....................

This is a question that piggy backs off of the Shades of Love discussion.

Lately I've been thinking about the first time that we ever experienced love. Well, love from the opposite sex. That kinda love that makes you sick. Love that sends you spinning around and around until you seem to be lost.

Then, for some if not most of us, we lose that love and then spend our entire life chasing that feeling. The question is, can we really let it go and find that again or are we stuck chasing that initial feeling?

Can that feeling transfer from one failed relationship to the next. Or, as we get older do we create situations that "fit" our circumstances that are "safe" for us, leaving that initial feeling to a distant thought that sometimes brings a smile?

Just a thought and I'd love to hear yours.

 Either leave you thoughts here or join us on facebook.

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Sean Jones

The Search Within..

Master Class — Chops Goals: A Three-Part Practice Regimen Designed for Long-Term Trumpet Achievement

A Jazz Educational Series


by Sean Jones

I have been approached by many jazz trumpet players
inquiring about “chops” endurance, flexibility and other pedagogical
aspects of performance. I immediately refer to my classical studies and
bring up various exercises, etudes, excerpts and methods that I’ve
worked on. After answering questions about these issues, I am almost
always asked how to incorporate this into jazz and how to practice
these exercises and have time to work on jazz performance.
This always amazes me. Many trumpet players—musicians in general, for
that matter—go through their careers without an effective, daily
practice routine that incorporates the musicianship necessary to play
jazz and the pedagogical skills to execute musical ideas clearly. I
believe this is due to the overwhelming task that many aspiring jazz
trumpet players face. Not only do you have to spend hours gaining
technique, flexibility, range and correct breathing practices, but you
have to practice lines, chords, tunes, patterns and other components of
jazz pedagogy without getting fatigued. All of this practice can be
frustrating without a clear plan.


Throughout my early study, I had teachers and mentors who
instilled in me the importance of having great technique and facility
as well as a good working knowledge of jazz practices and pedagogy.
While studying these aspects of playing, I began to come up with a
practice routine that fit my needs and helped me accomplish my goals.
Over the years, I have adjusted it slightly as I accumulate knowledge,
taking what I can from every method of study that I come across and
assessing whether it fits my needs and is applicable to my general way
of playing.


Before developing a practice routine, you must have clear goals in
mind, both long-term and short-term. You have to decide what kind of
player you would like to be. This will help you have a clear focus
while studying musical and pedagogical ideas. About 15 years ago, I
wrote out my career goals in five-, 10-, 20-, 30- and 40-year
increments, accounting for what genres of music I wanted to play, what
bands I wanted to play in, and what type of music I wanted to write and
perform in my own bands. From this, I devised a plan of action.
I researched what techniques and skills I would need to achieve
these goals, found people with similar career paths and sought advice.
I began to take the knowledge that I learned and came up with a
practice schedule that would help me achieve these goals—a routine that
would give me musical and technical proficiency. This routine breaks
down into 10-, five-, three- and one-year goals, as well as quarterly,
monthly, weekly and daily goals, which mirror my plan of action. I
continue to use the bulk of the routine that I developed years ago.
My daily routine is broken down into three segments. First, I
have my maintenance routine, which includes exercises that are used to
maintain basic trumpet technique and proficiency. Included are
expansive long tones, flow studies, Herbert L. Clarke exercises 1–3,
tongue slurs, scales and arpeggios. This routine typically lasts about
an hour-and-a-half and includes 15 minutes of silence at the start and
an assessment period at the end. The silence prepares my mind for
practicing, and allows me to assess progress in the practice session
when it is complete. The assessment is documented in a daily journal,
which contains daily, weekly, monthly and yearly goals as a reminder of
why I am practicing.

Due to fatigue and time constraints, it is not possible for most people
to practice all day. Therefore, it is crucial that you practice with
your mind as frequently as you practice with your body. Meditation on
practice routines and goals will help to reinforce muscle memory and
personal assessment and achievement.

During my second practice routine, ranging from an hour to an
hour-and-a-half, I include articulation exercises, various etude books
including the Marcel Bitsch, Jean-Baptiste Arban, Theo Charlier and top
tones books. I also incorporate excerpts from symphonic repertoire as
well as solo literature from the classical genre. These methods and
repertoire are crucial in the reinforcement of a daily maintenance
routine. They reinforce basic tone production, clear articulation, flow
and flexibility.

If you choose to use jazz repertoire to achieve this type of
reinforcement, you must keep in mind that the primary aim of this
practice session is to reinforce instrumental pedagogy. The difficult
in using jazz repertoire to reinforce pedagogy is that it’s easy to get
caught up in the musicality of jazz and the freedom of it and not focus
on the discipline that it takes to reinforce trumpet pedagogy. This is
why I stick to the classical repertoire, as instrumental discipline is
established and reinforced in the genre. This is not to say that it
isn’t present in jazz. However, in most studying, a direct association
is made between instrumental pedagogy and the classical genre. Perhaps
in the future, those of us who have studied both genres will began
writing excerpt books and etudes that focus on instrumental techniques
inside of jazz.

My third practice session, being my longest (one-and-a-half to two
hours), is dedicated to jazz. This session includes transcribing solos,
learning tunes, and working on lines, patterns and harmonic concepts. I
do my best to work on these items in all keys through the cycle of
fourths and in all registers. In a given week, I will have a certain
solo, tunes and harmonic concepts that I’ll work on and have clear
goals that I want to achieve by week’s end. This varies from week to
week, as my second session also varies from week to week. The first
session is typically the same. During my jazz session, I retain the
technical discipline that I’ve worked on in the first two practice
sessions while developing my concepts in jazz. It is important that all
of your practice habits feed into each other. After all, specific goals
all lead to your long-term musical goals and ambitions.
Over time, it is important that the methods you study and
habits you take from others are then refined into your own concept of
playing and practicing. I heard Wynton Marsalis speaking about
Thelonious Monk during one of our Jazz at Lincoln Center Orchestra
concerts and he discussed something that Monk said in regard to genius.
He said, “Monk believed that a true genius is the person who is most
like himself.”

This is also true in your practice routine. Your greatest
development will come through your self-discovery in the process. After
careful study of everyone else’s methods and assessment of what works
for you, you will put together your own plan and achieve what you wish,
your way. DB

A few days ago, I released what I believe to be my best album yet, "The Search Within". It is a sonic depiction of a search inside of my soul. With this album, I took a survey of my life over the past 10 years. I gauged what successes and failures I've had both personally, socially, and career wise, and wrote music reflecting those woes and triumphs. Some of the pieces are about specific events and some of them are about general spaces in time or ideas. I believe that true growth with any artists comes buy taking a serious look inside themselves and embracing who they are. Embracing their spirituality and assessing their carnality. I am very proud that I could share this sonic journey thru my soul with you.

The album celebrates my composition as well as the wonderful work of a group of sidemen that I believe are second to none. I've had the pleasure of touring with these phenomenal musicians and enjoyed every moment in the studio with them. I feel that this joy comes thru on the album. You can check out each musician via my previous blogs.

Thank you all so much for listening!!

All love,

Sean

We are in the process of creating the Spring and Summer 2009 schedule. If you would like to be added to the mailing list
 
Either send me a message 

OR

 send your email to Sean@seanjonesmusic.com

Please make sure to include :

Your name
Email address
City and State.

The New CD, "The Search Within" is Scheduled to be released in March... Make sure we have your info to send you more details.


Thanks

I woke up this morning with the sun hitting me and a ton of memories flooded my mind. Some were great, some I just wish I could erase. After some time passed I began to hear the song that was sung last night by VJ, a great vocalist, at a local jamm session in Pittsburgh. She sang "Thank you Lord for all you've done for me". This song is ringing in my ears and as it rings I find myself holding back tears thinking about all of the mistakes I've made and some of the accomplishments.

This morning, I am thanking God for the past thirty years. Thanking him for everything he's given me and also thanking him for keeping me safe in spite of myself. My heart is happy and heavy today. I am happy for new life and sad about the mistakes of the past. With this in mind, I want to openly acknowledge my failures. If there is anything that I've done to offend anyone or hurt anyone, I am sorry. My intentions in this life are never EVER to hurt, scar, or destroy anyone's mood, character, or faith in God and love.

I also want to proclaim a new beginning. For the past year or so I have realized that I need to make changes. I need to walk in the path that was chosen for me. For a long time I've run from who I am. Ducked, dodged, etc etc and I've found that if I just rest in what has been laid out for me, things are easier. With this in mind, I pray that those closest to me see a change. Feel a change and allow me to change. Of course I'll be the same old Sean but as I make this vow with God I ask that you help me to keep it. Help me to be the man that upholds a certain quality and character that should be seen in all the places that I walk.

Many of you may hear undertones of Christianity ringing thru this little note. There's a reason for that. I am a Christian. I believe in god the Father, Son, and Holy Spirit and I believe that this trinity is a three tiered, representing three aspects of love. Love itself (God), The gift of Love to all mankind (The Son), and love in action which is the love that makes us move and lives inside us (The Holy Spirit). This belief, however, does not negate other beliefs or religions. I believe that all religions and beliefs are valid if you TRULY believe them. I was simply brought up under Christianity and have found that it suits me (like a man born in a certain country speaking his native tongue). I will not negate any other religion. In fact, I will worship/pray with them in their land in their time as I would hope that they would offer the same. I say all this to confirm who I am and do my best to walk in it. Never fear, Sean will still be Sean. I'm simply altering certain aspects of my life in order to completely define who I am.

Thank you so much for reading this and hearing me. Today I am 30. Today I will begin stepping into the new me. Today I will do my best to destroy the tendencies that I have had that lead me down destructive paths and nurture tendencies that I have that will lead me into positive light and fulfilling my ultimate purpose which is to serve God by Serving others. Not thru Sean's eyes but thru God's eyes.

With all my Love,

Sean
"............ forgetting those things which are behind and reaching forward to those things which are ahead, I press toward the goal for the prize of the upward call of God in Christ Jesus."

Now, you all know that Orrin is by far one of my favorite musicians ever. Well, he also leads one of my favorite groups EVER!!! I won't go on and on about how amazing his band , Luv Park, is or how amazing their music is or how you should go immediately to itunes and BUY THE ALBUM. I'll simply just ask that you check them out when you get the opportunity. Go to Orrin's myspace page and check him out.

www.myspace.com/orrinevans

Thanks!!

Soooo, many of you have been writing me with regards to Brian Hogans' role in the band. The truth is, Brian is first and foremost an alto saxophonist. Although he is an amazing pianist, his role is primarily that of a saxophonist and writer. Brian is one of the most amazing musicians that I've ever come across in that he seemingly has the ability to draw music out of almost any instrument. This is a rare quality and works to his advantage in many respects but also seems to present a slight concern ; Do I focus on one instrument or continue to play all of them extremely well while sacrificing recognition as a great "saxophonist".

Brian has chosen to do the intelligent thing and focus on his alto playing. Although I must say that it was nice having him in the band as a "sub" for Orrin Evans (who has been with me from the beginning and whom I hope will be there at the end), it is important that I support his incredible skills on the Alto saxophone and support his wishes to focus on that.

With this in mind, hats off to one of the most amazing musicians to ever touch any instrument, Brian Hogans!!! I look forward to sharing the front line with you on many more gigs and recordings!!