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Next up in our buy robaxin 750 mg, we present the incomparable Mark Turner in a set from just 4 days ago!  He brought his group to Chicago’s newest and hippest jazz venue, Constellation.  They played 2 sets that drew mostly from buy robaxin canada, which hit the shelves only a couple weeks ago. What an experience!

I must admit, I picked up the album as soon as it came out, and I listened to it a few times with a bit of difficulty. My ears were unsure of how to process some of the 2 part horn harmonies without chordal support. However, witnessing this group live in such an intimate setting as Constellation drew me in, and I was spellbound by the end of the show. Mark’s tone coated the room with such a lush, dark, and gentle hue, and his compositions proved both creative and satisfying. can you buy robaxin over the counter

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This week I’ll be treating you to some of the incredible music I’ve experienced over the past few years. Each day you’ll be getting a new bootleg that I’ve recorded (yes, on my iPhone) from a live show that blew me away. We begin the series with the Ben Wendel Quartet at Smalls on June 5, 2014.  Ben’s control of the saxophone is astounding. Notice his use of circular breathing in his a-capella intro: he doesn’t even break a sweat! And who can beat that rhythm section –Joe Sanders and Gerald Clayton have played so much music together that their level of communication is telepathic. I was also blown away by my introduction to Fela Kuti-inspired drummer Henry Cole.

Ben Wendel – Sax
Joe Sanders – Bass
Gerald Clayton – Piano
Henry Cole – Drums cheap Robaxin

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When you hear John Coltrane, you immediately know it’s Trane. It’s not the notes he’s playing or his dazzling technique that makes him sound uniquely like himself. It’s his sound. Every jazz musician, at some point, ventures into the abyss in search of their own, unique sound. Your sound is what makes you, well, you. But where do you start?

Let’s begin by defining the core elements that determine one’s “sound”:

  • Articulation – Contrast Wayne Shorter’s heavy tongue with the light, legato style of Hank Mobley.
  • Color/Tone – Joe Henderson’s rich, dark tone stands in stark contrast to the bright, aggressive color of Michael Brecker’s tone.
  • Rhythm– Dexter Gordon plays his eighth-notes straight and behind the beat, while Cannonball mostly uses a heavy swing and plays squarely in the middle of the beat. Sonny Rollins loves the off-beats.
  • Harmonic Conception – Do they always play a flat-9 over a the five chord on a major ii-V7-I? Do they employ a lot of chromatic runs and enclosures a-la Mark Turner?

Forget About Mouthpieces.

Charlie Parker played on any horn, mouthpiece, and reed combo he could get his hands on, and he always created the same, beautiful, distinctive sound that defines the music we continue to play. How was he able to do this? It’s not his equipment that made the sound. It was his conception.

In order to sound like yourself, you need to have a crystal clear idea in your head of what you want to sound like before you put any air into your horn. So save your money and stop buying new mouthpieces. Instead, find something that gives you a consistent sound and lots of control, and stick with it. robaxin mg dose

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Following up my first post regarding bebop drum vocabulary, I thought it would be fun to present an incredibly tasty robaxin italiano transcription.  This particular solo is from Thelonious Monk’s 1958 live album robaxin and orgasm, and features Thelonious on piano, Johnny Griffin on tenor sax, Ahmed Abdul-Malik on bass, and the incomparable Roy Haynes on drums.

There are several reasons that make this particular drum solo so enjoyable, both as a listener and as a student honing one’s craft.

  • Of the two chorus solo, Roy devotes the entire first chorus to the melody.  “In Walked Bud” is a catchy and repetitive tune; perfect for developing rhythmic ideas around the kit.  Roy masterfully orchestrates the slight variations along the way, and provides a valuable lesson in the power of simplicity.
  • The second chorus opens up into more traditional bebop drum vocabulary.  There are plenty of wonderful ideas played here, from the thoughtful use of buzzes, stick-on-stick passages, and rimshots to create sonic variety, to the introduction of triplets and sixteenth notes as the chorus develops as a means of increasing tension.
  • Lastly, Roy maintains his usual sense of swagger.  That is to say, nothing is played in a careless, boring way.  Every musical phrase has a sense of urgency behind it!
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    I’m left wanting to hear the rest! Here’s a preview of Chicago drummer Juan Pastor’s new album, Chinchano featuring Jorge Roeder on bass, Stu Mindeman on piano, Rich Moore on sax, and Marquis Hill on trumpet, all fantastic musicians deserving of wider praise. Paul Mutzabaugh works his magic to really bring Juan’s arrangement to life. Check it out:

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    Bebop Drum Solos

    One of the challenges in teaching jazz drumset to younger musicians is connecting the dots between their existing physical technique and a stylistic concept of what it means to play jazz/bebop vocabulary.  purchase robaxin medication has authored three incredible books: The Art of Bop Drumming, Beyond Bop Drumming, and The Jazz Drummer’s Workshop; all of which prove helpful to students over the course of their development.

    It also goes without saying that listening to jazz music (or any style of music one is attempting to master) is first and foremost the most vital learning tool.  A particular strategy that I have utilized more often in recent years is composing short exercises to introduce classic bebop drum vocabulary.  Many of these phrases are common, and are reminiscent of Max Roach or Roy Haynes.  That being said, they feel fresh and exciting for a young drummer only beginning to build a toolkit of jazz phrasing/vocabulary. nonprescriptionrobaxin