"A Risk I Take" music single release by Christopher Burnett
We recorded a beautiful piece of music titled, “A Risk I Take” by French horn virtuoso, composer and ARC colleague, Mark Taylor. This is one of the singles from the forthcoming new album, “Firebird”; and, will be released worldwide by the ARC label to all of the major retailers on my birthday, November 2nd - WOO HOO! See credits below for complete project information … Cb
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1. CbQ Personnel (score order):
Christopher Burnett – alto saxophone, clarinet, flute | compositions and arrangements
Roger Wilder – piano, keyboard, rhodes
Jeff Harshbarger – bass
Clarence Smith – drums, percussion
2. CbQ Guest Artists (alphabetical order):
Terri Anderson Burnett – alto flute, flute, piccolo
Greg Carroll – vibraphone
Jason Goudeau – trombone
Stanton Kessler – trumpet, flugelhorn
Erica Lindsay – tenor saxophone
Bill McKemy – tuba
Freda Proctor – alto flute, flute, piccolo
3. CbQ Technical Credits:
Producers – Terri & Christopher Burnett for BurnettMusic.COM
Label – Artists Recording Collective (ARC)
Liner Notes – David R. Adler, New York
Recording Studio – C.R. Sound, Kansas City
Audio Engineer – Craig Rettmer (recording, mixing, mastering)
Technical Production Consultant – Stanton Kessler (recording sessions)
Session Videography – Willie Meyers Thornton, JBT & Associates LLC
Retail CD/DVD Product Manufacturing – Disc Makers
PROMO VIDEO FOOTAGE courtesy of Ryan.Christopher.Films and used with written permission.
P.S. - the photographs of the “Secret Agent” I use in this series of promo videos are from a group of really cool photographs that I stumbled across online - completely by accident.
I thought they were so cool that I wrote to the owners and asked to use them for promoting my music, liner notes to the remastered edition of “Time Flies”, etc. The owner of the company wrote back personally and said he was honored that I liked them so much, then told me to use the photos however I wished. That was cool.
So, the “Secret Agent” in all of my promo videos for this album has context to many of you now … Cb
MUSINGS IN Cb: DIGITAL MUSIC INFORMATION
FLAC (lossless) and hi-res MP3 320 are available at CD Baby - not Amazon or iTunes. Watch this short video to learn more.
I recommend that you get your download of "Firebird" ($2.99) at CD Baby.
Yes, the cost is slightly more than the traditional $0.99 that you typically spend at most all of the other digital music retail stores.
The lossless quality of FLAC provides the original musical sound that was recorded and this difference is worth it - in my professional opinion.
Of course, if you decide to get it at Amazon or iTunes, that’s cool too.
And, I do sincerely appreciate your support in purchasing any of the available formats, at any of the stores we distribute our music to in context and am very glad that you enjoy my music enough to actually buy it.
The better lossless format of "Firebird" ($2.99) at CD Baby will simply let you hear exactly what we produced in the studio. And, that’s cool …
MUSINGS IN Cb: Perhaps We Have Reached a Creative Tipping Point
Hope this comes across in the positive context that it is meant …
I am always very impressed with the *commitment* it takes for a 14 year old to do most anything at a high level. I applaud this young player in the video. He has put in lots of time on his instrument and that is great. He has put in lots of time on this transcribed solo and that is great too. I am impressed in context.
But, let’s not get it twisted into something it is not …
Caution. I have come to a different place with things like this demonstration, and am not sure that memorizing Bird's solos as if they were classical etudes, is necessarily a “good” thing for any musician or artist to do lots of.
Memorizing other people’s music like this inherently results in a break down of developing an original musical intellect - at least, if the goal is to truly improvise and not regurgitate something memorized.
Improvisation is truly difficult, that’s why most people don’t do it - you have to know form and you literally have to know how to compose.
Most musicians play things that they have practiced and memorized, then pass it along to listeners as if it is improvised. I used to do that too.
Most musicians I know hated theory class and that is what an improviser needs to master in addition to pushing buttons …
"You’ve got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail." - Charlie Parker
Access to so much information and material results in these types of things. Not a good or bad thing. Just another contemporary paradigm. Perhaps we have reached a creative tipping point that will result in people actually going back to basics and simply creating again …
I always insist upon teaching my students to play the saxophone, first. Then, we cover lots of the harmony and theory behind the music they are preparing or learning about. This process is relatively long and arduous, if an attempt is to compare it with learning and reproducing someone else’s notes.
However, when we are learning to improvise the key is to IMPROVISE!
Selmer (Paris) Saxophone Artist; Marketing and Communications Manager at American Jazz Museum; Professional Jazz Recording Artist; Composer; Educator; Entrepreneur; and, Businessman
Firebird (single release) ARC-2581 by Christopher L. Burnett, BMI
“FIREBIRD”, the first single, releases on Monday, September 1st exclusively at iTunes, Amazon Music, Google Play and CD Baby. Featuring: Christopher Burnett - alto saxophone/composition; Roger Wilder - piano; Jeff Harshbarger - bass; Clarence Smith - drums; with Terri Anderson Burnett and Freda Proctor - flutes. The final mastering and mix by Craig Rettmer is truly amazing. Get some of this …
— at iTunes on Monday, September 1st.
ARTISTS RECORDING COLLECTIVE (ARC) is an internationally recognized brand and professional recording label that emphasizes promoting and facilitating the distribution and utilization of the works created by our members. ARC provides a viable 21st Century Music Industry Platform for world-class talent!
Based in the Kansas City metropolitan area with its main office located in the City of Leavenworth, Kansas, ARC serves artists-producers and boutique record labels who require a dynamic and multi-dimensional platform to present their works and services in an environment that is not under compulsion or creative restraint.
ARC was co-founded on December 7, 2007 by alto saxophonist, CHRIS BURNETT; tenor saxophonist, ERICA LINDSAY; and, pianist, SUMI TONOOKA as a professional response to an inherent void within the music industry then.
MUSINGS IN Cb: Jazz Doesn’t Need to be “Saved”
Since I have lived long enough now to have succeeding generations following mine, I have come to the conclusions that “Jazz" does not need to be; nor, has it ever needed to be, "saved" by the youngest among us.
Arguably, “Jazz” music, as a musical art form, has not seen anything new in the mainstream since the innovations of John Coltrane (1959), and Charlie Parker (1939) before him. Giving consideration to this fact, one could easily conclude that “Jazz” music is stagnant or dying. Nothing could be further from the truth.
During the contemporary times of Coltrane and Parker, both were easily considered non-traditional by the musical standards of popular society in each of their day. And, contrary to most information, “swing" and "dance" music was not what these two innovators created. They were not "pop" musicians like "Nat Cole" (Coltrane) or "Glenn Miller" (Parker) who played swing "music that people could dance to”.
Both, Cole and Miller were wealthy and likely millionaires. It is reported that Miller was making $20,000 a week when he voluntarily joined the Army Air Corps to serve our country during World War II. I have never found evidence of Parker and/or Coltrane having been well off financially in context. But, this is not anything shocking because “pop” music that appeals to the masses is generally always more financially prolific than the musical art that requires a different level of engagement by listeners.
Not good or bad, just how it is …
Some “Jazz” musical artists (including the great, Miles Davis) borrowed from the “pop” music of the 1950s and 1960s to usher in the electronic instrumental contributions of the 1970s and beyond.
Just because some “Jazz” today (like Robert Glasper) borrows from “Hip Hop" (a "pop" music development started in NYC during the 1970s), which is likely the most influential music among the youngest generations today, does not necessarily point to a major paradigm shift in the music.
To portend that “Jazz” needs to be saved because it doesn’t sell as many records as Jay-Z, sell out concerts like Lady Gaga, or otherwise resemble “pop” music for the masses; is, well, ridiculous hyperbole …
In recent decades there has been a misplaced infatuation with youth that some writers engage in with respect to each generation performing the music we call, “Jazz” - The young artists will “save” jazz, blah blah blah … it was the “young lions" moniker during my generation … it’s all just blah blah blah to “sell” their publications at worst, or perhaps even lame attempts to “hype” the music at best. I say stop because it is more harmful than good.
What we might learn from each generation is that there are those among us who are not following the beaten path that may be popular with everybody else. They are extending the traditions of the music gorgeously, rather than putting a dress on a cute pig and trying to pass it off as the belle of the ball.
Too many “Jazz” people missed innovators like, Andrew Hill.
And, too many “Jazz” people overlook today’s true innovators because their music is often too difficult for the masses to digest in 3 minutes and 20 seconds … Same thing that Parker and Coltrane faced in their respective lives and times.
"Jazz" doesn’t need to be "saved" … "fans" simply need to pay attention!