Since my last post I have been busy with concerts and teaching. Here is a rundown of my latest and future projects.
This is my second year at Riverdale County School. Teaching enriches my playing and satisfies my urge to pass along knowledge to the next generation. The faculty/staff at RCC is top notch.
It has been years since I last played with the Birdland Big Band. What a welcome experience it was to join them again recently. The band has evolved over the years. The trombone section was out of sight with Sarah Jacovino on Lead, Ron Wilkins, and James Browski on bass trombone. I hope to be back there again soon.
Since the closure of Carousel, I am back to “subbing” on various musicals. I was back to one of the most enjoyable shows that I sub at, The Lion king.
I played at Birdland for the CD release of Migiwa Miyagima’s Augmented Orchestra. We recorded the CD last year and I am excited for its release. She packed the house at Birdland and the music sounded fantastic. My mom came out to this one so it was special for me. She lives on the “Left Coast,” so I don’t get to see her everyday.
Rufus Reid’s “Quiet Pride” project took me to Iowa City, IA. The music was challenging and the band delivered an exciting performance. I was impressed with he playing of Ryan Keberly and Michael Dease. Monster players and monster band.
Ron Carters Great Big Band performed at Birdland as well. Mr. Carter takes you on a ride when you are playing with him. He will do something you don’t expect. That is why I love playing in his band. What an honor!!
We had a wonderful concert with the John Eckert New York 9 Nonet at St Peters Church, Manhattan, NY. This is where I have been focus some of my writing lately. This band regularly plays my compositions and arrangements. We have been together for several years and the band is really developing a strong personal sound.
Next week I am busy with The Vanguard Jazz Orchestra. First I am taking over the Lead Trombone Position in the band moving forward. Second, we are beginning the New School Residency with an Open Rehearsal on October 29th from 4-6pm, at 55 west 13th St (2nd Floor). The band will be rehearsing various charts from the book, as well as instituting an emerging composer series.
Third, after the open rehearsal, we pack up and head over to the Village Vanguard for our regular set this Monday, October 29th. Sets are at 8:30PM and 10:30PM. Finally on Saturday, November 3rd, the Vanguard Jazz Orchestra Brings Big-Band Swing to Lawrence Memorial Chapel, 510 E. College Avenue, Appleton Wisconsin, 7:30 p.m. – 9 p.m.
Next month I will be recording with the NEA Jazz Master Jimmy Heath as he puts together another big band album, subbing at the Radio City Musical Hall Christmas Spectacular, and eating lots of “healthy” food for the Holidays.
The Scott Reeves Jazz Orchestra celebrates the release of their 2nd CD, “Without a Trace,” at web Dizzy’s Club Coca Cola on Monday, Sept. 3 (sets at 7:30 & 9:30). Scott’s arrangements and compositions for “Without a Trace,” along with the 2016 release, “Portraits and Places,” span 18 years and embody a life’s work. Check out this profile of the band in the August issue of “Downbeat.”
Michel Camilo is recording his next Latin Jazz Big Band album. I am having a blast grooving with this all-star line-up.
Tonight I am performing with the Grammy Award winning Vanguard Jazz Orchestra at the Village Vanguard Jazz Club in New York City. Sets are at 8:30pm and 10:30pm.
Tonight I am excited to be performing with one of my early influences in music, Tom Scott. We are doing a live recording at NYU.
Since 2008, Flushing Town Hall’s QueensJazz Orchestra, under the direction of NEA Jazz Master Dr. Jimmy Heath, has performed to thousands of jazz lovers, honoring music made popular by jazz icons who called Queens their home, featuring established jazz heroes and the next generation of greats.
This special 10th anniversary celebration on Friday, June 29 at Flushing Town Hall will honor Jimmy Heath and his life’s journey through jazz. Tickets and more at http://bit.ly/QJO2018 http://annatyrrell.com/?author=6
Queens Jazz Orchestra 10th Year Anniversary! – Flushing Town Hall
— Read on www.flushingtownhall.org/event/0eca78ba9ee6f2a731e23e486361b37e
Join us this week, July 18-23 at the Blue Note jazz club in New York City. Paquito D’Rivera leads an all-star big band of Dizzy Gillespie alumni and world-class jazz artists. We will be for performing some of Dizzy Gillespie’s most famous works as well as samba Jazz and Cuban jazz for your enjoyment.
Joining us for the set will be the Grammy nominated artist Roberta Gambarini singing some beautiful selections from the Dizzy Gillespie repertoire.
Wednesday was my first day of teaching at The Dalton School in NYC where I am now the trombone teacher.
My next student was up town at the City College New York where I have taught for 6 years now.
And finally I ended the night at Sunset Blvd. starring Glenn Close.
Jason Jackson performing with Michael Feinstein for a Nat King Cole Tribute
I performed last night with Michael Feinstein and the American Song Book Big Band conducted by Tedd Firth for a tribute to Nat King Cole at the Jazz at Lincoln Center Appel Room. Great concert!!i
Tonight I’m at the South Orange Performing Arts Center in South Orange NJ with the Seaton Hall Faculty Jazz Ensemble. Concert starts at 7:30pm.
There are strict rules governing when a substitute musician is allowed to play on with a Broadway orchestra. One of the rules is that in a given section, if there is a 1st time sub, all the other musicians in that section must be a regular member OR a substitute that has been designated “as good as the regular player.”
Usually a person is not designated until they have played the show quite a number of times. In my case, I’ve played the show three times and tonight I was playing in the section with a first time lead trumpet player.
Although playing with a 1st time lead trumpeter can be nerve wrecking, I took it as a compliment to my playing. All went very well.
Looking forward to performing with one of Broadway’s most fabulous Orchestra’s at “Sunset Boulevard” tonight.
Vanguard Jazz Orchestra performing “Cherry Juice” by Thad Jones
Monday night with the Vanguard Jazz Orchestra
Join our weekly gig at the Village Vanguard.
We will perform the compositions of Thad Jones, Bob Brookmeyer, Jim McNeely and others from our library of over 300 tunes!
Sets 8:30pm and 10:30pm. Door open 7:30
Age limit: All ages
This video is from our rehearsal with Gene Pritsker’s CompCord Big Band ‘NY NY’ for our concert on March 3rd @ 7:30pm, At the Cutting Room, 44 E 32nd St, NYC
David Taylor, Gene Pritsker, Dan Cooper, Joseph Martin Waters, Marie Incontrera, Alon Nechushtan, Anthony Branker, Kinan Azmeh, Franz Hackl, Melanie Mitrano/Gerson Galante, John Clark.
CompCord Big Band, Vesselin Gellev – violin, Melanie Mitrano – voice, Gerson Galante – clarinet, Sebastian Pritsker – voice, Charles Coleman – conductor
Obout the concert:
Composers Concordance’s 6th annual festival, entitled ‘New York // New Music’, will be held from March 3-12, 2017, and will feature new music about NYC by more than 55 composers. The six-concert festival will launch at The Cutting Room, with the CompCord Big Band premiering 12 compositions. Composers will include Kinan Azmeh (“intensely soulful” – The New York Times. “spellbinding” – The New Yorker), as well as Dan Cooper, Dave Taylor, Franz Hackl,, John Clark, Anthony Branker, Joseph Martin Waters, Marie Incontrera and Alon Nechushtan. Composer-vocalist Melanie Mitrano will bring her “swinging, clean, cool and refined” vocals. Violinist Vesselin Gellev, Sub-Leader of the London Philharmonic Orchestra, will premiere Gene Pritsker’s violin concerto with big band. This new composition is about three paintings by New York artist Mark Kostabi, whose canvases are permanently featured at The Cutting Room. A new Arrangement of ‘New York, New York’ will be the finale and feature the voice of 12 year old Sebastian Pritsker. Gerson Galante will be the clarinet soloist and Charles Coleman conducts.
Another wonderful experience subbing at “Sunset Blvd.” last night. The full symphony orchestra on Stage sounded wonderful.
Glenn Close is amazing in this drama.
This week I joined the orchestras of two hit Broadway shows back to back; “Sunset Blvd.” and “Kinky Boots.” For those of you who don’t know what it means to sub on a Broadway show for the first time, It may be interesting for you to get my perspective.
Playing a Broadway show for the first time is like walking a tight rope 50 feet in the air with no net. There is no rehearsal with the band. You get the music and you prepare as best you can without actually playing with the orchestra.
The notes (although absolutely important to NAIL) are the least of your worries. It is the unknown variables that you don’t find out about until you actually get on stage and perform. Theater is live, you never really know what is going to happen. In the case of “Subset Blvd,” some of those variables included the following.
One of the big challenges for all the orchestra members is a lack of space to play your instrument. This is a problem in almost every pit I have played in. While playing the 1st trombon chair at “Sunset Blvd.,” if you move a few inches from side to side, your instrument will hit parts of the set.
Anothe unknowable variable was the music stand being inches from my face. This makes it difficult to see the notes at the top, bottom and sides of the page while trying to follow the conductor. Oh yes… and you can only see the conductor on a small video monitor above the stand which is difficult to see and hard to follow while reading the music that’s too close to your face.
In addition, the trombone section mate (the bass trombonist) was suiting in front of me with a felt curtain between us.
The level of musicianship on Broadway is exceptional. Tonight, my section mate (the bass trombonist) had only played the show once before. In other experiences, this could definitely make my job harder. Luckily “my man” did his homework and played beautifully.
From the conductors perspective, all of these variables are the subs problem. The maestro wants to hear the same thing that the regular musician plays.
It might sound a little stifling to the reader if they have never experienced this level of chaos when they go to work. For the Broadway sub, this is well within our wheel-house. We deal with all of these variables because this is how we make our living.
Tonight the conductor was thoroughly pleased with my performance. To me that means I could be called back. That is the paramount goals.
It’s not all about getting a gig though. The orchestra at “Sunset Blvd.” is one of the best orchestras I have played with. It is also one of the largest. There is a full string section, brass, winds, percussion/drums, and even a harp. Most Broadway shows have less that half of the musicians that are in the “Sunset Blvd.” orchestra. It was truly a joy to play with this fine ensemble.
It was also cool to see Michael Douglas hanging near the musician are. When he saw me and a group of musicians (wearing our tuxes) he said to us “The orchestra sounded beautiful!”
“Kinky Boots” had a whole other set of variables.
Preparing the music was essential, but it is only part of the skill set needed to thrive as a Broadway sub.