tag:jameshughesmusic.net,2005:/blogs/latest-news?p=2Latest News2023-09-02T13:30:36-04:00James Hughesfalsetag:jameshughesmusic.net,2005:Post/72673452023-09-02T13:30:36-04:002024-03-28T07:56:52-04:00Joshua Redman's Melodic and Rhythmic Brilliance<p>Joshua Redman has long been a favorite Saxophonist of mine. His album “Wish” was an early influence on my playing and inspired years of dedicated practice. Besides his warm, singing tone and his elegantly whimsical and effortless altissimo, it was his linear melodic approach and cozy rhythmic feel that drew me to his playing. </p><p>Many years later, I have revisited some of his recordings only to find that I appreciate his playing even more than before. I've been listening to “Trios Live” lately, and decided to transcribe his solo on Soul Dance. This tune first appeared on “Wish."</p><div class="video-container size_xl justify_center" style=""><iframe data-video-type="youtube" data-video-id="3nx1qX3fnhM" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/3nx1qX3fnhM?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div><p>What I enjoy about his solo on this album is his rhythmic clarity and freedom, his use of varied articulation, how he patiently works out motifs, how he juxtaposes one phrase to the next as well as linking one to another, and how he constructs the entire solo from beginning to end. There's still more to listen for and learn from, but that's a good start. Enjoy reading along with this great solo from a true master.</p><p> </p><p>If you want a free version of this, go to my Store!</p><p> </p>James Hughestag:jameshughesmusic.net,2005:Post/71641902023-03-02T21:40:34-05:002023-06-30T01:36:54-04:00Michigan Jazz Festival Webinar<p>I am honored to be on a panel discussing careers in music. Despite being humbled, I do feel I have acquired some knoweldge, insight and wisdom that may be helpful to folks wanting to make a career in the music business. There are so may paths to take, too many for me to have anything intelligent to say, but I can speak on my path. </p><p>Even if you are not pursuing a career in music, I think the panel discussion will be of interest to you. We musicians are a peculiar lot, and anyone who can make a living doing it has a philosophy and outlook on life that is unique. My hope is that you find appreciation for an artistic life, and gain some motivation and inspiration to fuel your endeavors. </p><p>Tune in Sunday March 5 from 7-9pm! www.MichiganJazzFest.org</p><p> </p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/189300/892984f7c22a7f94d844d34ee4bdc1ce47471bf7/original/img-6103.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" />James Hughestag:jameshughesmusic.net,2005:Post/66760812021-07-01T10:57:18-04:002023-12-10T11:32:05-05:00The HSQ is Back!<p>The Hughes-Smith Quintet will be playing a week at THE DIRTY DOG JAZZ CAFE! Come on out and celebrate life with us!!!</p><p>July 14, 15, 16, & 17...seating starts at 6pm</p><p>Reservations highly recommended</p><p>View details and make reservations here: <a class="no-pjax" href="http://www.dirtydogjazz.com/EventDetail/?id=8543" data-link-type="url" contents="Dirty Dog Jazz Cafe">Dirty Dog Jazz Cafe</a></p><p><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/758c3814aab04fae5ab471b95b7e31ddd8b1f48c/original/hsq-dirtydog.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJjb250ZW50LnNpdGV6b29nbGUuY29tIn0=/b:W10=.jpg" class="size_l justify_center border_" /></p>James Hughestag:jameshughesmusic.net,2005:Post/63537572020-06-15T08:43:06-04:002023-12-10T11:30:58-05:00Stitt's It!<p>I have moved on to phase TWO of my transcription project: SONNY STITT</p><p>I have started off with a relatively easy blues (in Db) to get a baseline of some of Sonny's language. "Blues for Pres, Sweets, Ben, and All the other Funky Ones" comes from the recording he did with Oscar Peterson for Verve, so of course it is swinging like none other. It is a peculiar one because Sonny is blatantly honoring a few of his influences (not just Charlie Parker, all you haters). It's cool to hear such an accomplished player's version of "the other funky ones."</p><p> </p><div class="video-container size_null justify_inline" style="--video-width:320px;"><iframe data-video-type="youtube" data-video-id="Y2qXkVw2kew" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/Y2qXkVw2kew?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div><p> </p><p>Besides that, there are a few beautiful moments where Sonny flashes his own stuff and it's absolutely brilliant. Anyways, take a listen and enjoy!</p><p>If you want a free PDF, go to my store page and 'order' it there. The one file has all concert, Bb, Eb, and bass clef versions.</p>James Hughestag:jameshughesmusic.net,2005:Post/63222242020-05-19T10:03:21-04:002023-12-10T11:53:50-05:00Burning!<p>I have my last installment of my Cannonball transcription project and this one is a burner! It comes from a bonus track of a reissue of his second recording "Them Dirty Blues." It's a live cut and possibly one of my favorite 'ball solos out there. It took me a while to lift it and even longer to work it up to record it. Like I said before, it's a burner clocking in at 300bpm and creeping up from there! Enjoy!</p><p> </p><div class="video-container size_null justify_inline" style="--video-width:320px;"><iframe data-video-type="youtube" data-video-id="7FBiRVlL06M" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/7FBiRVlL06M?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div><p> </p><p> </p>James Hughestag:jameshughesmusic.net,2005:Post/63000142020-04-30T12:39:33-04:002023-12-10T11:32:03-05:00In The Woodshed<p>I am in the middle of a transcription project inspired by NYC pianist/educator David Hazeltine. His method of solo transcription and analysis has intrigued me for a while, but I have never had the time to dive into it until now. I keep a very busy performance schedule and find most of my practice time devoted to keeping up with that. So when this quarantine hit and found myself with extra time, I decided to adopt his method. The basic idea is that you transcribe 3-5 solos of 2 artists, then compose an etude based on the ideas from each artist.</p><p>So I have chosen to to lift Cannonball Adderley solos first, and then Sonny Stitt's after. Getting back to the basics :)</p><p>I chose these two Saxophonists because of their effervescent and sunlit tones, soulful and optimistic melodic lines, impeccable time feel, and sheer mastery of their instruments. I will blog my way through this journey and upload videos of the solos as I go. I am also making available, for free download, the transcriptions at the<span style="color:null;"><strong> </strong></span><a class="no-pjax" href="/store" data-link-type="page" data-link-label="Store" contents='"store"'><span style="color:#2980b9;"><strong>"store"</strong></span></a><span style="color:#2980b9;"><strong> </strong></span>page of this website.</p><p>Hope you enjoy!</p><p>James</p><p>Here is what I have thus far:</p><p> </p><div class="video-container size_null justify_inline" style="--video-width:320px;"><iframe data-video-type="youtube" data-video-id="QdMlN0Hqy6Y" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/QdMlN0Hqy6Y?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div><div class="video-container size_null justify_inline" style="--video-width:320px;"><iframe data-video-type="youtube" data-video-id="PkEu-ZDM-Ww" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/PkEu-ZDM-Ww?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div><p> </p>James Hughestag:jameshughesmusic.net,2005:Post/59883002019-12-04T14:11:48-05:002024-03-28T07:56:52-04:00Honoring the Music of CURTIS FULLER<p><strong>Our monthly Cliff Bells Jam will honor the music of trombone legend CURTIS FULLER.</strong></p><p><strong>We play at Cliff Bells on Wednesday Dec 4, 8-11:30pm.</strong></p><p>Jimmy Smith and I are very excited to be welcoming Detroit's own Vincent Chandler to our front line as we pay tribute to Curtis DuBois Fuller. Jimmy and I have been doing these tribute sets as an opening to our jam sessions for four years now, most of which were on a weekly basis. Now we would transcribe, hunt down and scavenge charts for these events fiendishly every week, so collaborating with Mr. Chandler is a double treat because not only do we get to play with him, he has provided all the music! I'll get into the band later, let me share my thoughts on the composer of interest.</p><p><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/71af3aff2e09e08c05411239bb9a9d0963b40e95/original/fullercurtis-9255.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p><p>Curtis Fuller has long been on the "Mount Rushmore" of jazz trombonists and any aspiring trombone player would have had to check him out. He has left a lasting impact on the language of bebop and beyond. He has recorded over 30 albums as a leader and 100s as a sideman with all top jazz artists of his time. Most folks recognize his work with Art Blakey & The Jazz Messengers, The Art Farmer-Benny Golson Jazztet and his stellar playing on John Coltrane's Blue Train. Fuller recieved the NEA Jazz Master Award in 2007.</p><p>There are so many wonderful things to get into about his playing and career, but I want to turn your attention to his compositions and writing style.</p><p>Curtis Fuller tunes are painted with broad strokes and in bold colors. They are usually shorter forms without a lot of decorations (interludes, transitions, shout sections, etc.). He gets right down to the point of the piece and within 4 measures you know what it's about.</p><p>His melodies are very lyrical, singable, mostly diatonic and congruent (Darryl's Minor). He often writes in traditional four bar phrases with ample space between each phrase. His melodies are also contained within a reasonable range and don't utilize wide or awkward intervals (Judy's Dilema). His rhythmic concept is very similar to his Detroit counterparts of the day (I'm thinking of Roland Hana, Tommy Flanagan, Barry Harris) in that a melodic statement is often 'answered' by a rhythmic statement (Sortie). The rhythm section plays a crucial role in his tunes to this end.</p><p>Harmonically, Fuller writes tunes to be vehicles for soloing. Two chord vamps, modal harmony, and blues changes dominate his portfolio making his tunes accessible to the listener and improviser alike (eg. A La Mode, Arabia, Sortie, Down Home).</p><p>Performing these tunes on Dec. 4 will be a stellar rhythm section; Corey Kendrick on piano, John Muir-Cotton on bass, and Louis Jones III on drums with the aforementioned front-line of Vincent Chandler on trombone and our monthly hosts Jimmy Smith on trumpet and yours truly holding down the Saxophone chair.</p><p>We hope to see you at Cliff Bells Dec 4...if not, we encourage you to take the time to digest some of the prolific career of one of our Detroit heroes, CURTIS FULLER!!!</p><p>peace,</p><p>James</p>James Hughestag:jameshughesmusic.net,2005:Post/59352522019-11-06T16:48:42-05:002023-12-10T11:31:56-05:00The Music of Herbie Hancock<p>This month at Cliff Bells we will be offering up a set of music featuring 1960s compositions by vanguard pianist HERBIE HANCOCK.</p><p>As many of you know, Jimmy Smith and I host a monthly jam on the first Wednesday at Cliff Bells in Detroit where we feature a new rhythm section and the music of a composer. On Wednesday November 6 at 8pm we will be presenting the music of Herbie Hancock with our friends Demetrius Nabors, John Barron, and David Zwolinski.</p><p>What does Herbie Hancock's music from the '60s mean to you?<img src="//d10j3mvrs1suex.cloudfront.net/u/189300/1602b46ffe8267e806d1ce1ab0ad7c7a9a29703b/original/cantaloupe-island-album.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></p><p>I will address what his composition style means to me.</p><p>There is a spaciousness in his tunes, even the more busy ones. Think of Maiden Voyage, Finger Painting, and even the brisk One Finger Snap. In the most basic analysis, you can hear how often he uses whole notes or tied whole notes as well as prolonged rests in his melodies. I can't think of too many jazz composers who do that, save his long time compatriot Wayne Shorter. Even his harmonic rhythm is generally slow moving, not the rapid fire chord progressions of the be-boppers or his oft band-mate and prolific composer Wayne Shorter. I think he writes tunes this way to give the rhythm section plenty of room to maneuver and be creative while accompanying the melody (Ollioquiy Valley). I have noticed that when performing Herbie tunes with various rhythm section players, they always play more "outside the box" than they normally would. I love that about well crafted tunes, how they can push the composer's vibe onto the bandstand.</p><p>Going along with spaciousness, I feel his melodies are neither bright nor dark, but comfortably stay neutral in the most hip way. Often times when his melody is angular, atonal and busy (One Finger Snap, Survival of the Fittest, Eye of the Hurricane), he is able to sweeten it up so not to be shrill or too bright. Likewise when he has a gentle flowing melody (Dolphin Dance, Tell Me a Bedtime Story), he can brighten it so it isn't too heavy or plodding. One way I think he manipulates melodies is through his chord choices underneath.</p><p>He also has many "groove" tunes that are heavily based on blues and swing, but usually are off-set with a wrinkle or two. Tunes like Watermelon Man, Driftin', and Cantaloupe Island are all based on the blues form one way or another, but with a twist. Watermelon man is a blues with an extended turnaround, Driftin' is not a blues form at all, but prominently features the I7-IV7 chord movement that is so characteristically the blues, and Cantaloupe Island is a minor blues with a substitute for the IV.</p><p>Harmonically, Herbie writes tunes that synthesize the be-bop tradition with modal jazz and the blues...a true post-bop artist. Most are not too esoteric and usually follow a very logical progression and any time there is dissonance, he follows it up with a one or two chord vamp section. He keeps the listener engaged through this use of balance; complexity and simplicity, forward motion and stagnation, both sides play an equal role as he doesn't favor one over the other.</p><p>Herbie always arranges his tunes deftly. The role of piano and bass are of vital importance as he has very specific bass lines and piano 'hooks.' It's hard to imagine Cantaloupe Island without the exact bass line or piano thing on it. The rhythm section 'hits' are crucial, too (Dolphin Dance, Driftin').</p><p>I thoroughly enjoy listening to and performing Herbie's music. They make me a better musician by learning, studying and playing them and they make me a better person by listening to them. I hope you take the time to sit down with some vintage 1960s Herbie at some point and step into his world.</p><p>Peace, Love and Harmony,</p><p>James</p>James Hughestag:jameshughesmusic.net,2005:Post/59118772019-10-01T16:01:01-04:002023-12-10T11:58:04-05:00Joe Henderson LIVE AT THE LIGHTHOUSE<p><strong>The "James & Jimmy" Jam is back! </strong>After a summer long hiatus, we have regrouped and are ready to come out swinging!</p><p>It was sad to see our Wednesday home at The Black Lotus fold up, but it provided us with a much needed mental break. We are very excited to be starting a new monthly series at Cliff Bells doing the same thing we did the past three and a half years. We will feature a different rhythm section each month and play the music of a particular composer or recording and then open things up for a jam session. This will happen the first Wednesday of each month from 8pm-12am.</p><p>This month at Cliff Bells we will be presenting the Joe Henderson recording LIVE AT THE LIGHTHOUSE (1970). I thought I would take a little time here to blog my thoughts about this underground album beloved by so many musicians.</p><p><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/316acc69d7a15e1bd2fc177912e8e39ae687c88b/original/joehenliveatlighthouse.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_" />The Lighthouse Cafe located in Hermosa Beach, CA has long been a favorite spot for jazz musicians to play when out on the west coast. They first started featuring jazz there in 1949 and for the most part have had jazz there ever since. So many great recordings have come from that room, and on each one, you can hear relaxed, uninhibited and inspired playing proving that is a special venue. Players like Lee Morgan, Jazz Crusaders, Elvin Jones, Cannoball Adderly, and Art Blakey have all recorded there. But our attention is on Joe Henderson's dynamic quintet that recorded there on Sep 24 1970.</p><p>The lineup is one not heard to often together and provided crazy energy that sizzles from the first downbeat. Woody Shaw (tpt), George Cables (elec pno), Ron McClure (b) and Lenny White (d) all bring the heat. The tracks are made up of Joe Henderson originals and a couple standards. What's really refreshing is to hear Joe's tunes recorded years after him playing them nightly as opposed to the Blue Note recordings where they were very new to him and the band still. These versions of Blue Bossa, Recorda Me, Isotope, Shade of Jade and Mode For Joe sound more open and the band stretches out on them. Joe's technique is on full display burning through Isotope like it's a riff tune or something. I think one reason so many jazz musicians like this album is because we get to hear Joe and Woody address these tunes like how we encounter them today, live and raw, opened up with tons of solo space. We get to hear Joe and Woody throw down some wild and woolly language on Mode For Joe and is pretty obvious there is some friendly fire being tossed around. I have heard that Woody was not thrilled with his playing on this record, probably due to the fact that Joe is untouchable here, nevertheless, Woody sounds amazing and is going for it wall to wall.</p><p>The rhythm section deserves recognition, too! Ron McClure anchors the section down, yet still plays super melodic bass lines and pops with Lenny White left and right. Lenny is going full tilt on this recording too, full of fire, but still sensitive and always conversing with the soloist. George Cables is on Fender Rhodes the whole time, which can be overbearing and redundant, but in his hands it never gets there. George doesn't play it like a piano, he honors the sound of the instrument and colors beautifully all the bombastic playing going on around him. His accompaniment on 'Round Midnight is most notable...ears wide open, following Joe wherever he goes, and reharmonizing without losing the integrity of the original tune. He is able to lighten up the dark spots and cast shade on the bright corners of the tune...pure genius!</p><p>If you can't tell, I LOVE THIS ALBUM! Personally, it has had a huge impact on my playing. When I first heard Joe's unabashed, aggressive, rhythmic and sly melodic playing on this record, it was like someone opened a door up for me and said, "come in...you can do this, too!" It was a green light in my playing life and I've been going ever since. I hope you have a moment to check this phenomenal recording out! It's well worth the time :)</p><p>yours in music,</p><p>James</p><p> </p><p><i>Come check us out! The first Wednesday of each month at CLIFF BELLS in Detroit. 8pm-12am</i></p><p>October - Joe Henderson LIVE AT THE LIGHTHOUSE</p><p>November - music of HERBIE HANCOCK</p><p>December - music of CURTIS FULLER</p>James Hughestag:jameshughesmusic.net,2005:Post/57946172019-06-17T16:00:58-04:002023-12-10T11:29:54-05:00New Recording!<p>"The Gates" is out!</p><p>My new sextet record is finally out. I collaborated with Jimmy Smith (trumpet, DET) and John Yao (trombone, NYC).</p><p>Backing us up is a swinging rhythm section: Corey Kendrick (piano), Jeff Pedraz (bass), and Nick Collins (drums).</p><p><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/c0dc5265fed9dd61b23ce3320d3bfbe6ba91ac3e/original/img-9594.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_right border_" /></p><p>We recorded it in 2018 when it was absolutely frigid here in Detroit at Longview Studios under the expert engineering eye of Mark Byerly. Leslie Kelly did the artwork and it was mastered by Chicago sound guru Anthony Gravino.</p><p>Here's a little background on the album...</p><p>Jimmy and I made a trip out to NY, connected with John Yao who Jimmy met back in their college days at Queens College, and rented a rehearsal space to read through some tunes and hang. The three of us had a sound right away...not just blending well, but a unique sound all unto it's own. That was it. We knew we had to record together at some point in the future.</p><p>Over the next few months we planned out a session and each started writing a few tunes. We never talked about exactly what each of us was working on, but had the memory of what we sounded like together.</p><p>The first time hearing all of our tunes was at the first read-through many months later. It was crazy how well each tune went with another. It was like a nine-piece suite. The vibe was so consistent from one to the next we knew we would have a congruent album.</p><p>It has been a pretty funny (funny, weird, amazing) thing to witness come together the past year and I am quite proud of the work we did on it. Everything was recorded in just two short days. Proof of the fact that each one of these cats is a true professional.</p><p><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/09c387d7666f4f8c2b05f51b939121042afc1f07/original/unadjustednonraw-thumb-1e8f.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_" /></p><p>We shopped the album around and were happy to have found Shifting Paradigm Records and are very pleased to be a part of their family.</p><p>I hope you have time to give us a listen and hear our stories told through our tunes.</p><p>You can purchase our music here: <a class="no-pjax" href="https://shiftingparadigmrecords.bandcamp.com/album/the-gates" target="_blank" data-link-type="url" contents="https://shiftingparadigmrecords.bandcamp.com/album/the-gates">https://shiftingparadigmrecords.bandcamp.com/album/the-gates</a></p><p> </p><p> </p><p>Thanks for being you,</p><p>James</p>James Hughestag:jameshughesmusic.net,2005:Post/55275852018-11-26T04:58:18-05:002023-12-10T11:27:51-05:00There Goes Another Year<p>Time seems to run downhill after September and 2018 is coming to a close. We have one more month to complete....er, close the gap....ok, maybe start some of those New Year's resolutions from eleven months ago. Let me tell how how I've fared with my musical goals for 2018.</p><p>Since my college days, I have been trying to create a practice routine that sticks in my schedule, so for the past 20 years I've been tinkering with it. It's an ongoing struggle, but I have learned that specific yearly goals help keep me focused on a somewhat regular regimen. This year was successful in practicing something nearly every day.. a feat I am quite proud of! It is so easy to not do it when I'm busy, sick, or tired...but I didn't cave in and could always do at least 10 minutes of something.</p><p><i>Let's talk about those 'somethings' of practicing.</i></p><p>This year I wanted to expand my comfort level with improvising in 7/4. It was a very fun and gratifying goal because it forced me to focus my listening, transcribe new things and be able to lean into soloing on 7/4 tunes instead of tip-toeing around them. I still have far to go, but at least that proverbial bus is pointed in the right direction!</p><p>I also wanted to work on the Jean-Marie Londeix Nouvelles Etudes...which I have barely touched. It's been an epic fail! I guess it's a good thing there are a few more weeks left in 2018 to try and put a dent in these. It feels that other practice goals take precedent over this one because these etudes don't appear to have a direct influence on my gigs. Not a good mindset, I know.</p><p>Another failure this year has been my goal of transcribing several solo breaks. I love listening to a great solo break...when pulled off with skill, they are condensed bits of improvised magic, full of everything I want in my playing; cozy time feel, good language, clear ideas, and usually a bit of humor. I haven't transcribed one yet! This goal definitely got swept under the rug.</p><p>It's not all bad, though. I wanted to improve my time-feel on tempi between 200-240 bpm as well as smooth out major and harmonic minor scales. I worked on this consistently and was a part of my daily practicing all year long. I am pretty happy about that!</p><p>I wanted to get a couple Joel Frahm solo transcriptions...I did! Check that off the list!</p><p>The last musical goal of note I laid out for myself last January was to acquire more diminished patterns for improvising, to which I have done so. I worked on about six of them early in the year, although only two or three have found their way into my soloing. It's probably time to revisit those.</p><p>It's a crazy busy month coming up (they all are though, right?)...fingers crossed I can get to some of these unfinished goals.</p><p>How are your resolutions coming along?</p>James Hughestag:jameshughesmusic.net,2005:Post/54049632018-08-28T14:36:40-04:002023-12-10T11:29:36-05:002018 Detroit Jazz Festival<p><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/4a654a6bbf0fbce6dfd4a1b28737f67dd7e10b1c/original/jamesnjimmy-laughing.jpg/!!/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_right border_" /></p><p>The HSQ is super excited to be playing a set at the Detroit Jazz Festival! Everyone in the quintet has had a very busy year and involved in many diverse endeavors that we don't get to play together as much as we would like. But we are coming together for this one! We had a fantastic rehearsal last night and are ready to take the stage. Most of our rehearsing is actually conversing and catching up, but we took care of all the necessary spots, lol! We have a very ambitious set planned, we would love to see you out there. Here is a link to the festival website:<a class="no-pjax" href="http://www.detroitjazzfest.org" target="_blank" data-link-type="url" contents="DETROIT JAZZ FESTIVAL">DETROIT JAZZ FESTIVAL</a></p><p>We play on Saturday September 1, 3:30-4:45pm at the Pyramid Stage and will be signing CDs from 5-5:45pm. Come on through! If you have never been, it's a wonderful festival that is completely free!!! If you've been there before, you know how amazing it is to have so much world class talent performing all over from noon to midnight. There is nothing quite like it in the entire world. The vibe downtown Detroit is unlike any other time in the city, too...definitely worth your time :)</p><p> </p>James Hughestag:jameshughesmusic.net,2005:Post/53793482018-08-08T13:08:54-04:002023-12-10T11:29:56-05:00Junior Cook Transcription<p> </p><p>Tonight we will be performing music from Blue Mitchell's classic Blue Note album THE THING TO DO at The Black Lotus Brewery in Clawson. So I thought I would share my transcription of tenor Saxophonist Junior Cook's solo on "Step Lightly." Junior's well conceived lines and logical flow are in full display as is his beautifully large tone and swinging time-feel. Check out how patient he is with different motifs!<img src="//d10j3mvrs1suex.cloudfront.net/u/189300/007f20e8a590469185c3cc0867d7cb0b7721c93b/original/junior-cook-on-step-lightly-tenor-sax.jpg/!!/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/b2fb9243226888f37dd01273044e5a45efcd9205/original/junior-cook-on-step-lightly-2-tenor-sax.jpg/!!/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_" /></p><p>His solo begins <a class="no-pjax" href="https://www.youtube.com/watch?v=tAkn_PjJBWA" target="_blank" data-link-type="url" contents="here">here</a> at 1:08. Also check out a very young Chick Corea on piano! Amazing solos on this record and fantastic 'comping.</p><p>Happy listening! Happy practicing!</p><p> </p><p>James</p><p> </p><p> </p><p> </p>James Hughestag:jameshughesmusic.net,2005:Post/52661342018-05-30T16:45:03-04:002023-12-10T11:33:01-05:00The Reviews are In! All About Jazz Reviews MOTION<p>The HSQ's latest recording MOTION has been out for a few months and reviews are trickling in. The most recent is from the acclaimed website <i>All About Jazz.</i></p><p>Check them out!</p><p> </p><p><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/7719ccd22ba54aa5476ffa691c83d485842f255b/original/motion.jpg/!!/b:W1sic2l6ZSIsInNtYWxsIl1d.jpg" class="size_s justify_left border_" /></p><p><strong>The James Hughes - Jimmy Smith Quintet : MOTION </strong> </p><p>By MARK SULLIVAN allaboutjazz.com May 17, 2018 </p><p> </p><p> Detroit's The James Hughes - Jimmy Smith Quintet keeps the hard bop flame burning in this follow up to Ever Up & Onward (Self Produced, 2015). The album shares the same personnel—this has been a working band since 2013, and they sound like it—and the same positive energy. The program is all originals this time. </p><p>Trumpeter Jimmy Smith's "The Runaround" opens the set with a blast of infectious funk (or perhaps it should more appropriately be called soul jazz, the label popular during the hard bop era). Pianist Phil Kelly adds the Fender Rhodes to his keyboard arsenal for this (and "Waxwing"). Bassist Takashi Iio plays a funky solo, and drummer Nate Winn gets a brief feature at the end. A fine showcase for the entire band. </p><p>"Sidamo" is a Latin/Swing tune built around James Hughes' soprano saxophone. His tune "Rue" has a reflective melody played by both horns, over an insistent drum and bass rhythm. It's the closest thing to a ballad in the program. Or perhaps that honor could go to "Elizabeth," with an insistent modal vamp reminiscent of Herbie Hancock's "Maiden Voyage" (like the opener "Audio Culture" on the previous album). "Gig Fries" is essentially an unaccompanied drum solo (bracketed by a head from the whole band): short and sweet. I'll definitely have fries with that! Feels like it belongs with "Chips & Slaw," which closes the set with more soul jazz. </p><p>It's always a pleasure to hear hard bop played with this much style. Great tunes, great playing, great positive energy—what's not to like? I'm already looking forward to the next installment. </p><p>Track Listing: The Runaround; Intersections; Waxwing; Sidamo; Elizabeth; Rue; Wanting More; Promenade with Molly; Gig Fries; Chips & Slaw. </p><p>Personnel: James Hughes: saxophones (alto, soprano, tenor); Jimmy Smith: trumpet, cornet, flugelhorn; Phil Kelly: piano, Fender Rhodes; Takashi Iio: bass; Nate Winn: drums. </p><p>Title: Motion | Year Released: 2018 | Record Label: Self Produced </p><p>____________________________________________________________________ </p><p>Dear All About Jazz Readers, </p><p>Mark Sullivan is a musician/composer (librarian by profession) with a special interest in bebop-based jazz and experimental music. </p><p>If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. </p><p>allaboutjazz.com - Reporting on jazz from around the globe since 1995</p>James Hughestag:jameshughesmusic.net,2005:Post/50578182018-02-02T11:18:18-05:002023-12-10T12:29:53-05:00The HSQ's Third Album MOTION is Here!<p>The Hughes/Smith Quintet is very happy to announce that our third SELF-RELEASED album is finally here! We called it "MOTION" because that's where we are at, in a state of constant motion. We built it from the ground up, got it running and are enjoying the ride.</p><p><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/48c46215a5ec69beec6618959bba5ecaa3227fb6/original/hughes-smith-fb.jpg" class="size_l justify_center border_" /></p><p>It features the same stellar rhythm section of Phil Kelly (piano & fender rhodes), Takashi Iio (bass), and Nate Winn (drums). Their playing individually and collectively is spectacular, and I am so grateful for their contributions and dedication to this project. We enlisted Mark Byerly to record us again and he knocked it out of the park again! Mark has such a great ear and affinity for our sound, it was very comforting working with him again. This time around we took the mixed tracks to the amazing and storied Mastering Engineer Don Grossing. Don has mastered scads of Grammy Award nominees and winners through his career including Branford Marsalis, Miles Davis and The Rolling Stones. It is such an honor having his finishing touch on our record!</p><p>The album is 10 tracks of all originals and mixes several influences like funk, R&B and the avant garde with our foundation: Detroit Be Bop. We have put our hearts and should into this one and am sure you will enjoy listening to it! </p><p>Check us out at Cliff Bells FEBRUARY 2, 9pm for our CD Relaese Party and pick up your hard copy..we'll sign a copy for you :)</p>James Hughestag:jameshughesmusic.net,2005:Post/50150392018-01-09T15:39:03-05:002022-05-09T02:31:23-04:00Wednesdays in January<p style="text-align: center;">Each and every Wednesday, Jimmy Smith and I put together a set of music featuring a different composer and have a different guest rhythm section in to play with us.We open things up for a jam session after the first set so come on out and enjoy the music and bring your axe and sit in with these stellar musicians! </p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/df27b81604a991b83f67adb094b53508fb9a22ed/medium/james-alto-dirtydog2.jpg" class="size_m justify_center border_" /></p>
<p style="text-align: center;"><span class="font_large"><strong>Every Wednesday at Black Lotus Brewery 9:30pm-12:30am</strong></span> </p>
<p style="text-align: center;">no cover, free parking, full dinner menu </p>
<p style="text-align: center;">1 E 14 Mile Rd, Clawson MI </p>
<p style="text-align: center;"><strong>Jan 3 </strong></p>
<p style="text-align: center;">Music of FRED WESLEY</p>
<p style="text-align: center;">James Hughes - sax Jimmy Smith - trumpet Matt Martinez - trombone</p>
<p style="text-align: center;">Kris Kurzawa - guitar Dale Grisa - piano Tim Shallebarger - bass Jason Gittinger - drums </p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><strong>Jan 10</strong></p>
<p style="text-align: center;">Music of HORACE SILVER</p>
<p style="text-align: center;">James Hughes - sax Jimmy Smith - trumpet </p>
<p style="text-align: center;">Duncan McMillan - piano Sam Harris - bass Pete Siers - drums </p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><strong>Jan 17</strong></p>
<p style="text-align: center;">SCOTT GWINNELL Night!</p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><strong>Jan 24</strong></p>
<p style="text-align: center;">Music of CHET BAKER</p>
<p style="text-align: center;"> Jimmy Smith - trumpet Bob Mervak - piano</p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><strong>Jan 31</strong></p>
<p style="text-align: center;">THE HSQ</p>
<p style="text-align: center;">James Hughes - sax Jimmy Smith - trumpet</p>
<p style="text-align: center;">Phil Kelly - piano Takashi Iio - bass Nate Winn - drums</p>
<p style="text-align: center;"><em>Pick up our new recording MOTION!!! We will sign it for you :)</em></p>James Hughestag:jameshughesmusic.net,2005:Post/49388702017-11-18T16:32:52-05:002022-01-19T15:21:14-05:00Each Wednesday in December<p>Each and every Wednesday, Jimmy Smith and I put together a set of music featuring a different composer and have a different guest rhythm section in to play with us.We open things up for a jam session after the first set so come on out and enjoy the music and bring your axe and sit in with these stellar musicians! </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/ae4d0fa3c7ec53b63ae54033c232ba10ccbfbb17/medium/james-soprano.jpg" class="size_m justify_center border_" /></p>
<p style="text-align: center;"><strong><span class="font_large">Every Wednesday at Black Lotus Brewery 9:30pm-12:30am </span></strong></p>
<p style="text-align: center;">no cover, free parking, full dinner menu </p>
<p style="text-align: center;">1 E 14 Mile Rd, Clawson MI </p>
<p style="text-align: center;"><strong>Dec 6 </strong></p>
<p style="text-align: center;">Music of ZEN ZADRAVEC</p>
<p style="text-align: center;">James Hughes - sax Jimmy Smith - trumpet Dominic Bierenga - sax</p>
<p style="text-align: center;">Zen Zadravec - piano Rocco Popielarski - bass David Zwolinski - drums </p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><strong>Dec 13</strong></p>
<p style="text-align: center;">Music of TOM HARRELL</p>
<p style="text-align: center;">James Hughes - sax Jimmy Smith - trumpet </p>
<p style="text-align: center;">Zen Zadraveck - piano Jeff Pedraz - bass Pete Siers - drums </p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><strong>Dec 20</strong></p>
<p style="text-align: center;">WAYNE SHORTER'S album "The Soothsayer"</p>
<p style="text-align: center;">James Hughes - sax Jimmy Smith - trumpet Keith Kaminski - sax </p>
<p style="text-align: center;">Phil Kelly - piano John Barron - bass Pete Siers - drums</p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><strong>Dec 27</strong></p>
<p style="text-align: center;">JOHN COLTRANE'S album "Blue Train"</p>
<p style="text-align: center;">James Hughes - sax Jimmy Smith - trumpet Rob Killips - trombone </p>
<p style="text-align: center;">Phil Kelly - piano Takashi Iio - bass John Hill - drums</p>James Hughestag:jameshughesmusic.net,2005:Post/48006822017-08-02T19:00:13-04:002023-12-10T11:54:06-05:00Black Lotus Jam in August<p>Each and every Wednesday, Jimmy Smith and I put together a set of music featuring a different composer and have a different guest rhythm section in to play with us.We open things up for a jam session after the first set so come on out and enjoy the music and bring your axe and sit in with these stellar musicians!<img src="//d10j3mvrs1suex.cloudfront.net/u/189300/86c0932e9ff63c4606622120d60489598dc2d3ca/medium/james-temnor-profile3.jpg?1501714942" class="size_m justify_center border_" /></p><p style="text-align:center;"><span class="text-big"><strong>Every Wednesday at Black Lotus Brewery 9:30pm-12:30am</strong></span></p><p style="text-align:center;"><span class="text-small">no cover, free parking, full dinner menu</span></p><p style="text-align:center;"><span class="text-small">1 E 14 Mile Rd, Clawson MI</span></p><p style="text-align:center;"><strong>Aug 2</strong></p><p style="text-align:center;">Music of KENNY BURRELL</p><p style="text-align:center;">James Hughes - sax Jimmy Smith - trumpet </p><p style="text-align:center;">Jacob Schwandt - guitar Rocco Popielarski - bass Tom Starr - drums</p><p style="text-align:center;"><strong>Aug 9</strong></p><p style="text-align:center;">Music of KENNY DORHAM</p><p style="text-align:center;">James Hughes - sax Jimmy Smith - trumpet </p><p style="text-align:center;">Corey Kendrick - piano Jeff Pedraz - bass Jeff Shoup - drums</p><p style="text-align:center;"><strong>Aug 16</strong></p><p style="text-align:center;">Music of CEDAR WALTON</p><p style="text-align:center;">James Hughes - sax Jimmy Smith - trumpet Terry Kimura - trombone </p><p style="text-align:center;">Duncan Mcmillan - piano Ben Rolston - bass</p><p style="text-align:center;"><strong>Aug 23</strong></p><p style="text-align:center;">Hosted by Scott Gwinnell</p><p style="text-align:center;"><strong>Aug 30</strong></p><p style="text-align:center;">The ELECTRIC MUSIC of MILES DAVIS</p><p style="text-align:center;">James Hughes - sax Jimmy Smith - trumpet Phil Whitfield - keyboards </p><p style="text-align:center;">Kris Kurzawa - guitar Takashi Iio - bass Jesse Kramer - drums</p>James Hughestag:jameshughesmusic.net,2005:Post/47134762017-05-18T08:58:46-04:002023-12-10T11:31:51-05:00Wednesdays in May at The Black Lotus Brewery<p style="text-align:center;">Trumpeter Jimmy Smith and I host an evening each and every Wednesday where we feature a different rhythm section and jazz composer for the first set. After that, we open things up for a jazz jam session and encourage all members of the jazz community to participate, from beginners to seasoned professionals, swinging in the spirit of collaboration and community.</p><p style="text-align:center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/0176cb57ed89a884e2608205af074c3e0b05cfa0/medium/lotus-jam-session.jpg?1495112617" class="size_m justify_center border_" /></p><p style="text-align:center;"><strong>Every Wednesday from 9:30pm-12:30am at The Black Lotus Brewery</strong></p><p style="text-align:center;"><strong>5/3 </strong></p><p style="text-align:center;">Music of CLIFFORD BROWN </p><p style="text-align:center;">ft. Jimmy Smith, James Hughes, Corey Kendrick, Stephen Boegehold </p><p style="text-align:center;"> </p><p style="text-align:center;"><strong>5/10 </strong></p><p style="text-align:center;">Music of BOBBY HUTCHERSON </p><p style="text-align:center;">ft. Jimmy Smith, James Hughes, Peyton Miller, Phil Whitfield, Sam Chase Harris, Jesse Kramer </p><p style="text-align:center;"> </p><p style="text-align:center;"><strong>5/17 </strong></p><p style="text-align:center;">Music of BRAD FELT </p><p style="text-align:center;">ft. Steve Wood, Terry Kimura, Duncan McMillan & George Davidson</p><p style="text-align:center;"> </p><p style="text-align:center;"><strong>5/24 </strong></p><p style="text-align:center;">Music of EDDIE HARRIS </p><p style="text-align:center;">ft. Jimmy Smith, James Hughes, Leonard King, Matt LoRusso & Rocco Popielarski </p><p style="text-align:center;"> </p><p style="text-align:center;"><strong>5/31 </strong></p><p style="text-align:center;">Music of JIMMY HEATH </p><p style="text-align:center;">ft. Jimmy Smith, James Hughes, Scott Gwinnell, Jeff Pedraz, & Pete Siers </p><p style="text-align:center;"> </p><p style="text-align:center;">pay what you want cover - free parking - jam session after first set </p><p style="text-align:center;">1 E. 14 Mile Rd, Clawson, MI</p>James Hughestag:jameshughesmusic.net,2005:Post/46606862017-04-06T13:13:49-04:002022-05-31T07:38:08-04:00Every Wednesday in April at Black Lotus<div style="text-align: center;">Here is a list of the things we are presenting at Black Lotus Brewery this month. I hope to see you there one of these Wednesdays! There is ample free parking in back, pay what you want cover charge, full menu, and award winning crazy-good brews on tap. It's also a very friendly, casual environment :)</div>
<div style="text-align: center;">
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/6d5c58ef809adc6f249efe02a422eacea21e8192/small/jimmy-james-profile.jpg?1491498601" class="size_s justify_center border_" /><br><em>Every Wednesday from 9:30pm-12:30am<br>James Hughes & Jimmy Smith host THE LOTUS JAM</em>
</div>
<p style="text-align: center;"><span class="font_regular"><strong>4/5 </strong></span></p>
<p style="text-align: center;"><span class="font_regular">Music of THAD JONES </span></p>
<p style="text-align: center;"><span class="font_regular">ft. Jimmy Smith, James Hughes, Scott Gwinnell, Rocco Popielarski, & Bill Higgins </span></p>
<p style="text-align: center;"><br><span class="font_regular"><strong>4/12 </strong></span></p>
<p style="text-align: center;"><span class="font_regular">Music of PAT METHENY </span></p>
<p style="text-align: center;"><span class="font_regular">ft. Jimmy Smith, James Hughes, Kris Kurzawa, Dale Grisa, Damon Warmack, & Jesse Kramer </span></p>
<p style="text-align: center;"><br><span class="font_regular"><strong>4/19 </strong></span></p>
<p style="text-align: center;"><span class="font_regular">Music of PAUL MOTIAN </span></p>
<p style="text-align: center;"><span class="font_regular">ft. Jimmy Smith, James Hughes, Michael Malis, Joe Fee, & Stephen Boegehold </span></p>
<p style="text-align: center;"><br><span class="font_regular"><strong>4/26 </strong></span></p>
<p style="text-align: center;"><span class="font_regular">A night with the DALE GRISA QUINTET </span></p>
<p style="text-align: center;"><span class="font_regular">ft. Kris Kurzawa, Bobby Streng, Takashi Iio, & Quentin Joseph </span></p>
<p style="text-align: center;"><span class="font_small">pay what you want cover - free parking - jam session after first set </span></p>
<p style="text-align: center;"><span class="font_small">1 E. 14 Mile Rd, Clawson, MI</span></p>James Hughestag:jameshughesmusic.net,2005:Post/45544822017-01-18T11:46:11-05:002023-12-10T12:59:55-05:00Learn to Read Music!<p>This is for all my non-musician friends! I am eternally grateful for your friendship and support in my musical endeavors. I am not sure if anyone is that interested in this or not, but I thought I would put it out there with the thought that someone might benefit. <br><br>I know it sometimes seems like music is magic, and it is in a way, but it's more linguistic than mystic. <img src="//d10j3mvrs1suex.cloudfront.net/u/189300/72a93cf06b27275c7a75a976033fc7b34acd0b4d/medium/james-with-music.jpg?1472498588" class="size_m justify_right border_" /><br>I want to help you read music! So here we go!<br><br>We name the notes A, B, C, D, E, F, and G.<br>After G comes A and it cycles through like that forever. ABCDEFGABCDE...<br><br>Noteheads are positioned on lines and spaces, 5 lines and 4 spaces to be exact.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/a26582d6afda60e0ae61f7242d9a8085586f853a/small/treble-clef.png?1484757554" class="size_s justify_left border_" /></p><p>We will deal with treble clef first, that is what most instruments read from (Trumpet, Sax, Guitar, Clarinet, Flute, Violin) and it looks kinda like a cross between $ and &. </p><p>The notes that appear on the Spaces, from the bottom up, are F-A-C-E. Obviously, it spells the word 'face.'<br><br>The notes that appear on the lines, from the bottom up, are E-G-B-D-F..."Every Good Boy Deserves Fudge' is a way to remember the order.<br><br>Notice that the first line is E, the first space is F, second line is G, second space is A, next line B, next line C, etc. See the pattern? When you go line-space-line-space, it spells the "musical' alphabet, on and on and on it goes.<br><br><br>The rules for the bass clef (Trombone, Bass, Cello, Tuba) are very similar to that of the treble, just off set by one line/space. <br>The spaces are A-C-E-G. "All Cars Eat Gas." The lines are G-B-D-F-A, or "Great Big Dogs Fight Animals." <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/991617a2f23e88725bb219991c7dde91296e8ff8/large/yco4rz7gi.jpeg?1484757619" class="size_l justify_center border_" alt="" /><br><br>You might also notice that when going from line to line it spells out every other letter of the musical alphabet. A-C-E-G-B-D-F-A....that's how it works from bottom up...if you want to read them top down, it's backwards...F-D-B-G-E-C-A-F...<br><br>If you are so inclined, there is a great app that uses flash cards to help you, it keeps score and advances you through levels. It is called "Notes! Learn To Read Music" and is only $1.99. Check it out, it will get you reading notes in days. It even can help you learn where the notes on the piano are...bonus!<br><br>I hope you are inspired to learn the written language of music and thank you for your support of live music!<br><br>Peace!<br><br>James</p>James Hughestag:jameshughesmusic.net,2005:Post/44973462016-12-05T15:48:26-05:002023-03-02T21:24:57-05:00Black Lotus Jams 2016 Retrospective<p>Trumpeter Jimmy Smith and I have been hosting the Black Lotus Jam every Wednesday since October of 2015. We only missed one week due to inclement weather!<br><br>One!<br><br>Each week we highlight the music of a particular jazz composer or recording with a varying rhythm section. Here is a list of the composers/albums we have presented:<br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/7983d45b0216a3df6b159fd980c53c8813fcc045/original/lotus-unity.jpg?1480969935" class="size_l justify_right border_" /><br>Larry Young "Unity"<br>Hank Mobley "Soul Station"<br>Lee Morgan<br>Weather Report<br>Brecker Brothers<br>Freddie Hubbard<br>Scott Gwinnell<br>Wes Montgomery<br>Billie Holiday<br>Oopapada<br>Barry Harris<br>Fred Wesley<br>Herbie Hancock<br>Dexter Gordon<br>V.S.O.P. Quintet<br>Art Blakey & The Jazz Messengers<br>The Adderley Brothers<br>Kenny Dorham<br>The Jazz Crusaders<br>Horace Silver's "Cape Verdean Blues"<br>Wayne Shorter's "Speak No Evil"<br>Miles Davis' "Milestones"<br>Chet Baker<br>Pat Metheny<br>Cedar Walton<br>Andrew Hill<br>Freddie Hubbard/Woody Shaw<br>Cannoball Adderley<br>Blue Mitchel's "The Thing To Do"<br>Lee Morgan's "Cornbread"<br>Eddie Russ<br>Thad Jones<br>The Hughes/Smith Quintet<br>Lou Donaldson's "Mr. Shing-a-Ling"<br>Tom Harrell<br>Miles Davis' "Bitches Brew"<br>JJ. Johnson<br>Mulgrew Miller<br>Billy Drummond's "Dubai"<br>Jimmy Heath<br>James Williams<br>Kenny Burrell<br><br>And here is a list of the phenomenal musicians who have performed with us:<br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/3e023f028c9c7b2cc48b7f604fc61f999137e5e8/original/lotus-jam-session.jpg?1480970114" class="size_l justify_right border_" /><br>Phil Kelly<br>Scott Gwinnell<br>Phil Whitfield<br>Glenn Tucker<br>Dan Karlsberg<br>Mike Malis<br>Daniel Meinecke<br>Duncan McMillan<br>Corey Kendrick<br>Galen Bundy<br>Dale Grisa<br>Bob Mervak<br>Taylor Pierson<br>Kris Kurzawa<br>John Gallo<br>Matt LoRusso<br>Larry Barris<br>Takashi Iio<br>Jeff Pedraz<br>Jordan Schug<br>Miles Brown<br>Eric Nachtrab<br>Damon Warmack<br>Chuck Bartels<br>James Simonson<br>Dan Kolton<br>Kurt Krahnke<br>Louis Leager<br>Sam Harris<br>Rocco Popielarski<br>Craig Kowalski<br>Jack McDonald<br>Nate Winn<br>Bill Higgins<br>Pete Siers<br>Jesse Kramer<br>Stephen Boegehold<br>Jason Gittinger<br>Ron Otis<br>Leonard King<br>George Davidson<br>David Zwolinski<img src="//d10j3mvrs1suex.cloudfront.net/u/189300/da3dee23e47b7185560da9b494c5298a7cd9e7d6/original/lotus-jammers.jpg?1480970705" class="size_l justify_right border_" /><br>Steve Nistor<br>Adam James<br>John Hill<br>Rick Beamon<br>Jeff Shoup<br>Rob Avsharian<br>Terry Kimura<br>Rob Killips<br>Matt Martinez<br>Chris Smith<br>Keith Kaminiski<br>Marcus Elliot<br>Mark Byerly<br>Nicole New<br>Liz Smith<br><br>And then there all the many cats that have come to sit in!<br><br>I am sure I am missing something or someone because there is a lot to remember! But I am so thankful for the opportunity to learn this music with this incredibly talented pool of Detroit musicians! Detroit is a gem of a music city, and specifically a JAZZ city...and it is only that way because of the folks that come out and LISTEN and the clubs that support it! Let's all do our part to keep this going!!!</p><p><br>peace, love & harmony,<br><br>James</p>James Hughestag:jameshughesmusic.net,2005:Post/43473092016-09-10T15:27:01-04:002023-12-10T11:32:00-05:00Learn From the Best: DEXTER GORDON<p><br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/0da5a7d457b3528ebc26e487ed2f9bad4748c6b0/medium/dexter-gordon2.jpg?1472499440" class="size_m justify_center border_" /><br>Transcribing is still the best way to learn how to improvise. Often times, I transcribe bits and pieces and never write anything down. My main goal is to quickly acquire small melodic phrases to use in my soloing, or to figure out just what that artist was playing for the sake of curiosity. On occasion though, I will take the time to write out a solo in order to analyze it. I'll just look and listen to it without trying to play it. That is what I did with this one. Here is a list of devices Dexter Gordon uses in the first three choruses of his solo on "Stanley The Steamer" from his 1969 recording Tower Of Power. Notice how clear he plays ideas!<br><br>1. Melodic Sequence<br>2. Descending Arpeggio<br>3. Blues Scale<br>4. Triadic Material<br>5. Digital Pattern 123<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/4ec1f932880867f2dc149e8bc016695b3be7de6d/original/transcription-stanley-the-steamer-tenor-sax.jpg?1472498207" class="size_l justify_center border_" /></p><p>His solo begins at the 0:32 mark:<br><a class="no-pjax" href="https://www.youtube.com/watch?v=c4zS54IBt6Q&list=PLrUkdEXIMqeV85BsIswh1hOSBaTWzxpS-&index=3" target="_blank" data-link-type="url" contents="https://www.youtube.com/watch?v=c4zS54IBt6Q&amp;list=PLrUkdEXIMqeV85BsIswh1hOSBaTWzxpS-&amp;index=3">https://www.youtube.com/watch?v=c4zS54IBt6Q&list=PLrUkdEXIMqeV85BsIswh1hOSBaTWzxpS-&index=3</a><br><br>Happy practicing! Happy listening!<br><br>James<br> </p>James Hughestag:jameshughesmusic.net,2005:Post/42750702016-07-12T11:56:59-04:002017-01-16T12:03:59-05:00Teaching Jazz In The ForestSo I have been deep in the Manistee National Forest teaching Jazz to high school students the past couple of weeks. If you are not from Michigan, look at your hand with your thumb to the right...it's located beneath your pinky :)<br><br>Classes ran from 8am-5pm with a decent break in there for lunch (and a nap!). We played recordings for them, rehearsed their ensembles, taught improv techniques, scales, arpeggios, jazz vocabulary, transcribing, taught instrument techniques like tone production and finger dexterity, and had many small but great conversations with each other. I think if these kids become the leaders of tomorrow, we will be in good shape! These students are so thoughtful, considerate, intelligent, respectful and concerned. Now if they would only memorize their scales!!! JK!<img src="//d10j3mvrs1suex.cloudfront.net/u/189300/513756000a0fe85c7605d751a9db47d1b2ae8bcb/medium/jazz-faculty-2016.jpg?1468338756" class="size_m justify_right border_" /><br><br>I also enjoyed hanging with the Jazz Faculty, an incredible collection of players/educators. These cats have a lot to say on their instruments and are deep, funny and caring individuals. It's difficult to be away from home that long, but these friends make it possible. We put together a faculty recital and collaborated with the Art Dept. which was centered around the theme of "fire." We performed a continuous set of music, all original arrangements and two original compositions while four artists improvisation-ally painted to our music. It was a thrill to perform this way! What I like most about this "happening" is that you have the ability to ponder the artwork that captured the abstract form of music that dissipates as soon as its created.<img src="//d10j3mvrs1suex.cloudfront.net/u/189300/d3814d6c8d93d7157c5c3d1919e5d9dcf2bfe312/small/fire-art-1.jpg?1468338802" class="size_s justify_left border_" /><br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/6930de6922f4c7ce2db20aba113475bfda199ee7/small/fire-art-2.jpg?1468338802" class="size_s justify_left border_" /><br>We did record the music from that night and will be aired on Blue Lake Public Radio July 16 2016. It will be available <img src="//d10j3mvrs1suex.cloudfront.net/u/189300/33d95196e1780f5143e56fc470bd57ab03b0875d/small/fire-art-3.jpg?1468338803" class="size_s justify_left border_" />on demand after that from the radio <a contents="website" data-link-label="" data-link-type="url" href="http://bluelake.org/radio/" target="_blank">website</a>.<br><br>So my take-away from the past two weeks...be the best-version of yourself and share it with others! That's it!<p> </p>Peace!James Hughestag:jameshughesmusic.net,2005:Post/41833342016-05-16T16:33:22-04:002022-04-21T22:04:49-04:00Sonny Red<iframe class="justify_center" data-video-type="youtube" data-video-id="yBaZWG6GXFU" data-video-thumb-url="http://img.youtube.com/vi/yBaZWG6GXFU/0.jpg" type="text/html" src="https://www.youtube.com/embed/yBaZWG6GXFU?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="200" width="320" allowfullscreen="true"></iframe><br>Sonny Red is an often forgotten soul in the pantheon of hard bop, but a real favorite of mine. His "Detroit sound," that buoyancy in his tone and beautiful melodic lines with a real feel for the blues..gets me every time! You can take any 2 beats out of this solo and they would stand on their own. Nothing earth shattering here, a few scale patterns, arpeggios and Bird licks, but how Sonny put it together...pure joy!<p> </p><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/13b09a776305add82f77391503d21f0e0c5aec42/large/sonny-red-solo-all-i-do-is-dream-alto-sax.jpg?1463430595" class="size_l justify_left border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/a0a4e93a454364c7b6dcbc92a7dd5efccef13a88/large/sonny-red-solo-all-i-do-is-dream-2-alto-sax.jpg?1463430667" class="size_l justify_left border_" />James Hughestag:jameshughesmusic.net,2005:Post/41676292016-05-09T16:16:14-04:002018-01-14T20:40:38-05:00Doctor ProfessorDr. Prof Leonard King is a storied jazz drummer, vocalist, composer and teacher from Detroit. He has performed with the James Carter Organ Trio, Roy Brooks' Aboriginal Drum Choir, The Soul Messengers, a host of Motown recording artists, and is the leader of the Dr. Prof. Leonard King Orchestra as well his own original small group Oopapada. Many folks have wondered about his nickname "Doctor Professor." All you need to do is chat with him on a set break to find out why; he knows more about American music history and Detroit history than almost any man alive.<img src="//d10j3mvrs1suex.cloudfront.net/u/189300/2559519e7d8c4cbfe525f58b25425bf85be52950/medium/leonard-king-1.jpg?1462483635" class="size_m justify_left border_" /><br><br>He is most passionate for his original music and I am fortunate enough to get to play it with him on a regular basis. His group Oopapada was created as an organ trio featuring Chris Codish (organ) and Bob Tye (guitar). Many years later, he has re-created the group as a quartet, replacing guitar with two horns...that's where I come in! Rounding the group out is Jimmy Smith on trumpet. We rehearse weekly in Leonard's basement where one can catch a glimpse of his library...hundreds of books on music, history, banking, and a plethora of other niche topics. His music encapsulates his knowledge and discovery of human truths, sometimes enigmatically, but always grooving! I know much of our time 'rehearsing' is talking and sharing ideas, and usually him defining words in his titles...Leonard is very creative when it comes to the English language, he likes to invent new words and repurpose old ones to describe situations and personality traits. Check out some of these song titles: Crept Dema Wrongma, Vapor Lock Bop, Post '80s Methusela Blues, and Imperative Unit Rising. <br><br>Leonard recently gave an interview for Mike McGonigal at Metrotimes, here it is:<p><a contents="http://www.metrotimes.com/Blogs/archives/2016/05/04/show-preview-oopapada-this-friday-at-black-lotus" data-link-label="" data-link-type="url" href="http://www.metrotimes.com/Blogs/archives/2016/05/04/show-preview-oopapada-this-friday-at-black-lotus" target="_blank">http://www.metrotimes.com/Blogs/archives/2016/05/04/show-preview-oopapada-this-friday-at-black-lotus</a></p>The Dr. Prof. Leonard King Orchestra recently released an album, "This Time and Again Forward." Be sure to check it out! <br><br><br> James Hughestag:jameshughesmusic.net,2005:Post/41646352016-05-03T19:43:00-04:002017-01-16T12:03:59-05:00Every Day Something NewI have quite a week lined up! Each day is something new and different and although it presents a challenge, I am really looking forward to each gig. I totally love my life in music!!!<br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/32b0562e367d731a3687b90c31ac5e9d88ef2485/small/james-tenor-yellow.jpg?1462318932" class="size_s justify_right border_" /><br>Wednesday at <a contents="Black Lotus" data-link-label="" data-link-type="url" href="https://www.facebook.com/events/521271988083277/" target="_blank">Black Lotus</a> we will be playing there music of Lee Morgan. Lee almost single-handed defined the Blue Note sound of the 1960s, fusing be bop with latin rhythm & blues, the boogaloo and gospel music. This will be a blast! Joining me is Jimmy Smith (trumpet), Scott Gwinnell (piano), Jeff Pedraz (bass) and Bill Higgins (drums).<br><br>Thursday at <a contents="O'Malley's" data-link-label="" data-link-type="url" href="https://www.facebook.com/events/219986285033427/" target="_blank">O'Malley's</a> we have a slamming group put together to play some Brecker Brothers and Jazz Crusaders things. It will be Jimmy Smith (trumpet), Dale Grisa (keys), John Gallo (guitar), Takashi Iio (bass) and Steve Nistor (drums). Hearing John Gallo play the solo on Song For Barry will be worth your entire evening.<br><br>Friday back at the <a contents="Black Lotus" data-link-label="" data-link-type="url" href="https://www.facebook.com/events/1727458464138969/" target="_blank">Black Lotus</a> I will be playing with Leonard King's OOPAPADA. Dr. Prof. King write all the music and lyrics for this group and showcases his wry wit and insight into politics, society truisms and his perspective on life. I love playing with Leonard every chance I get, not only for his knowledge of music and things, but his creative and original voice on the drums.<br><br>Saturday I will be with <a contents="Ben Sharkey" data-link-label="" data-link-type="url" href="http://www.bensharkey.com/#!" target="_blank">Ben Sharkey</a> and the <a contents="Woodward Horns" data-link-label="" data-link-type="url" href="http://woodwardhorns.com" target="_blank">Woodward Horns</a>. We will be playing some of Ben's originals as well as a cart-full of classic standards. I have been working on arranging a tune as have the other cats and am really looking forward to hearing them come to life with this swinging band.<br><br>OK, that's enough blowing for me, I have to go practice.<br><br>peace,<br><br>JamesJames Hughestag:jameshughesmusic.net,2005:Post/41515142016-04-24T14:44:49-04:002022-05-31T16:35:23-04:00All About Jazz Review of "Ever Up & Onward"Wow! I am really grateful for the attention that my latest recording has received. Jimmy Smith and I put a lot of blood, sweat and tears into this project and it feels good knowing that people are checking it out and getting something positive from it. We have so much love for the jazz musicians of Detroit, both past and present, and it is our sincere hope that we do them justice!<br><br>Here is Mark Sullivan's full review:<br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/1d93c980cfd3edc81d4968ec4d7cc343ab702698/medium/ever-up-onward.jpg?1453832893" class="size_m justify_right border_" /><p>Detroit was once a vital jazz center, contributing some of the major hard bop artists of the 1960s: Hank, Thad, and Elvin Jones, Tommy Flanagan, Barry Harris, Paul Chambers, Kenny Burrell, and Ron Carter, just to name a few. The James Hughes & Jimmy Smith Quintet honors that tradition by playing mostly original hard bop with real flair. In addition to being strong soloists, saxophonist James Hughes and trumpeter Jimmy Smith contribute all of the compositions and arrangements. </p>
<p>Smith says that the opener "Audio Culture" was inspired by trumpeter Woody Shaw. It's also reminiscent of Herbie Hancock's "Maiden Voyage" in its insistent modal vamp, and introduces the band in a bright, upbeat fashion, with pianist Phil Kelly turning in an ebullient solo. Smith's "East Detroit" has a similar modal sound, driven by an ostinato figure doubled by bass and piano, inspired by the group's drummer Nate Winn . Hughes contributes "Dots," another upbeat song he describes as "like a sugar rush." "Zebras, Penguins and Bunny Rabbits" (the favorite animals of Hughes' three nieces) has a catchy tune that could make a good TV show theme. </p>
<p>The first cover tune in the set is also the closest thing to a ballad, a creative arrangement of the traditional "There Is A Balm In Gilead," which features a fine solo by bassist Takashi Iio. The album closes with two standards. "I'll Remember April" is a jam session favorite, given a fresh latin arrangement to keep things from being too predictable. "I'll Close My Eyes" is played straight, a swinging, romantic ending to the program. This is consistently up music—in the sense of being mostly up-tempo, as well as energetic and optimistic. Ever Up & Onward is an especially apt title. A distinctly modern take on hard bop, Detroit style. </p>
<p>Track Listing: Audio Culture; Dots; Luca's Interlude; East Detroit; There Is A Balm In Gilead; Drum Intro; Viridian; Zebras, Penguins and Bunny Rabbits; Keepin' It Real; Transgender Fenderbender; I'll Remember April; I'll Close My Eyes. </p>
<p>Personnel: James Hughes: saxophone; Jimmy Smith: trumpet; Phil Kelly: piano; Takashi Iio: bass; Nate Winn: drums. </p>
<p>Year Released: 2015 | Record Label: Self Produced | Style: Modern Jazz<br><br><iframe class="justify_inline" data-video-type="youtube" data-video-id="k20s5acHcZM" data-video-thumb-url="http://img.youtube.com/vi/k20s5acHcZM/0.jpg" type="text/html" src="https://www.youtube.com/embed/k20s5acHcZM?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="200" width="320" allowfullscreen="true"></iframe><br><br>Make sure to sign up for my mailing list! I don't send out spam nor do I solicit your business! It is simply a monthly newsletter letting you know where I am performing and any projects am I involved with. <br><br>Thanks folks!<br><br>James </p>James Hughestag:jameshughesmusic.net,2005:Post/41393762016-04-16T11:20:40-04:002017-01-16T12:03:59-05:00AXS Reviews "Ever Up & Onward"I was totally blown away by the review The HSQ got by online music website <a contents="AXS" data-link-label="" data-link-type="url" href="http://axs.com" target="_blank">AXS</a>. Music critic <a contents="Carol Banks Weber " data-link-label="" data-link-type="url" href="https://www.axs.com/hughes-smith-quintet-climbs-ever-up-onward-for-modern-detroit-post-bop-80751" target="_blank">Carol Banks Weber </a>not only gave our album a favorable review, she really dug into our compositions and understood where Jimmy and I are coming from, musically and personally. I am not shy about severe criticism either, brutal honesty is very helpful in a musician's pursuit, but this was pretty heart-warming. It's nice to know that our music can resonate with folks, that is after all what we have dedicated our artistic lives to!
<p>Here is the review in it's entirety:</p><iframe class="justify_inline" data-video-type="youtube" data-video-id="8Ov10PDtIAM" data-video-thumb-url="http://img.youtube.com/vi/8Ov10PDtIAM/0.jpg" type="text/html" src="https://www.youtube.com/embed/8Ov10PDtIAM?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="200" width="320" allowfullscreen="true"></iframe>
<p>Oftentimes, the reviews and liner notes of other people tend to interfere with a listener’s singular enjoyment of a record on its own. The listener needs to hear for himself without an outside force telling him what to feel and how to think. In the case of the Hughes-Smith Quintet’s latest jazz album from Detroit, a backstage glimpse of what’s going on with the 12 tunes is an absolute requirement to completely enjoying the modern sounds up close. </p>
<p>In the liner notes for the James Hughes-Jimmy Smith Quintet’s sophomore album, Ever Up & Onward, the song descriptions glimpse the fun the musicians had putting the songs together, as well as the poignant moments that inspired some of them. For the fun, upbeat, bluesy throwback “Dots,” Hughes described writing it tantamount to capturing the feeling of a “sugar rush, bursts of color and playful energy. I think we all need that from time to time. When I wrote this, it reminded me of the sound and feeling of laughter when musicians get together.” </p>
<p>When the listener has a chance to compare what Hughes described and what is played, the accuracy is uncanny, and a testament to what this Quintet can do. </p>
<p>The Hughes-Smith Quintet is saxophonist James Hughes and trumpeter Jimmy Smith, with a trio of fine musicians holding up the rhythm section. The Detroit jazz sound of the 1950s-‘60s becomes a whole other experience in the post-millennium in the care of Hughes, Smith, pianist Phil Kelly, drummer Nate Winn, and bassist Takashi Iio. </p>
<p>Ever Up & Onward, released on March 15, 2016 independently, is the Quintet’s second album and a modern, hard bop take on the jazz unique to Detroit. Detroit jazz is a little edgy, very soulful, with plenty of room to groove between both, and all under the cover of a smooth, skillful, sophisticated set of straight-ahead enthusiasts who really comprehend the mood and the chops involved. </p>
<p>The chops and the feel involved in pulling off eight original tracks — written by Hughes or Smith, three favorite standards, and a phenomenal drum intro from Winn set this Quintet apart. </p>
<p>All Music’s Thom Jurek dug the Detroit vibe from the onset. “The Motown sensibility at the heart of ‘East Detroit’ — established by drummer Nate Winn’s eternal groove and bassist Takashi Iio’s solid walk — is given wings by Smith’s song-like trumpet solo,” Jurek wrote, referencing just one of several outstanding cuts. “…Since the release of From Here on Out in 2013, JSJHQ have earned more bandstand experience, reflecting a growing confidence in their compositions. As a result, Ever Up & Onward more than lives up to its title.” </p>
<p>With a band as tight as this one, the temptation is to do nothing but show off. But the Quintet is confident enough in its chops to go with the flow of each song, whether it swings hard or soft. Nothing is too soft as to be boring. You can tell these musicians understand straight-ahead jazz at the core; there must always be strong, pivotal movement, and with this album, there most certainly is. </p>
<p>Actually, with a straight-ahead band as tight and talented as this one, the outstanding pieces tend not necessarily to be the flash cards but the subdued, underrated gems, like the cover of the African-American spiritual, “There Is A Balm In Gilead.” </p>
<p>These guys infuse so much class into the already soulful 1800s ballad, just a little of this, just a little of that, a piano sprinkled like fairy dust in between the lush horn lullaby turned up several notches, a hush of a barely simmering fire in the drums and bass. There’s plenty of room to mess it up, or muddy it up with unnecessary drama — unless you’re Hughes, who, like many jazz musicians, grew up in the church. </p>
<p>He arranged this piece as something special, dear to his heart. Again, those enlightening liner notes. “I grew up in the church, always sang in the choirs and played piano for them, even did a 10-year stint as choir director. This has long been one of my favorite spirituals. It deals with our experiences, pains and hardships, to which we often shake our head and ask, ‘Is there no remedy?’” </p>
<p>In Hughes’ arrangement and the Quintet’s playback, there is. They play this spiritual with heart and hope, a warm tone to the measures, and an underlying grace in the lift of the keys, the flow-over of the bottom notes… They play this spiritual with the grace that’s perhaps missing in a lot of real fire and brimstone churches with pastors who tend to emphasize hell over heaven. </p>
<p>Smith is especially outstanding in his trumpet solo, which flickers over the lamplight of the rhythm section rolling steady under Winn’s command. </p>
<p>For jazz bands, it’s easy to play up chops in the never-ending battle for one-upmanship. Far too often, jazz musicians forget feeling in their haste to prove they belong in the technically advanced club. Not these musicians. They come prepared to serve both.</p>
<div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/2851cf7ac72022faceb8b0848e3ff0392540f9e9/medium/hsq-everup-sessionday2.jpg?0" class="size_orig justify_center border_" /><p class="caption">Nate Winn (d), Takashi Iio (b), Jimmy Smith (tpt), James Hughes (sax), Phil kelly (p), Jeff Pedraz (prod.)</p></div>James Hughestag:jameshughesmusic.net,2005:Post/40562122016-04-02T18:57:29-04:002022-04-21T22:03:20-04:00Speak No EvilThis past week has been spent by listening to and practicing the music from Wayne Shorter's quintessential album SPEAK NO EVIL. Thom Jurek of AllMusic describes it as "the avant-garde meets the hard-bop of the 1950s head on and everybody wins." The compositions are so deep you could write a text book on them and the playing is equally phenomenal. Freddie Hubbard, Herbie Hancock, Ron Carter and Elvin Jones. What a line up! You can hear a little free jazz, avant-garde, bebop and modal playing in everyone's solos. Recorded on Christmas Eve in 1964, it truly marks that time in history when all these genres of jazz had developed enough to be mixed together. <br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/3f440aab45fb7f8c79c9f6bfe9cceeb411e11ad3/medium/0541040852e7f9206a0a424a6321653d.jpeg?0" class="size_m justify_left border_" /><br>This Wednesday I will be joined with Detroit drummer Bill Higgins who said something that got me thinking. He noted that Wayne had recorded the albums Night Dreamer, JuJu and Speak No Evil, had transitioned from being Art Blakey's musical director and started with Miles Davis...all within nine months! I did a little more digging and found out that in that year (1964) in addition to his own three albums, he recorded Search For The New Land (L. Morgan), Indestructible (A. Blakey), The Big Beat (A. Blakey), Pices (A. Blakey), Some Other Stuff (G. Moncur III), The Individualism Of Gil Evans (G. Evans), and Miles In Berlin (M. Davis). 10 fabulous recordings in a year!<br><br>What were the other cats up to that year? Herbie and Ron just joined Miles Davis' new quintet, Herbie Ron and Freddie recorded Empyrean Isles. Elvin Jones was really busy that year: Judgement (A. Hill), Today and Tomorrow (M. Tyner), In 'n Out (J. Henderson), Night Dreamer (W. Shorter), The Individualism of Gil Evans (G. Evans), Crescent (J. Coltrane), Matador (G. Green), Tony Bennet Jazz (T. Bennet), Bob Brookmeyer and Friends (B. Brookmeyer), Solid (G. Green), Proof Positive (J.J. Johnson), JuJu (W. Shorter), Talkin' About (G. Green), Into Something' (L. Young), Inner Urge (J. Henderson), McCoy Tyner Plays Ellington (M. Tyner), A Love Supreme (J. Coltrane), Guitar Forms (K. Burrell) and finally, whew...Speak No Evil (W. Shorter)! WOW! What a year for Elvin! Sure makes me feel lazy.<br><br>In Wayne's own words about the song selection for Speak No Evil, he says “I was thinking of misty landscapes with wild flowers and strange, dimly-seen shapes — the kind of places where folklore and legends are born.” <br><br>It has been quite an education diving into this recording again after many years. There is so much to learn from in the compositions, not to mention the improvising styles both individual and collective. Dance Cadaverous has at first glance strange harmonic movement, but what I discovered was a common thread that ties each chord change together. He hides a shifting B minor triad through them all, sometimes altering one note but always returning to that B minor sound. It really makes the harmony sound veiled. I also really dig the patience Wayne has with using melodic motifs and sequences evidenced in Witch Hunt and Infant Eyes. In similar fashion, Witch Hunt's melody stays the same while the chord shift underneath...pretty hip! <br><br>All the technical stuff aside, I just want to get to those mystical landscapes. Hopefully we can do this monumental recording justice.<br><br>peace,<br><br>James<br> James Hughestag:jameshughesmusic.net,2005:Post/41010082016-03-23T02:05:30-04:002017-01-16T12:03:59-05:00Heavy Metal Bebop<img src="//d10j3mvrs1suex.cloudfront.net/u/189300/32b100adeb8e02e7dafedcf60be7183c2db743e5/medium/hsq-ctifreddy.jpg?0" class="size_m justify_left border_" /><br>This week at Black lotus we put a spotlight on the music of The Brecker Brothers. Needless to say, I've been preoccupied with this task the past few weeks! It's been a lot to prepare for starting with putting the tunes down on 'paper.' You won't find much of their stuff in any of the fake books, and the ones that are in there are not too accurate or helpful. We had to build this set from the bottom up. And of course once getting the charts written, we had to spend time individually practicing them. We got together once to rehearse them and man is it sounding good!!! I can't wait to perform them!<br><br>A few things I have picked up by listening a bunch and shedding their stuff: They make everything sound so easy and relaxed when in actuality, it's pretty intricate. The technical demands are quite high and is pushing us all to our limits. It's a lot of fun reaching further and I am sure that the cats in the band have all grown musically because of it.<br><br>Randy Brecker did most of the writing for the group...I didn't realize that until digging deeper into their repertoire. And man can he write s tune! Beauty, sophistication and grit. And of course he's just a beast on the trumpet taking crazy good solos and playing essentially lead trumpet parts with ease. Such a great musician!<br><br>I also have been checking out multiple performances of single tunes at different times during their career. They constantly change up the forms and solo spaces where every performance is truly different than the next. The smallest nuance is incorporated and flawlessly executed...what a tight band!<br><br>Well thats all for now folks! I am thoroughly inspired by these two titans of music and I hope you are too! And I hope we do their tunes justice!!!!James Hughestag:jameshughesmusic.net,2005:Post/40654872016-02-29T12:17:08-05:002022-04-21T22:06:19-04:00Barry HarrisThis week at our Black Lotus Jam, we present a set of music featuring the compositions of pianist Barry Harris. Mr. Harris is one of jazz's most prolific educators having mentored thousands of students and hosting weekly workshops for decades. He has always been a Detroit icon, revered by the Detroit jazz community because when so many Detroit musicians were headed to New York, Mr. Harris stayed here to cultivate the scene. Even after finally transitioning to New York, Detroiters still consider him their own.<br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/660316d499ad88ce0dd23087566b85b8d4cae318/small/51qe7x-dcql.jpg?0" class="size_s justify_left border_" /><br>His playing style is well documented - the tremendous influence Bud Powell and Charlie Parker had on him. His tunes are less recognized however, and that is what we will be looking at this week. His compositions are rooted in the bebop tradition, full of ii-V-I progressions that often snake through by half or whole steps, and lots of melodic sequences. But there is a churning rhythmic sense behind all of them that reveal his "Detroit-ness." Each melodic statement is almost always answered with a rhythmic statement and each melody has a lilt to it, even the straight-eighth tunes. All of his tunes, and there are a lot of them, are terrific solo vehicles, too. Logical and easy chord changes, but still very original and singular, make them a blast to play over.<br><br>On a personal note, I got to play the Detroit Jazz Festival with Mr. Harris two years ago with the festival's jazz orchestra. In rehearsal, he was so casual, genuine and warm. He didn't say much, but he was very present in the moment. At one point in the rehearsal, he stopped and looked around the band and honed in on me. I could see his wheels turning, and then he opened his eyes wide and asked, "would like to solo on this one?" Of course I jumped at the opportunity! I think he was looking for the youngest guy in the band. Always the teacher, mentor, helper.<br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/06f779c18b39abc7c192f27e925072daa3025371/medium/jamesbarry.jpg?0" class="size_m justify_right border_" /> <br>I have had such a good time listening, transcribing and practicing these tunes the past few weeks! Here is our set list for Wednesday: Barengo, Like This, High Step, Luminescence, Even Steven, and of course, Nascimento. We love you Barry Harris!<br><br>JamesJames Hughestag:jameshughesmusic.net,2005:Post/40467562016-02-17T17:22:21-05:002022-04-24T14:06:30-04:00Apps for PracticingNothing is better than time spent with your instrument practicing the things that need working out. Technical facility is something that always needs developing, refining and refreshing...no matter the age, stage or phase of life we are in. Here are some of the apps I use on a regular basis and recommend to my students:<br><br>1. ProMetronome. We all have a metronome, but this one can be with you at all times and doesn't need batteries...besides it's free!<br><br>2. n-TrackTuner. An accurate tuner that gets the job done, also free!<br><br>3. iRealPro. It's an app that plays the chord changes to over 1,000 tunes with bass, piano and drum sounds. Great for working on improvising and memorizing tunes as well as "cheat sheets" for gigs. It can change keys, tempi and number of repeats. It can even transpose after each chorus if you want to take Cherokee through 12 keys or whatever. It costs a little $, but is totally worth every penny!<br><br>4. UnReal Book. I use this to upload all my PDFs of charts I have written. Searching for charts is quick and you can even make set lists. I have over 500 in mine...so nice not to have to carry a huge binder full of charts spilling out everywhere.<br><br>In addition to these apps, I use the Stopwatch function on my iPhone constantly to monitor my practice time as well as the Notes app to journal my practicing. I also use the Voice Memos function to record snippets of an exercise or tune for later review and reflection.<br><br>Well, I hope this helps and inspires you to hit the woodshed!<br><br>James<img src="//d10j3mvrs1suex.cloudfront.net/u/189300/ceb272122bd95d20697001eae17cc880faaf167a/small/hsq-everupsession-horns-day2.jpg?0" class="size_s justify_center border_none" alt="" />James Hughestag:jameshughesmusic.net,2005:Post/40293962016-02-07T12:57:41-05:002016-02-07T13:03:21-05:00Spending Some Time With Cannonball Adderley RecordsLast week at our weekly jazz gig at Black Lotus Brewery, we featured the music of the Adderley Bros. So I was shedding Cannonball solos all week, something I did a whole lot of when I was much younger. Cannonball was one of the earliest and most significant influences on my approach to jazz. But, it's been a while since I was digging deep into his bag and revisiting him was so insightful and productive. I picked up a few gems through transcribing his solo on "Jeanine" off the Paris 1960 record.<br><br><iframe class="justify_inline" data-video-type="youtube" data-video-id="Hb--OwowhaQ" data-video-thumb-url="http://img.youtube.com/vi/Hb--OwowhaQ/0.jpg" type="text/html" src="https://www.youtube.com/embed/Hb--OwowhaQ?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="120" width="200" allowfullscreen="true"></iframe><br><br>It is well documented, but his articulation is so inventive! He does the odd groupings of slurred to tongued, like a 3 + 2 + 2, etc. which when combined with the shape of his lines is so fresh and popping. He also will ease up on the syncopation by tonging every eighth note for a measure...works real well for a release of rhythmic tension. <br><br>Besides his unique articulation schemes, I was really getting into his "inside" vocabulary. A couple things in particular I heard him doing a bunch; one was his be-bop navigation through dominant II7 - V7 turnarounds; second was hip little minor licks taken up a minor third. I know both of these ideas are quite common, but the way Cannonball plays them pops out to my ear. How often does that happen to us as students and as teachers of music? We can hear the same message over and over again, but for some reason it doesn't resonate until one person come along and says the same thing a little differently and KAZAAM the lightbulb comes on!<br><br>I try to record some parts of my practicing each day, here is a snippet of me implementing some of Cannonball's ideas on the tune "It Could Happen To You."<br> 3:46James Hughestag:jameshughesmusic.net,2005:Post/40033462016-01-22T22:37:46-05:002017-01-16T12:03:58-05:00Friday January 22, 2015 "A Full Week of Jazz!"I am getting ready for a super busy week of jazz gigs. It is going to be an intense work schedule, but it's what I live for!!!<br>Here are my thoughts about the different musics, artists, and venues:<br><br>Bobby Murray's <a contents="Tribute to Etta James" data-link-label="" data-link-type="url" href="http://atcallahans.com/sliders/the-music-of-etta-james-click-here/">Tribute to Etta James</a> is a collective of serious blues musicians. Etta's music is so greasy, soulful and sassy. She didn't side-step anything, but got straight to the point. If all you know of her work is "At Last," you might be surprised to learn how diverse her tastes were. There is jazz, soul, rock and gut busting blues in there. The one common thread is that her music was 100% human emotion. The three singers that will be featured (Joe Jolley, Lenny Watkins, Tosha Owens) all capture that spirit. Ms. Tosha Owens singing "I'd Rather Go Blind" is a life-changing event! She sings with authority, personality, desperation, power and grace. And don't forget the leader, Bobby Murray. Many of us know well his mastery of the blues language, but what makes him so special to me is his spirit. He is ALWAYS in a good mood! Smiling, loving life and playing his butt off. To top it off I am in the horn section with some of my best friends, <a contents="THE WOODWARD HORNS" data-link-label="" data-link-type="url" href="https://www.facebook.com/woodwardhorns/">THE WOODWARD HORNS</a> (Jimmy Smith, Bobhy Streng and Matt Martinez).<br><img src="//d10j3mvrs1suex.cloudfront.net/u/189300/e08ef5b62d6a6db6364994cd72ce54dda60f0912/medium/hsq-james-cliffs.jpg?1453520132" class="size_m justify_left border_medium" alt="" /><br>On Monday I play with the Paul Keller Orchestra in Ann Arbor at Zal Gaz Grotto. The PKO has been playing every Monday night for over 20 years! The band's birthday is coming up soon and is a testament to Paul's dedication to music. I love playing each week with PKO because it keeps my skills honed. I get a chance to sight-read a bunch of charts (work on my instant conception!), keep my clarinet, flute, alto and tenor saxes crisp, work on ensemble playing, sharpen my listening skills and stay connected to many great friends in this crazy business.<br><br>The <a contents="Black Lotus Brewery" data-link-label="" data-link-type="url" href="http://www.blacklotusbrewery.com">Black Lotus Brewery</a> in Clawson is developing into an oasis for professional musicians. They have a new music room adjacent to the brewery with a wonderful stage and PA. I will be there on Sunday with <a contents="The Scott Gwinnell Jazz Orchestra" data-link-label="" data-link-type="url" href="http://www.wscottjazz.com">The Scott Gwinnell Jazz Orchestra</a>. I have been with Scott from the beginning when we were playing at the Circa Lounge. Scott has his own unique voice through his compositions and arrangements that shine is this stellar group. I will also be there Wednesday with my own group <a contents="The Hughes/Smith Quintet" data-link-label="" data-link-type="url" href="https://www.reverbnation.com/thehughessmithquintet">The Hughes/Smith Quintet</a> playing the music of Art Blakey & The Jazz Messengers. We will have Keith Kaminski with us...I am looking forward to that because I absolutely love sharing the stage with other Saxophonists and Keith is the man!<br><br>Thursday I will be with my quintet again, but this time at <a contents="O'Malley's" data-link-label="" data-link-type="url" href="https://www.facebook.com/OMalleys/">O'Malley's</a> in Livonia. This club was just remodeled with an emphasis on live music. They too have a great stage with an amazing sound system built in. They have a very supportive built-in crowd that loves live music and we are honored to playing our original music there. We have a special guest with us that night, new-comer jazz vocalist, Liz Smith.<br><br>Friday the Hughes/Smith Quintet hits again at <a contents="Motor City Wine" data-link-label="" data-link-type="url" href="http://motorcitywine.com">Motor City Wine</a>. I can't say enough about the cats in the band. Joining us is Pete Siers on drums. Pete is a world of musical knowledge and brings his expertise to everything he does. Last time Pete played with us, he elevated the bandstand until we were all floating! Mix in Takashi's groove on bass and Phil Kelly on piano, be-bop master and an amazing accompanist who always knows just what to play, it's going to be an awesome night!<br><br>Well, time for me to go...I have some practicing to do!James Hughestag:jameshughesmusic.net,2005:Post/39737242016-01-04T23:56:14-05:002016-01-08T23:47:22-05:00Monday January 4, 2015 "Two Incredible Rhythm Sections"This week I have the honor of playing with some of the best rhythm sections in Detroit. <br><br>Wednesday I will be with Scott Gwinnell (piano), Jeff Pedraz (bass) and Steve Nistor (drums). We will be at <a contents="Black Lotus" data-link-label="" data-link-type="url" href="http://www.blacklotusbrewery.com" target="_blank">Black Lotus</a> playing the music of Dexter Gordon. Dexter has had such a profound influence on me as a musician. He truly sings through his horn. When he plays a phrase it sounds like it's the most important thing he has ever played. His ideas are so clear and concrete and he always plays with a big robust tone. He is sometimes romantic, sometimes playful and always swinging!<br><br>Saturday I will be at <a contents="Cliff Bells " data-link-label="" data-link-type="url" href="http://www.cliffbells.com" target="_blank">Cliff Bells </a>with the Latin Jazz group Agaunco that features the rhythm section of Rick Roe (piano), Pat Prouty (bass), Pepe Espinosa (timbales) and Alberto Nacif (conga). Alberto is the band leader and is celebrating his second recording <em>INVISIBLE</em>. It's all original music and is so melodic, tight and captivating. I love playing with these guys, it's going to be fantastic!James Hughes