MUSINGS IN Cb: “Once You Finally Understand …”
A wise mentor in this music once told me that “once you understand, you will be essentially playing the same song for the rest of your life.”
Of course, I didn’t begin to get the full implications of this statement until many years later. That man is no longer on this plane of existence, but his statement remains contemporary and artistically valid.
When I finally figured out certain things about cycles in music, an applicable improvisational vocabulary, and the technical manipulations of the alto saxophone as a musical instrument - my own voice began to emerge. That fact makes me “happy”.
I know the quest is eternal and I will never get to the end, but to be on the musical path with my own artistic voice as a composer and improviser is: very exciting + positive motivation.
When I listen to work by all of my favorite artists over the course of a couple of decades, the words of my mentor also ring true.
Once they finally understood, their individual voice is heard distinctly no matter the composition or context. Go check it out … youtube, etc.
It seems that by the time the mainstream “discovers” an artist (if they do at all), that artist has had their own voice for a couple of decades - at the least. The artist may be “new” to the listener, but the artist is not “new”…
It is rare when a person in this serious music that I have dedicated my professional life to is discovered immediately when they first finally understand …
So, stay on the path, it isn’t about that anyway.
"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.