Music has always been in the air for devotee
The News Review:
- Music has always been in the air for devotee
- ErÅahin’s sounds from Istanbul to Manhattan
- Book Review: ‘The Jazz Ear’ by Ben Ratliff
Music has always been in the air for devotee
Indianapolis Star United States
Since my father had a music store (Anderson Music Center aka Music Today) I also took guitar and drum lessons. I ended up playing a drum set through middle school and high school and played in my father’s big band. Q: Why did you decide to dedicate your life to jazz music?A: It was just a part of my soul. Jazz is a big part of my life but I also have a love for Latin pop and meditation music. I have written many original songs and seem to vary my style from whom I am writing with or for. Q: You have performed with some of the biggest names in jazz music. What was your most memorable performance?A: I really have a lot of great moments but the one that I would consider very special was when I played with legend jazz drummer Ed Thigpen.
Related from Lloydgreenmusic: Music has always been in the air for devotee
ErÅahin’s sounds from Istanbul to Manhattan
Hürriyet Turkey
Once there he received another scholarship to study for a semester in the jazz department at the “New School” where he had the chance to meet many important musicians. One of the turning points in his life was a job at Sweet Basil the famous jazz bar in New York at that time. He did not play music there but worked as busboy bartender and doorman however it enabled him to meet many important names in American jazz music. “My mind was full of jazz those days. I used to practice for 10 hours before I went to work at Sweet Basil and once there I used to listen to these jazz legends throughout the night” said Er?n. After a while Er?n started to play in small cafes and restaurants with different bands. Like many young musicians in New York he also played in subway stations and in Central Park to earn money.
Book Review: ‘The Jazz Ear’ by Ben Ratliff
Dallas Morning News TX
For instance in his excellent Coltrane: The Story of a Sound (2007) a critique of John Coltrane’s algebraic and mythical musical prowess Mr. Ratliff combines jazz history cultural analysis and music theory into an elegant narrative. With The Jazz Ear: Conversations Over Music Mr. Ratliff has collected pieces from his New York Times series “Listening With” refashioning the conversations into 15 contiguous chapters that illustrate the importance of both classical and pop music to modern jazz composition and improvisation. Ratliff’s questions often steer his responders from music theory to emotional response to sentimental remembrance teaching readers how to open their ears and listen in new ways. Using predetermined song set lists to focus their conversations the journalist and the jazz musicians become tutors: speaking in languages that seem derived from their own musical compositions the saxophone geniuses Ornette Coleman and Wayne Shorter offer up halting elliptical and cosmic declarations about how to discern modern concepts at work in Kyrgyzstani folk music and Vaughn Williams symphonies.