Tj Martley’s first solo CD Meditations Vol. 1 was listed among the albums of the year for 2013. I was fortunate enough to master the recording for him. The Downbeat Magazine four out of five stars review of the CD can be read here. You can hear Joe Dimino’s interview with TJ from November 13 of this year at iTunes. Below are reviews of the recording.
Dec. 16 5:30 Cast and Crew screening of “Why White Men Can’t Dance” that will feature music I scored for the film.
March 27th TV series “Bull” on CBS will include my recording of “Cool School”. Listen for a jazz piano trio in a hotel lobby, restaurant or bar scene as this is typical of where this music is used on TV.
Feb. 4 2:00 pm. My composition “A Jewell Eclipse” will be featured as a part of flutist Elaine Brown’s performance on the campus of William Jewell College. The music performed is to accompany the art show of Nano Nore at Stockdale Gallery held in Brown Hall.
Some Previous Performances
Dec. 2 7:30 pm Liberty Symphony Orchestra will perform “Holiday Overture” as an opener to the second half of their Christmas concert. TIcket information is available here.
Nov. 18 Talent Show Judging at Olathe Northwest High school
Sept 23 6:30 pm Folly Theater pre-concert talk for concert pianist Charlie Albright
Nov. 10 Allen Myers Jazz Orchestra in a free concert at the Liberty Performing Arts Theater in Liberty, MO. 7:30pm.
Sept 17 Allen Myers Jazz Orchestra in a free concert at the Woodneath Library Center. The library is located at 8900 NE Flintlock Road Kansas City, MO 64157. 10:00am
June 21 Allen Myers Jazz Orchestra as a part of Make Music Day at Liberty City Hall Plaza in Liberty, MO. 5:30-7:00 pm
Sept 19Allen Myers Jazz Orchestra in a free concert entitled Jazz Goes to the Movies from 10-11am at the Woodneath Library Center. Come and hear works from film cherished through the decades; from Day at the Races (1937) to Monster’s Inc. (2001), this performance is fun for the whole family. The library is located at 8900 NE Flintlock Road Kansas City, MO 64157.
Last year TJ Martley, a former student who studied jazz with me at William Jewell College, released his first solo piano CD entitled “Meditations Vol. 1”. I was fortunate enough to be a part of the process as I mastered the recording for him. This August the CD was reviewed in Down Beat Magazine and received four out a possible five stars. Click below to read various reviews of the CD. I look forward to Vol. 2 in the future. Thank you TJ for considering me for the project.
Introspection was improvised using Synthology’s Ivory piano sample. The midi data was copied to two additional midi tracks where I improvised the mixing/orchestration of two different synth pads that come available with Ivory. While the piano midi track played back, a synth pad was brought in and out at varying dynamic levels. The next step was to muted the pad and added a different synth pad to the captured improvisation and once again begin mixing with various dynamic swells. I was unsure what the result might be since I was not reacting in my decisions to the dynamic shifts of the first synth. The final step was to unmuted the first pad and adjust the various levels of the two synths to reach the end result.
Musicians learn as they come into my band not to rely on when or what the player next to them is playing. My band only has two trumpets, two trombones and in the saxophone section an alto, tenor and bari sax along with the rhythm section. Those sight reading sometimes begin to second guess their entrances. the horn writing maybe cross-sectional writing, thank you Duke Ellington, or passages may be soloistic. One fellow in the trombone section of a big band sight reading one of my arrangements happened to pick up a different mute than the guy next to him, thank you Manny Albam, and began to question if he was in the right place. What does this say about the predictability of a lot of big band writing?
Occasionally lead lines are passed around shifting quickly. At the climax of Searching, a bossa nova, motives are layered as well as passed around the band quickly. Each persons part is like one piece of a puzzle and it is not until all the pieces are laid out next to each other that you can see the entire picture, or in our case hear the intended musical outcome. With so much shifting taking place, and every part being important, I have dropped the indication “lead” with a dotted line over the important section I would normally notate in a players part.
Starting in bar 197 there are four and five note motives. The contours to the continuous eighth note phrases differ slightly and slowly start to overlap each other. Some are ascending while others a descending. At letter K the music shifts rhythmic gears with the introduction of sixteenth notes. At bar 211 imitation takes place with these quicker moving lines. The arrows in the score indicate four and five note motives and the boxes show the phrases in imitation. Click on score pages to enlarge.