Paul Read News

Haven’t written an entry for some time. For those who check the blog for health updates: I am doing great! Have been getting some writing work in and am playing saxophone with increased pleasure recently. It is good to be back to the land of reed soaking (and reed seeking). My jazz orchestra project (PRO) is very much on my mind these days and I am giving the matter of recording the band some serious consideration for the fall (and will be assisted by the Canada Council for the Arts). I have some new music nearly finished and am looking forward to having it played.

This winter and spring I have been involved in programs involving meditation and mindfulness. The practice of both has been very beneficial from many perspectives. Currently I am taking a course taught by Dr. Jackie Gardner-Nix who at one point studied under Jon Kabat-Zinn who wrote a well respected book called Full Catastrophe Living. Dr. Gardner-Nix (Dr. Jackie) is a physician who is involved in chronic pain management (referring to pain in the broadest of its definitions). Her course has been very beneficial so far and I will continue to be a member of her class until the early part of the summer.

I’ll write more soon….no really….I will.

PR

Every once in a while a recording surfaces that I can’t stop listening to. I think there is something near or at perfection (defined personally of course) in these achievements. Art Pepper Plus Eleven is one of those recordings that falls in this category. Many many more, including the obvious: Kind of Blue, Milestones, Blue Train, The Real McCoy, Bitches Brew, In a Silent Way, Return to Forever, and on and on. A new recording from tenor saxophonist, Joe Lovano, Symphonica, is a case in point. Michael Abene’s arrangements, the quality of the live recording, the beautiful SOUND of the album and Joe’s incredibly individual way of playing (plus his compositions and choices of standards) make this a standout.
Michael Abene: 10/10
Joe Lovano: 10/10
Production: 10/10
Performances by secondary players 9/10 (there is one alto player that doesn’t knock me out).

TREAT YOURSELF!!!!!!!!!!!!!!!!

Over the past few days I have been intensively reviewing the work of Henry Mancini – a rewarding pursuit if there every was one.

When I was 18, my parents gave me a copy of Mancini’s Sounds and Scores. This was my first formal text on the subject of orchestration and it was incredibly helpful. Why? Because I was VERY familiar with recordings of Mancini’s soundtrack recordings of The Pink Panther, Charade and other films. I was trying to write music for large ensemble and loved the sound of Mancini’s melodies, harmonies, rhythms and orchestration. They just seemed so artful, so simple and so attractive. As I listen to them in 2008, I am struck by these very same qualities. Sure it sounds a bit dated and so on, but the craft is unbelievably impressive. And much of it is drop dead gorgeous ear candy.

The collection I might recommend is called “The Days of Wine Roses” which I found on iTunes. This is a writer’s music, probably as those of us who do battle with pencil, score paper, notation software and ink jet printers, will appreciate the wonderful originality, the spare and clean orchestration, the lush strings (scored often in 8 part closed voicings. Or those 4 horns over the trombone section in the deliriously wonderful Dreamsville. His music still inspires me some forty two years after receiving the text and must lament that we don’t have access to the full scores of this GREAT musician.

Consider the fact that he wrote so many classics. Songs in the standard library (Days of Wine Roses, Two For the Road, Moment to Moment, Moon River and so on) without ever having written for the Broadway stage. And there are tunes I have always considered “immense”. For example, the tune, Royal Blue from the score for the Pink Panther (which featured, I think, the wonderful Jack Sheldon on muted trumpet).

His use of a large array of instruments: 4 horns, or full choir, many varied percussion instruments, accordion, harmonica, adds to the amazing and effective orchestrations which have stuck so strongly with me over the years.

Check Hank out. He is still a gem!!!!!!!!

Just to let you know now, the Paul Read Orchestra (PRO) has three performances coming up in the spring. All at the Rex on QUEEN West of University Ave.. Two of them are matinees and the other is a Thursday evening. I’ll send out the news again in a newsletter, but Jan 27 (3:30-6:30). Mar 3 (3:30-6:30) and April 12 (9:30 start). We are also getting set to do our first formal recording session in February (it will be abbreviated – probably just 3 or 4 compositions) with the idea of using this as a demo for finding further funding to accomplish a full out recording in the nearish future. I’m working on a new set of pieces for this project. More info in future blogs.

Lots of fun.

If you are around this week and want to hear some great large ensemble playing, the U of T big bands are at the Rex tonight (starting at 9:30), then tomorrow night Dave McMurdo’s band is playing a concert at the Glenn Gould Studio featuring “Conversations” a major work by my great friend Phil Nimmons. Then on Wed night this week, the 10 O’Clock Jazz Orchestra (U of T) is playing a full concert in Walter Hall (at U of T in the Faculty of Music). We are playing a host of great pieces by Thad Jones (2), Chuck Owen (3) and Jim McNeely (5). Four of the latter are from his wonderful suite of pieces inspired by the paintings of 20th century Swiss artist, Paul Klee. Hope you might make it out.

Completed a commission for the Coalition for Music Education in Canada a week at the beginning of the month. I’m quite happy with the results, on a musical level, yes, but also on the level of challenge successfully met. The commission involved writing a grade 2 or 2 1/2 level arrangement of a folk like melody (composed by Dala) for high school level jazz band. I don’t know Dala (Hello, Dala ) but it is an attractive tune with an interesting form. However, transforming it from the original into a jazz concept and one which could be played by younger musicians (and keep it interesting and musical) is the kind of challenge that I find quite difficult.

For those writing these type of compositions: don’t write the lead bone above an F. Keep trumpets in the staff with possible exceptions of writing lead up to a concert Bb. Write lots of specifics into the rhythm section (leave nothing to chance). Keep blowing changes simple (one key centre or possibly two).

Anyway, for the first time, in many attempts, I think I solved the puzzle with some success. The piece will posted on the Coalition’s website, along with a demo mp3 as of Jan 1, I understand. And I think it is a freebie.

I’m writing music for PRO (my jazz orchestra) and have some dates coming up at the REX in the new year. I’ll be sending out notices to the mailing list. If you haven’t signed up, please go into the site and hit “CONTACT” and sign up. The band is marvelous and the performance at Port Hope was a personal highlight for me. Hard to beat top line players playing your music with dedication and heart and unbelievable skill. Plus there is the added bonus of hearing music written by Terry Promane, Andy Ballantyne and Andrew Jones.

For those who have been asking, my personal health is improving steadily (although those at the Rex last week might wonder….long story) and I continue to be amazed at the number of opportunities coming my way as a composer.

Thanks for dropping by

Paul