“Life is a lot like jazz… it’s best when you improvise.”
– George Gershwin
Like many jazz artists, Andre Wickenheiser is multifaceted. Whether he’s swinging with the Calgary Creative Arts Ensemble, soloing with the Prime Time Big Band or teaching emerging trumpet players what he’s mastered of the craft, this cat knows jazz.
“It’s a very basic jazz improvisation course,” he assures, “We’re starting from the very beginning. It’s a very warm and friendly environment so people can feel free to experiment and create music without judgement.”
He acknowledges that the course is geared towards people 16 and older. He explains the reason is that, “you have to have a certain level of proficiency to get the most out of it.”
Wickenheiser creates a collaborative environment in all ensembles he works with, “It has nothing to do with theory or chords or scales,” he notes, “it’s about sound and time and feel.”
Jazz improvisation is something that has to be learned and nurtured. It’s not just notes. The notes strung together become ideas. Wickenheiser compares, “Creating coherent musical phrases is the equivalent of building a sentence using words. Using the musical ideas you already know, you can form new ‘sentences’ out of that.”
But Wickenheiser imparts that you’re never just speaking to yourself. Under the right tutelage, these sentences can grow into musical conversations between soloists, “There is trading (solos), call-and-response… interacting is a huge part of it.”
His biggest focus in the course is the sound. “No matter what you play, the sound is the first thing people hear.” Not to be singularly focused, he adds, “Then, having a really good time feel so you’re always in the groove.”
“As jazz has progressed, it’s become more technical.” He explains. But in this Jazz Improv course, he wants to keep it simple.
He cites some heroes, “Guys like Ben Webster (tenor sax), Harry “Sweets” Edison (trumpet) and Lester Young (tenor sax) all played in the Duke Ellington Band and Count Basie Orchestra before bebop. So, before things got really busy and ‘note-y’ they were just playing melodies all the time.”
The secret of their success is, “A lot of the time, they’re playing something simple, but what they’re playing has a very profound statement. It’s not about flash, it’s about being musical. Their sound and their stylistic inflections on things make it very interesting. It’s a good place to start.”
A note of caution from Wickenheiser, “A lot of people listen to Charlie Parker and Dizzy Gillespie when they’re starting. They’re very technical.” He adds that some get turned away from the complexity, “they think – woah, I can’t do that.”
In this course, he empowers the budding jazz soloist, “What you end up creating is based on what you’ve heard before. It’ll get your brain thinking in a different way.”
Along with his instructional duties, you’ll hear Andre Wickenheiser featured in this month’s Salon Series with The Calgary Creative Arts Ensemble in the TransAlta Pavilion at the Taylor Centre for the Performing Arts on Saturday, February 25th at 8pm.
– by JLove
In fact, I know one. Ralph Maier… and if I knew many more, he’d likely still be my favourite vihuela player. The instrument, he explains to me, “is the Spanish equivalent of a lute…except it’s shaped like a guitar.” A gifted guitarist, he touts, “Over the last ten years, I’ve gotten into doing things on period instruments.”
Maier is not only an expert to those who have the privilege of hearing him, he’s backed it up with the academic research, he finished a Musicology PhD in Spanish Renaissance Music in vihuela. So, for those who are interested in hearing a master at work, check out his upcoming recital Ralph Maier & Friends on Sunday, May 1st, 2016 from 2-3pm in the TransAlta Pavilion of the Taylor Centre for the Performing Arts.
Not only will he be strumming a vihuela, Maier’s program includes some pieces on the Baroque guitar, which is a five-course instrument meaning it has five pairings of strings to strum. The strumming, traditionally, was meant to accompany dancing, so there are a series of universal chord progressions known to many players of the time; much like a Blues progression today. The progression, Maier says,“became a staple. Then, composers would write a variation on it.” Among those composers, he lists Bach, who added his own touch to the Spanish plucking tradition. Maier’s study of the form has led him to complete his latest CD, aptly titled “Variations” which is available on both iTunes and CD Baby.
Musically speaking, he gets history. My personal history, having known Ralph for nearly two decades, is that there’s nothing he can’t play on a guitar. Tim Brady is a contemporary composer who wrote a piece for 20 electric guitars. Maier was one of the twenty. He was so inspired by this composition that he recorded it for his latest CD, playing all twenty parts multi-tracked. After recording it, he sent his interpretation to the composer. His reaction, according to Maier, was, “he liked it and that was very reassuring.”
Recently, in addition to his teaching at MRU Conservatory he has been teaching university classes like The History of Led Zepplin, Progressive Rock Music and The History of Heavy Metal. “I’m all over the place, musically.”
Maier will be reuniting with the Oberon Guitar Trio (Brad Mahon & Murray Visscher) as well as teaming up with flutist Tim Janz for this program. As to what era their contributions might represent, it’s anybody’s guess.
When I asked directly what we could expect in this Spotlight Series Concert, his answer was confidently nebulous. “I’m not absolutely sure.”
Such is the secret of a true modern Renaissance man.