Earl MacDonald Jazz Orchestra
10th Annual Jazz Song Winner
Here is the Music Player. You need to installl flash player to show this cool thing!
Record Label: Death Defying Records
www.earlmacdonald.com
Home Base: The University of Connecticut, in Storrs, CT, USA where I have taught for 10 yrs. I am originally from Winnipeg, Manitoba, Canada.
Genre: Orchestral Jazz (I stumbled upon this label in liner notes written by Mel Lewis, describing his band under the musical directorship of Bob Brookmeyer. I liked it and have used it ever since.)
Categories Entered:Jazz Album
Work Submitted: Re:Visions – Works for Jazz Orchestra (CD); “Bad Dream” (nominated song)
Artists Featured: The soloists on “Bad Dream” were: Tim Ries – alto sax, Earl MacDonald – piano, Jordan Perlson – drums. The band is as follows…Woodwinds: Tim Ries (lead alto & soprano saxophones, flute), Marc Phaneuf (alto sax, flute, clarinet), Ralph Bowen (tenor saxophone, flute), Jim Brenan (tenor saxophone, clarinet), Steve Kenyon (baritone saxophone, bass clarinet); Trumpets: Nick Marchione (lead), Michael Philip Mossman (associate lead), Pete Rodriguez, Joe Magnarelli; Trombones: Bruce Eidem (lead), Craig Brenan, Mark Patterson, Douglas Purviance (bass trombone); Rhythm Section: Pete McCann (guitar), Earl MacDonald (piano), Kenny Davis (string bass), Jordan Perlson (drums); Conductor: Mike Holober
Label: Death Defying Records
URLs:
www.earlmacdonald.com
http://everupandonward.blogspot.com
www.cdbaby.com/cd/earlmacdonald2
www.facebook.com/pages/Earl-MacDonald/124261050929383
www.myspace.com/earlmacdonald
www.reverbnation.com/earlmacdonald
www.youtube.com/user/earlmacdon
http://en.wikipedia.org/wiki/Earl_MacDonald
Influences: Thad Jones, Bill Holman, Jim McNeely, Vanguard Jazz Orchestra, Bob Brookmeyer, Herbie Hancock, Fred Hersch
What’s the meaning of your name? Because I work in a variety of contexts (leading and within big bands & jazz combos, as a soloist, educational clinician, conductor, etc.) I typically stick with my given name, Earl MacDonald. For this album the group is called the Earl MacDonald Jazz Orchestra. There were no other contenders. A mentor of mine, Michael Philip Mossman, once told me that his biggest regret was naming his acclaimed sextet “Out of the Blue” instead of “the Michael Philip Mossman sextet”. Everyone in the jazz world seemingly knew of the group, but it didn’t help in terms of building his own name recognition – especially once the group had disbanded.
Describe your nominated work: The 32-bar melody for “Bad Dream” was written an hour before a jazz composition class lecture I gave at UConn on the topic of contrafact melodies. In addition to bringing in the typical, expected examples (Donna Lee, Prince Albert, Hot House, Ornithology, etc.), I wanted to show that this compositional practice was still alive and well today, by writing something new. The night before, I had a terrible nightmare that continued to haunt me the next morning. It occurred to me that I should write my contrafact melody over the harmonic progression of “You Stepped Out Of A Dream.” I recorded this piece with my sextet, and later developed it for full big band. The MENC All-Eastern High School Jazz Ensemble premiered the big band arrangement at the 2005 Music Educators National Conference in Baltimore. Night terrors are reproduced by creating “atypical sonic environments” achieved with unconventional notation practices drawn from contemporary classical composition techniques.
Why did you choose to submit this work to The 10th IMA’s? I submitted several pieces, considering the stylistic preferences of the panel, which was announced. I avoided the darker, slower pieces on the album. This piece is “upbeat,” it is grounded in the jazz tradition, but yet it develops and takes some unexpected turns as it unfolds.
Did you use any unusual effects or instruments in this recording?: I employed some “unusual” composition techniques (graphic notation devices instead of conventional notes on a staff) in the later half of the piece to conjure “nightmare-like” moods. These effects were cued and dictated by the conductor.
Were there any happy accidents while in the studio, or did everything go as planned? Surprises – yes, accidents – no. Within the studio there were many pleasant musical surprises resulting from uniting seventeen brilliant, skilled, creative musical improvisers.
Did fans help you fund this project? No. The recording was primarily funded through grants.
Who’s sitting in your audience? High school kids, next to grey-haired grandmothers. My brand of jazz has no one, specific age demographic. Although jazz has the reputation of being music for musicians, I work diligently to expand my audiences.
What makes your fans unique? [see above] A good number of my fans might not know who Justin Bieber is.
Are there any songs you wish you wrote? “Tell Me a Bedtime Story” by Herbie Hancock and The “Leaves of Grass” Suite by Fred Hersch
What artists are you listening to that would surprise your fans? The Dixie Chicks. They’re my wife’s favorite and they’ve really grown on me. I have even seen them live. I look forward to Natalie’s return and their next disc.
What is your dream show lineup? It would be a dream come true to play piano for a night in the Vanguard Jazz Orchestra and have them play a set of my pieces. Ahh… maybe someday.
What is your guilty pleasure on the road? Eating at the Outback Steakhouse or the Old Spaghetti Factory.
Any close calls or mishaps while on tour? I quit touring with Maynard Ferguson’s band after racing to the airport in the back of an Italian taxicab. Initially we were taken to the wrong airport, and the tour manager promised to give the driver a hefty tip if he could get us to the correct airport in time to catch our flight. I have never felt less in control, and more physically at risk.
Do you have any rituals before you go on stage? No.
Should music be free? If artists were to be subsidized by the government, I’d say yes. Otherwise NO. Should movies be free? Should food be free? Should mechanics, architect’s and doctors volunteer their services? Why should music be free when everything else must be paid for? When this question is asked, I contemplate tallying all the money that was spent on my piano lessons as a child, along with what I paid for two degrees in music. This question infuriates me.
How has digital affected your career? Much more of my time is now devoted to updating web sites, engaging in social media practices and other acts of self-promotion. There are certainly advantages and disadvantages to the new digital paradigm within the music industry, where the artist must now take complete control of his / her career. The challenge is maintaining balance, so that the art does not suffer.
Are digital singles vs. full albums the future of music? My bet is that digital singles are the future, but surprisingly I am still selling more physical CDs. By the way, both are available at: http://www.cdbaby.com/cd/earlmacdonald2
Finish this sentence: The music industry is… the antithesis of music making.