get an education in jazz, classical music and music ed. all at the same time. What I did not know was I wasn't set out to be a teacher, but a performer, composer and innovator.
Leon had such a strong personality and had a vision for the lab bands. It was so organized how he set up the bands, auditions, and placement. I finally found a place were I could learn what I wanted too and had the time to do it. I was very shy about a lot of things and did not understand my own abilities. But this is why we go to school. I came down to Denton with two friends, Jim Robak and Don Erdman.
Leon had such inner strength which is something I just realized how it effected me. We wrote letters and I sent him my lps I made and he put them up on the bulletin board and wrote a short note. Just reading that letter (1958) makes it clear how Leon thought about the development of jazz programs that music wasn't a competition, but was an art to enjoy and understand. I find in NYC it is more about who you know and competition than music. Leon did not like NY for that reason I believe. His standards were higher than that.
I was so lucky to know him and I just realized how much he affected me. Thank You Leon
So few people really work for music, most just work for selfish interest. Leon was certainly not one of those people, but what we call
a hero. Yes a hero.
The big bands have lost their economic power and are just a token part of the music business. I see on Facebook all the time, duos, trios, and not even quartets anymore. The piano players and guitar players take all the gigs from horn players.
I would hope the future of the lab band system would concentrate on expanding the working opportunities, like Leon was trying to expand the development of the lab band opportunities for a musical event and not a competition in his 1958 letter. I am a horn player so it is hard for me to accept the conditions of our present system.
I was in the 65-66 one-O'clock band. I believe. I remember Leon standing right over me while conducting the band, Because I wanted to graduate on time I had to drop out of it the next semester to take some required classes. Leon was upset with me about this. Sorry Leon! Anyway, we all loved you Leon as far as I know.
Sincerely, Greg Henry Waters<span> http://www.greghenrywaters.com/</span>
Here is what I wrote on my Facebook page.
I remember playing for Leon in his office the Debussy clarinet concerto. I did not know he played clarinet. I kept in touch with him through the years. He wrote me several long letters. He had a great ability for administration and I always wondered why he didn't perform more. His son played clarinet and died a number of years ago. Leon had his life all together that is for sure. He did not like the NY music scene. So moved back to Texas. I will miss him and his warmth and love of music. I remember being in his house in Denton and the guest there was Johnny Richards, the arranger composer. We all loved you Leon. A truly solid man!