tag:anitabrownmusic.com,2005:/blogs/anita-s-blog?p=2Anita's Blog2024-02-04T21:52:58-12:00Anita Brownfalsetag:anitabrownmusic.com,2005:Post/61332342017-08-20T12:00:00-12:002023-12-19T00:30:13-12:00The Moon Takes A Solo: Total Eclipse of the Sun
<p>Many people who were able to see the total eclipse reported being moved by the visual and the experience. I felt the same way and have been trying to figure out why. I think it's similar to what makes us respond to art, music and comedy. The broadly accepted standards in the arts set up expectations for the audience. The degree to which we evaluate something as being outstanding is directly related to its simultaneous adherence and deviation from that expectation. This eclips<span class="text_exposed_show">e did the same. We take for granted that the earth and moon revolve in their own orbits without change; that the sun is just always there. We know this from elementary school science. The sun is enormous, excessively hot, makes us feel better after a storm, shows us how hot it is when we are exposed for too long and feels nice through the window in winter. The moon affects the tides, the water in our bodies and mostly shows itself when we sleep. Its purpose seems less obvious while it calls to us. All the while it is the lesser in size and has no obvious direct relation to supporting life. Today the minuscule, less powerful satellite object that accompanies only us, took control over the largest and most powerful star in our celestial neighborhood to the extent that it confused wild life and insects. By temporarily assuming power over the sun and disrupting life as we know it, the little guy, our moon, exerted temporary control over the standard-bearer, the boss, our sun. She was reduced to her outer component, her corona, throwing our human paradigm upside down. They remain functioning as the accepted standard dictates, but the varying degrees of totality of eclipse offered a strange and novel "celestial artistic solo" open to interpretation thru each person's own filter. The little guy gets his due, if even for a few minutes.</span></p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332332017-08-17T12:00:00-12:002022-07-14T03:38:39-12:00Thoughts on Music Education
<p>The American Federation of Musicians, Local 802, NYC (aka "The Musicians' Union") has asked me to write an essay about Music Education for publication in their monthly magazine called <strong><em>Allegro. </em></strong>Specifically, they have asked me </p>
<p> </p>
<ul>
<ul>
<li>to discuss what I'm offering in my curricula,</li>
<li>how I think I'm making a difference, and </li>
<li>to address the importance of teaching the next generation of musicians.</li>
</ul>
</ul>
<p> </p>
<p>I look forward to writing this and would love to hear from some of my former students here on this interactive blog post regarding</p>
<p> </p>
<ul>
<ul>
<li>how the school music program in which I was your teacher made a difference in your lives,</li>
<li>whether you feel general music and instrumental programs are important to keep in the curriculum and why,</li>
<li>whether you continue to play or attend musical events as a result of your school music experience, </li>
<li>what your current profession, title (rank) and/or self-definition is today, </li>
<li>the city and/or state where you currently reside, and</li>
<li>the school at which you were my student and the year of your high school graduating class.</li>
</ul>
</ul>
<p> </p>
<p>I hope to hear back from a number of former students. </p>
<p>Thanks guys!</p>
<p> </p>
<p><strong><em>~ "Ms. Brown" </em></strong>:)</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332322017-07-29T12:00:00-12:002021-07-18T04:43:23-12:00New Composition Underway
<p>Sketches for a new piece are currently underway. It is a suite and deals with a very specific subject matter. It's baffling me right now. The third movement's melody, changes and groove are solid. The first movement has inspired material that relates to four specific text phrases and therefore, melodic phrases and is harmonically odd. I'm trying to put on my "logical thinking cap" but so far, no luck. The second movement...I think will fall into place. In the oscillating inner dialogue that usually consists of "I'm a genius...I'm an idiot" i'm in the "idiot" stage. Hope the "answer" reveals itself in short order...there are only four more weeks of summer to make formidable progress.</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332312014-05-30T05:48:36-12:002024-02-04T21:52:58-12:00Born Identity: Co-Commissioning Contributors
<p style="margin: 0px;">Deepest Gratitude to the Contributors of the Born Identity Campaign</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;">Contributors:</p>
<p style="margin: 0px;">(P) Private Contributor</p>
<p style="margin: 0px;">(IGG) Indie-Go-Go Contributor</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;">Gary DiMauro (IGG)</p>
<p style="margin: 0px;">Seth Kaplan (IGG)</p>
<p style="margin: 0px;">Nancy Barker (P)</p>
<p style="margin: 0px;">Pete McGuinness, trombonist/arranger (P)</p>
<p style="margin: 0px;">Sumi Tonooka, pianist/composer (P)</p>
<p style="margin: 0px;">Don Messina, bassist (Ted Brown Quartet) (P)</p>
<p style="margin: 0px;">Ted Nash, arranger & alto saxophonist with Lincoln Center Jazz Orchestra (P)</p>
<p style="margin: 0px;">Joop van der Leij, Tristano & Ted Brown fan (P)</p>
<p style="margin: 0px;">Dick Lieb, arranger (P)</p>
<p style="margin: 0px;">David Frank, pianist & Tristano alum (P)</p>
<p style="margin: 0px;">Rafaela Gurtner (IGG)</p>
<p style="margin: 0px;">Gale Cruz, vocalist (IGG)</p>
<p style="margin: 0px;">KC Marsh, film industry (P)</p>
<p style="margin: 0px;">Dr. Maggie Donaghue, U of Miami, Clarinet Faculty</p>
<p style="margin: 0px;">Anonymous (IGG)</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332302014-05-30T02:00:52-12:002016-06-28T23:38:32-12:00BORN IDENTITY Co-Commissioning Campaign goes LIVE with Indie-Go-Go!
<p>Please share this info on facebook, twitter and other outlets. You can help make this co-commissioning campaign happen! Click here:</p>
<p><iframe src="https://www.indiegogo.com/project/born-identity-tristano-inspired-music-meets-anita-brown-jazz-orchestra/embedded" width="222px" height="445px" frameborder="0" scrolling="no"></iframe></p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332292014-05-22T10:06:04-12:002023-12-10T04:51:52-12:00Born Identity: An Arranging Project's Pseudo-Crowdfunding Kick-Off
<div>
<p style="margin: 0px;"><strong>Born Identity</strong></p>
<p style="margin: 0px;"><em>Tristano-Inspired Music Meets Anita Brown Jazz Orchestra</em></p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;">This project delves into the music that I was literally <em>born into.</em> As the newborn daughter of Ted and Phyllis Brown, who met while studying with Lennie Tristano in the original wave of students, I’m told I attended regular sessions in a basket. At the time of my organizing this endeavor, my parents are both 86 years old, with birthdays before year’s end. Of the musicians who forged a playing career from that group of students, the only two who remain musically active in the United States are my father, Ted Brown (tenor sax) and Lee Konitz (alto sax). While not a student, vocalist Sheila Jordan was also on the scene musically and socially.</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;">In the 1950’s, many musicians composed original melodies over the chord progressions of existing standard tunes. Lennie assigned such compositions to his students as a point of departure in broadening students’ concepts of the melodic line. Within the past decade the players and collection of compositions by Lee Konitz, Warne Marsh, Sal Mosca, Lennie and my father have enjoyed increased recognition.</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;">This project entails my writing arrangements of some of the aforementioned compositions for my jazz orchestra. Like any writing project, rehearsing and performance follows the completion of the writing, and plans are fluid. In other words, specifics regarding titles are subject to change. Therefore, this endeavor will be executed in phases.</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;"><strong><span style="text-decoration:underline">PHASE I:</span></strong></p>
<p style="margin: 0px;">Arrangements will be written this summer beginning in June, which will include<em>Featherbed, </em><em>Smog Eyes</em> <em> </em>and <em>Jazz of Two Cities</em> (Ted Brown), and <em>Kary’s Trance</em> and<em>Subconscious-Lee</em> (Lee Konitz). Since 2010, sketches have been on hold for the first of these arrangements, a segment of which was previewed by <em>Anita Brown Jazz Orchestra,</em>with guest artist, Ted Brown: <a style="color: #3b5998; cursor: pointer; text-decoration: none; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif;" href="https://www.facebook.com/notes/anita-brown/born-identity-an-arranging-projects-pseudo-crowdfunding-kick-off/10152135665254632" data-imported="1"></a><a style="color: #3b5998; cursor: pointer; text-decoration: none;" rel="nofollow" href="http://youtu.be/_m8PBsHVXtQ" target="_blank" data-imported="1">http://youtu.be/_m8PBsHVXtQ</a> (Downbeat at 3:23)</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;"><strong><span style="text-decoration:underline">PHASE 2:</span></strong></p>
<p style="margin: 0px;">Additional arrangements will be written beginning this fall for a number of other titles selected from the following: <em>Background Music</em> (WarneMarsh) and <em>April,</em> <em>317 East 32nd</em> and <em>Turkish Mambo</em> (Lennie Tristano) and perhaps others.</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;"><strong><span style="text-decoration:underline">PHASE 3: </span></strong></p>
<p style="margin: 0px;">Rehearsal, editing and performance bookings intended, beginning early Spring 2015.</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;"><em>Anita Brown Jazz Orchestra</em> is a 17-piece jazz orchestra dedicated to playing the original compositions and arrangements of Anita Brown since 2000. It is comprised of New York’s finest Broadway, studio and jazz musicians. Guest artists will be invited to perform the arrangements of the <strong><em>Born Identity</em></strong> collection whenever possible.</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;"><strong>Fundraising begins today for PHASE 1 of <em>Born Identity </em></strong></p>
<p style="margin: 0px;"><strong>The goal is $5000 by June 30th!</strong></p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;">Your contributions would allow completion of Phase 1 this summer. Donations to support this project are tax-deductible to the extent permitted by law through contributions made payable to <strong>Fractured Atlas</strong> on behalf of <strong><em>Anita Brown, Composer/TeachingArtist.</em></strong></p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;">Contributors names will be cited on the blog on my website and will receive exclusive e-mail progress reports at the end of June, July & August. For more information please visit<a style="color: #3b5998; cursor: pointer; text-decoration: none; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif;" href="https://www.facebook.com/notes/anita-brown/born-identity-an-arranging-projects-pseudo-crowdfunding-kick-off/10152135665254632" data-imported="1"></a><a style="color: #3b5998; cursor: pointer; text-decoration: none;" rel="nofollow" href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.anitabrownmusic.com%2F&h=9AQHuekBk&s=1" target="_blank" data-imported="1">www.anitabrownmusic.com</a> and click <em>Donate Now at Fractured Atlas.</em></p>
<p style="margin: 0px;"><em><br></em></p>
<p style="margin: 0px;"><em>Be a part of the <em><strong>Born Identity</strong></em> project! You can help make this happen!<br></em></p>
<p style="margin: 0px;"><em><br></em></p>
<p style="margin: 0px;"><em><br></em></p>
<p style="margin: 0px;"><em> </em></p>
<p style="margin: 0px;"><em><strong><em>Born Identity</em></strong> </em>is an objective of <em><em>Anita Brown, Composer/Teaching Artist,</em> </em>a Fiscally Sponsored Project operating under the 501(c)(3) of <em>Fractured Atlas. <em>Anita Brown,Composer/Teaching Artist</em> </em>is a sponsored project of<em> Fractured Atlas, </em>a non-profit arts service organization.</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;">Contributions for the charitable purposes of <em>Anita Brown, Composer/Teaching Artist</em> must be made payable to "Fractured Atlas" only, and are tax-deductible to the extent permitted by law. See more at: <a style="color: #3b5998; cursor: pointer; text-decoration: none; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif;" href="https://www.facebook.com/notes/anita-brown/born-identity-an-arranging-projects-pseudo-crowdfunding-kick-off/10152135665254632" data-imported="1"></a><a style="color: #3b5998; cursor: pointer; text-decoration: none;" rel="nofollow" href="http://ats.anitabrownmusic.com/" target="_blank" data-imported="1">www.anitabrownmusic.com</a>.</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;">Contributors:</p>
<p style="margin: 0px;"> </p>
<p style="margin: 0px;">Ted Nash, arranger & alto saxophonist with Lincoln Center Jazz Orchestra</p>
<p style="margin: 0px;">Joop van der Leij, Tristano & Ted Brown fan</p>
<p style="margin: 0px;">Dick Lieb, arranger</p>
<p style="margin: 0px;">David Frank, pianist & Tristano alum</p>
<p style="margin: 0px;">Don Messina, bassist (Ted Brown Quartet)</p>
<p style="margin: 0px;">Sumi Tonooka, pianist/composer</p>
</div>
Anita Browntag:anitabrownmusic.com,2005:Post/61332282013-10-01T21:14:16-12:002016-06-28T23:38:32-12:00An Army Chief Warrant Officer (CWO-5) Responds to Disarming The Tempest
<p>I am grateful for CWO-5 DeGuisto's willingness to listen to <em><strong>Disarming The Tempest</strong></em> with me and to share some very personal thoughts about his reaction. As we listened on my stereo I was both nervous and excited, as I always am when I put new works forth. I prefaced the listening session with only the information regarding the four spoken phrases that were used both as speech in orchestral players' parts and to generate melodic material based on the pitch contour of each:</p>
<p><span style="white-space:pre"> </span>1) SO good to see you!</p>
<p><span style="white-space:pre"> </span>2) We're SO glad you made it home alive!</p>
<p><span style="white-space:pre"> </span>3) (warrior's response) Thank you. Thank you very much</p>
<p><span style="white-space:pre"> </span>4) Did you kill anyone?</p>
<p> </p>
<p>This was all the seasoned Army Blackhawk Helicopter Pilot was given, and that he would hear it in different ways passed through the orchestra. Much to my surprise, he turned to me in the middle of the A - section and pointedly asked, "Is this a fire fight?" I answered, "It's the memory of a fire fight, yes...it's supposed to be triggered by hearing all these civilians' comments once the warrior is back in civilian life."</p>
<p>Eddie continued listening, sitting forward on my couch, elbows on knees, facing the speakers and listening stoically. I really didn't have any idea what he was thinking. When the piece was over he began to speak of memories it brought to the surface. He had done his share of medivac missions for wounded grunts in Iraq. As he spoke of what "they," the grunts on the ground, went through he choked up and was overcome with emotion. Being the jovial, prior <em>enlisted Marine </em>that he is, he shook it off reasonably quickly and began to offer ideas of how he thought this piece needed to be offered, to include acting or dance in order to conjur accurate imagery for civilians.</p>
<p>On October 1, 2013 Eddie deployed with his unit to The Middle East. This, the final deployment of his career, will take him through August 2014. Before he left he sent me this response to <em><strong>Disarming The Tempest,</strong></em> for which I am deeply grateful.</p>
<p>Godspeed Eddie!</p>
<p style="text-align: center;">* * * *</p>
<p>The first time I listened to this <strong><em>Disarming The Tempest</em></strong> it took me back four years to when I came home from Iraq. It triggered a release of all the emotions I had back then. There was the feeling of jubilation of being back in the U.S. mixed with the apprehension of an unknown future. There were all these thoughts and memories running through my head. As the piece progressed it brought memories and emotions that had been in the recesses of my mind right to the forefront. It overcame me like a rush of water. The music evoked images of the environment and the terrain of where I had been. It resurrected the feeling of uncertainty I had when encountering both people I knew well and casual acquaintances. They would ask, “What was it like?” I could have spoken to them for hours telling them stories but I realized they really didn’t want to take the time to listen. They wanted short answers that were like bullets. If I started to really talk about Iraq their eyes would glaze over. That was so frustrating.</p>
<p> By the time the piece finished the emotion welled up in me to the point where it just flowed over the edges and had to be released. I felt that this music deserved to accompany a form of action or dance to bring the images in my mind to life so others could see what I see.</p>
<p> I have since listened to this piece a few more times. Knowing what to expect, I can still visualize the images and experience the emotion but am able to control the flow of emotion, which is a good thing. I think more people should be introduced to this piece of music. It would help people understand the emotion connected to serving our country in a combat zone.</p>
<p> -- <strong>CWO-5 Edward C DeGuisto, 42nd CAB, HHC, US Army</strong></p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332272013-09-23T22:33:27-12:002016-06-28T23:38:32-12:00Fourteen Years Ago Today
<div class="notes" style="margin-top: 10px; margin-right: 20px; margin-bottom: 15px; margin-left: 40px;">Originally posted September 24, 2009</div>
<div class="notes" style="margin-top: 10px; margin-right: 20px; margin-bottom: 15px; margin-left: 40px;">
<br>Ten years ago today, at this hour (2:06 am, EDT), I was enjoying time on a gorgeous 70 foot sportfish yacht, docked at Trump Marina in Atlantic City, NJ. After we arrived from Montauk, NY in pretty turbulent seas (9 foot swells as we left Montauk Harbour) the captain and first mate decided that winning several thousand dollars at Black Jack on AC's main strip was simply not enough. While they ventured into Trump Tower to play with their winnings, I remained on the "Angela Z", enjoying the luxury of such an impressive vessel by myself.<br><br>By 4:30 am "Captain Jerry" and First Mate, Mike returned to the boat in an agitated state, having lost ALL of their winnings from earlier. Jerry and Mike lifted the floor in the galley and proceeded to check fuel and oil levels. I suddenly discovered that the thought I had about actually going to sleep was just not going to happen. Captain Jerry decided he wanted to leave "Now." It was approaching 5:00am or so before we were ready to navigate out of the harbour and around the jetty, but it was PITCH BLACK! I quickly learned that the only way to do this is for one chump to stand on the bridge with a high powered flash light, in search of the numbered markers leading out of the waterway to the sea. I was that designated chump; the non-mariner. one of three souls on the vessel.<br><br>By the time we reached open ocean it must have been the other side of 5:30am, perhaps later. Soon we were well underway and the seas seemed moderately choppy. Suddenly the anchor cover flew open from the boat having pitched so hard, that Captain Jerry had to go out on the bow and secure it, as it was clacking around, rather out of control. It was--to say the least--frightening to observe him trying to execute this task while the boat was pitching (moving up and down, from front to back--as I later learned) madly, and his footing seemed to me precarious at best.<br><br>Following that, still in darkness, we all retreated to the relative safety of the bridge. The bench behind the dash housed us all amply, while the bench seat in front of the dash could have seated ten.<br><br>We sat with our feet on the dash, watching for waves coming perpendicular to the bow. These were quickly increasing to five foot waves breaking on the hull. Mike would say, "HERE COMES A BIG ONE!!!!!" and we would brace ourselves with our feet on the dash and "post," much in the same way that one would do in riding a horse.<br><br>Morning light started to seep into the picture to reveal an overcast sky. Personally I was disappointed, as I was awaiting a brilliant sunrise to capture on film. (Yes, film. Pentax K1000, 35 mm, FILM)<br><br>This banter with the sea from the perspective of the bridge of The Angela Z went on for a couple of hours. We were the only vessel in sight. No fishermen, no tankers, no canoes... (yes, I know canoes would never go there).<br><br>By now the entire exposed area of the boat, from bow to stern, was wet, as the waves were breaking and spraying everywhere. Were it not for the zip on windshield we would have been soaked too.<br><br>Now in this overcast daylight somewhere around 7:30am ( I think) I REALLY needed to use the bathroom. Capt. Jerry told me he would "slow down the boat" for me. Wearing Keds wasn't going to help me much in climbing down that ladder, walking to the opposite side of that stern to get in the cabin if we kept moving at that clip!<br><br>Finally in the cabin safely I first noticed a bizarre sight: the double-sided refrigerator had jumped away from the wall and was standing nearly two feet from where it had been earlier.<br><br>Not being a mariner, nothing seemed out of the ordinary. I thought, "Weird. That's what happens to big appliances on a boat?" I just thought that was par for the course. Who knew?<br><br>I dropped my camera on the couch in the "salon" (apparently that's what we're supposed to call the "living room" on a luxury boat the size of a house) and went into "the head" (the bathroom).<br><br>As I was coming out I saw Jerry rummaging around in the entertainment wall for something. Thinking it was a once-in-a-lifetime chance to shoot film in the middle of the ocean (what would I see?) I decided I needed another roll of film, as the one in the camera was spent.<br><br>I took the camera into the "state room" (bedroom) forward of mid-ship where my luggage was. Little did I know, by then, Mike had been granted permission to increase the throttle back to the speed we had been traveling at earlier.<br><br>After loading the camera I proceeded to drop the roll of used film into my luggage, which was open, on the floor. I stood over the soft suitcase in a tennis stance and dropped the roll of film straight down.<br><br>Suddenly--REALLY suddenly--the boat apparently went over a huge wave, climbing up its steep slope with great speed and force. The response to that was the dropping of the vessel into the wave's subsequent trough, even more quickly. With that, I actually remained--like Wile E. Coyote--in the place where I had been, except now, the "deck" (floor) of the boat had dropped from the soles of my feet, leaving me three feet above it.<br><br>For every action there is an equal and opposite reaction, so of course, the boat had to return, while I had to comply with gravity and descend to meet it. I remember hearing something as loud as a gunshot, which I think was the boat hitting the surface of the water at the wave's trough. Following that, of course I had to meet up with the deck again while it was fast ascending to meet me. At the point of impact I saw-- in my mind's eye--my right shin, from about one-third up from my ankle joint, suddenly move to a 45 degree angle, turning inward toward the left leg. I remained standing.<br><br>There was quite a loud "crunch" sound from inside my body to my ears...somehow.<br><br>Being a little stubborn, even though I could see in my mind's eye that my right leg was in serious trouble, I decided, "That did NOT just happen. Now I'm going to stand up." With that I touched my right big toe to the floor and promptly screamed BLOODY MURDER!<br><br>Thankfully Jerry was still in the salon, as the intercom from the bridge to the cabin was not functioning. Who knew there was an intercom anyway and how would I have gotten to it?<br><br>Jerry ran in. I asked him to help me to the floor. He ran up and told Mike to drop anchor. He proceeded to make a May Day call to the Coast Guard, then broke the cutting board in half and splnted me to it.<br><br>Always the "take charge" person in a moment of crisis as a teacher, I instructed him to get me two Advils "for the swelling." HA! The SWELLING? I was a little delusional and perhaps going into shock, or so they say.<br><br>After about ten minutes lying on the floor I started to feel as though my back wouldn't let me wiggle around at all. Suddenly more pain started creeping in.<br><br>About thirty minutes later, a helicopter seemed to be getting increasingly closer until it was quite loud and obviously over head. And then, there were FOUR souls on the boat. "Hi. My name is Dave. What's your name?" "Hi Dave, I'm Anita. (smile) Thanks for 'dropping in'!!" I said as I laughed at the easy pun. "This is Jerry and this is Mike!" (smile)<br><br>Dave took about 30 minutes to pack me up on a stretcher (no basket). I informed him that I needed him to pack up my belongings, knowing I would not return to the boat. So, he did.<br><br>Now Dave an Jerry picked up the stretcher and I said, "Wait. You guys have to put me like this...(demonstrating angle with my forearm) THEN put me through the doorway and then like this, cuz I can't tolerate it if you put me this way...(further demonstration with forearm)"<br><br>Dave and Jerry looked around at the narrow threshold and Dave said, "She's right."<br><br>She's right? OF COURSE SHE'S RIGHT!!! She has observed and supervised the moving of FAR too many vertical pianos for her NOT to be right! Same concept.<br><br>Soon I was hooked up to the helicopter and flying solo (sola?) vertically to greet a RED helicopter against a now perfectly azure sky with no clouds. I may have been strapped to a stretcher, but I still needed to see the boat from up there and just look down BECAUSE! That's all. Just BECAUSE!<br><br>As I started to try to peek over the side I suddenly realized I was taking my life into my hands as the stretcher started to behave erratically. The inner dialogue went something like, "Anita, you're strapped to this stretcher. Your hands are not going to get free without help. If you FALL you're dead. Just relax and lie flat."<br><br>Now the red helicopter was getting bigger, and bigger, REALLY fast. JUST when I thought I was going to slam my face on its belly, a guy holding onto a railing leaned out an SLAMMED his foot on the side of it and stopped it from moving. OUUUUUUUUCH!!!!!! Just jarred, but WOA! Now there are TWO guys! The two of them heave my dead weight into the chopper. A few minutes later...here comes Dave! He has ALL my luggage! "Thanks Dave! Where's Jerry?" "He has to drive the boat into Cape May Coast Guard Station."<br><br>Then I started to freak out. I'm being flown to a hospital by four men I never met and there won't be a single soul I know in the building OR in the town. More than the leg, that was the scariest prospect for me; being alone in a hospital with a serious problem to deal with. Suddenly I started to realize that I had nobody I knew and trusted along side of me. With that, I started to cry and freak out. My mouth was now bone dry. Just dying for some water. "Why won't the give me any water?" I thought. With that, the pilot turned around to me, lifted the helmet shield from over his face, looked straight at me and smiled. He was THEEEEEE most gorgeous man I have EVER seen in my life!!!!! And I just CHILLED! HA! Just like that! WOA DUDE! He handed me his Gatorade and told me not to take a big sip, but just to put some in my mouth and swish it around. So I said, "OK" (smile) OK...now just check out the helicopter Anita and realize "You're in a US Coast Guard Helicopter!!! HOW COOL IS THAT!!!!!!!!"<br><br>So, at the time I actually thought...cast...home. No problem. Little did I know that my right tibia (shin bone) AND fibula (smaller outer bone) were shattered--not fractured but shattered--and that vertebra L3 had been compressed/fractured. I had NO idea I would be living in my parent's living room for the next three months, and that I would be VERY lucky if I got home for New Years' Eve 1999, and even luckier that Tony Kadleck would actually take me to the grocery store before his gig that day and wait on me hand and foot until the groceries were put away, and even luckier that I could drive myself to the local pub, use only one crutch and manage to sit at the bar to ring in the New Year. Lucky. And lucky, VERY lucky to not only NOT be paralyzed from the waist down, but to be walking, jogging, wearing heels, wearing skirts, NOT wearing orthodics or funny shoes and both lucky and grateful that the whole thing happened at all. For as I was riding on the bridge out of Montauk Yacht Club, I was writing music, trying to notate the sound of the infrequent nine-foot swells, hissing and cutting on the side of the hull with the lighthouse off to my right in the distance.<br><br>Those sketches later became the upside down trombone pyramids leading to the climax of "27 EAST" while other sketches became the bass line of the funk shuffle of "Shifting Tides of Montauk."<br><br>The CD itself was financed by the eventual settlement from this episode, following payment of exorbitant hospital bills for my seven-day stay at Atlantic City Medical Center's Trauma Ward.<br><br>Arriving at that location was truly congruous with a scene out of ER. I had to laugh. "Surely this is not THAT serious!" I thought. And all the while poor Dave is running along side of my gurney on wheels, shouting (and I mean SHOUTING) my stats and carrying my suitcase.<br><br>My wardrobe for the day consisted of brand new Victoria's Secret black capri leggings under Jerry's jeans (it was FREEZING on the boat) and the matching set's black tee shirt under Jerry's very cool, embroidered, button down fishing shirt. Making my appearance in the trauma ward, a man in a white coat with an unfamiliar accent for which he rolls his r's in an exaggerated fashion peered over my face and said loudly, "Meeeeeezzz Brrrrrown. We arrrrre going to cut yourrrrrr clotheszzzz offffff!!"<br><br>I replied, "YOU!! WILL!!!! NOT!!!!!!"<br><br>I proceeded to instruct the nurse, who was not only smiling at me but surely laughing that someone gave it back to this guy, as to how to assist me in removing the clothing, although I gave her permission to cut Jerry's jeans. No great loss for me! I still own all the other articles of clothing, believe it or not.<br><br>A while later my brother arrived on the scene. Some time after that both my parents arrived.<br><br>I refused to sign any consent for surgery until they arrived, a decision I know now was not in the best interest of my healing, but it was what I felt I had to do if I was to be put under anesthesia. I refused on the basis of the dangers of surgery without any "next of kin" in the house. See Tony? That's why I showed up for your appendix thing. My fears. That's all.<br><br>On September 25th, Mom's birthday (the day after this fiasco, also my cousin Leah's birthday)I went in for surgery early in the morning. They inserted a rod in the "tibia" (shin bone) and four screws; two at the inside of the ankle and two at the inside of the knee area.<br><br>Recovery was a challenge, but honestly, the first time I was able to sit up in a wheel chair for any length of time at all without being in excruciating pain was one day when Mom said, "There's a Yankees game on. Do you want to try to watch some of it?" SO I said yes. I got into my chair and propped myself in front of the TV. Clemens was pitching. It was the first time I had REALLY paid attention to a pitcher. I was riveted to his concentration. Riveted to that drive, the will to succeed, the focus, confidence and the fact that he's just too damn handsome helped too. I had no pain for the duration of that game. Mom said nothing til it was over. I hadn't noticed I'd been in the chair for at least three hours. Following that, I kept track of the Yanks' schedule and got into that chair for every game remaining through the World Series, and with no pain. Then I said, "If Jeter can do that (stop in mid-air, change direction, pirhouette and make ridiculous plays) then I can walk by Christmas." And I did. And that's why this Mostly Massachusetts Girl is a true, die-hard Yankees fan. Percocet and codeine are OK, but the Yankees rule!<br><br>I will be forever grateful for the daily phone calls during that time from Tony Kadleck and Maria Schneider. Mom and Maria got to know each other quite well over the phone. I will never forget Maria coming to my parents' place with two dozen long-stemmed white & yellow roses, and proceeding to wash my hair for me in the kitchen sink. I am also grateful to all the assistance, visits and calls from Evan Barker (and the subsequent grocery shopping oustings), Tim Horner, Janice Friedman, Glenn Drewes, Joe Mosello and Miles Evans, and of course my parents, to name a few.<br><br>It turned out that the best physical therapist in the world was my nephew, Alexander "Woody" Brown, who turns eleven this November 10th. As I began trying to walk "again," he was learning to walk for the first time! He and I would go down to the ground floor of my parent's building where there is a long corridor. We walked it's length and he would say, " 'GAIN!" (again, without the first syllable). So, I had to walk the length AGAIN! And a little faster. And AGAIN...a little faster.<br><br>Well, here I am and it's almost 4:00am. That hour when, ten years ago this moment, Jerry & Mike came back from the casino having lost all the money. Why did they want to leave in such a hurry? I always wondered. Alas, it turns out...the money they lost? It was the boat owner's. AHHHHHHH!!! AND...for the fact that we pulled into Trump Marina at 10:30pm on 9/23/99, the Dock Master was already gone for the night, not scheduled to return until 6:00am on 9/24/99. OHHH!!! So if we left before 6:00am...you see...we don't pay the dock fee!!!<br><br>In the liner notes of my CD it does, in fact, say "...and thanks to The Atlantic Ocean, my benefactor." Yes, I know what a benefactor is. And it is ultimately The Atlantic Ocean that financed "27 EAST." Pick up your copy today!!!!!!!!!!<br>:-)</div>
Anita Browntag:anitabrownmusic.com,2005:Post/61332262012-10-10T13:20:46-12:002022-05-21T02:56:01-12:00Disarming The Tempest, for Symphony Orchestra
<p>As a selected composer, among thirty-six others nationwide, of the 2012 Jazz Composers Orchestra Institute's "Intensive" workshop at UCLA this past August, I had the option to begin composing a piece for symphony orchestra through a secondary submission. The deadline for the "Readings" segment of this institute is Friday, October 12, 2012. It called for a sketch score for one minute's worth of newly composed music. Eighteen composers will be selected from the pool of applicants. They will have the opportunity to participate in the "Readings" segment during which their works will be read by one of four symphony orchestras in the country.
As of the early morning hours of October 11th I have submitted the required music and documents electronically.
The piece I am composing is entitled "Disarming The Tempest" and is described below in this excerpt from my cover letter. I have no idea whether my piece will be selected as one of the eighteen whose works will be read, but it's great to be included in this forum.
Thanks to Theresa MacDonnell who talked through the brainstorm to arrive at this title, and to Evan Barker for talking me through upgrading my printer/scanner drivers in order to scan in the hand score to "Add Venom, Shake Well" for my work sample. Deepest gratitude also to the combat infantry Marine who generously answered some composer's questions as well as sharing his artwork with me. You know who you are. :) Thank you for all you do. This piece is dedicated to you and all your brothers in arms.
JCOI is sponsored by American Composers Orchestra and Columbia Univeristy. The following is an excerpt from my cover letter to ACO/JCOI:
"The piece for which I submit the enclosed excerpt is entitled "Disarming The Tempest." Its sketches began on September 8, 2012. Its intent and message are consistent with a relatively new personal inspiration to illuminate the plight of returning combat veterans suffering from PTSD (Post Traumatic Stress Disorder). This personal calling is a by-product of my original research and time spent writing and producing my large-scale work, Stand: A Symphony for Jazz Orchestra, premiered in September 2011: www.standsymphony.com.
While generating artistic considerations for "Disarming The Tempest," the book I was reading, Soft Spots by veteran infantry Marine Sgt. Clint Van Winkle, offered a detailed, parallel presentation of this story and guided my plans to a greater extent than I had imagined possible. Therefore, this work is an orchestral narrative akin to the spirit of Sgt. Van Winkle’s book.
The piece is in AB form. The A section and its development represent a window into the tempest within the returning combat veteran dealing with PTSD, while the contrasting B section speaks to every warrior’s goal of Disarming The Tempest brought on by combat, and regaining inner peace.
The exposition reveals four short melodic motives derived from four spoken phrases a civilian might say to a returning combat veteran. The three used are outlined below in order of increasing offensiveness; the third being THE worst and most offensive question one can ask a combat veteran. The fourth is his response.
Civilians’ verbal phrases:
1) So good to see you!
2) We’re so glad you made it home alive!
3) Did you kill anyone?
Combat Veteran’s verbal response:
4) Thank you. Thank you very much.
These phrases are incorporated both as instrumental melodies and also as melodies in unison with speech. The “SPEAK” instruction is passed around the orchestra as the semi-intoned speech is paired with players in unison or harmony. Performance notes will be provided in the score and parts. The character of the accompaniment illustrates the veteran’s internal dialogue, unbeknownst to well-meaning, curious civilians.
As I write, I envision an image, in the A section, of one warrior attending a civilian gathering, much to his discontent, upon return from battle. The spoken phrases impact his focus at this civilian gathering where he feels out of place. Sounds of war manifest through orchestral means, disorient the veteran and conjure flashbacks of the battlefield and this unspoken conflict.
Through its development we hear the veteran’s struggle and resolve to achieve inner peace, as the material morphs, and introduces a contrasting, more peaceful B section. Intermittent flickers of the unspoken conflict continue to remind the audience that the veteran’s struggle is ongoing, personal and invisible." ~AB</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332252012-06-06T00:06:53-12:002023-12-10T07:02:45-12:00Introducing Operation Dovetail
<p> I am proud to introduce "Operation Dovetail," a program designed to assist returning combat veterans and others suffering from Post Traumatic Stress Disorder (PTSD) through learning about what the creative process offers the non-artist. Information is available under EDUCATIONAL SERVICES on the PRODUCTS page of this website. To help support this program and other artistic pursuits, please visit the PRODUCTS page.
</p>
<p>
As a result of my research while composing Stand: A Symphony for Jazz Orchestra, which included meeting a talking to so many Marines and other combat veterans, I became inspired to find a way to assist those who return with PTSD through introducing them to the creative process. While there are programs that are in place for those who already write, draw or paint, this program is for those with no experience in the creative process, and embraces those who have already begun to explore creativity as a worthwhile facet of their lives.
~ ~ ~ ~ ~
Operation Dovetail is a program I have developed for the purpose of introducing returning combat veterans suffering from Post Traumatic Stress Disorder (PTSD) to the creative process.There is no pre-requisite for experience in the arts for participating in this program, contrary to others designed for veterans aspiring to be artists or writers.
The mission of this program is to invite all combat veterans to participate in simple activities designed to illustrate how they might explore this notion on their own time, and encourage greater interest in creative activity.
A website will be designed to connect participating veterans with veteran and civilian artists and artisans in order to find creative outlets they enjoy.
The underlying philosophy behind this program is that engaging in the creative process can improve the quality of life and foster a sense of empowerment. While only one facet of a plan for healing the traumatic and life-changing, unseen wounds of war, it is one that I hope will serve these brave and noble Americans well, as time goes on.
This program does not exclude civilians with PTSD, rather, it will first be offered to recently returning combat veterans, in honor of their inspiring the idea.
For promotional materials outlining this program in greater detail, please e-mail me at info@anitabrownmusic.com
~AB
All Rights Reserved, 2011
~ ~ ~ ~ ~</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332242011-06-02T21:38:43-12:002016-06-28T23:38:32-12:00Stand: Movement V. Stand
<p>On Monday June 6th I will have the privilege of teaching the 10-measure unison vocal theme to from Stand's Mvmt V. Stand (the name of movement 5 is "Stand") members of the Nyack High School Music Department under Director Dr. Doug Bish, along side United States Marine Corps SSgt. James Wallace, Musician Placement Director from the First Marine Corps District in Garden City, NY. SSgt. Wallace is a drummer whom I met on my trip to Washington at the beginning of May.
He and I will teach the simple 10-measure unison vocal theme (which was composed on September 17, 2001) to the students and subsequently play through some different options I am experimenting with, as he plays some different drum feels or "grooves" I am considering for this movement.
In this manner the students will hopefully feel invested in the creation and performance of this piece and become instrumental in assisting me in encouraging the audience to sing along at the end of the piece at its premiere. Meanwhile they will be privy to observing SSgt. Wallace assisting me in working through aspects of the creative process for this unique movement, which juxtaposes jazz improvisation and militaristic material. Look for photos soon (when I fix my computer memory deficiency). The Marines may take some photos to post as well.
The 10-measure theme will soon be posted as a free, downloadable pdf for all of you as well.
SING IT LOUDLY!!!!!!! :)
I will also be broadcasting *live* on another online interview out of Baltimore, MD
Monday, June 6th at 6:00pm on "Cool Jazz Conversations"
Click here:
http://www.blogtalkradio.com/cooljazzconversations
~AB</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332232011-04-18T21:18:29-12:002016-06-28T23:38:32-12:00"O Magazine" Submission
<p>Yesterday one of the journalists who recently interviewed me asked me to please prepare a 100 word paragraph about the "AHAAAA!!! Moment" described on www.anitabrownmusic.com, for submission to Oprah's "O Magazine." Apparently they are gathering a number of these for publication this summer. She got the editor to accept my submission beyond the deadline and is hand delivering mine to said editor. :) Thanks Elzy!!
Here is my submission:
"Early in 1995 I found myself unhappy teaching music in the public schools. While watching Oprah with my best friend Gale, we were deeply inspired by Dr. Carolyn Myss’ introduction of Anatomy of The Spirit. We immediately headed to Barnes & Noble and each bought a copy. Oprah continued to lead me on a spiritual journey through a plethora of books. This gave me the courage to forsake that career and pursue jazz composition. On 9/10/11, Stand will be premiered in commemoration of 9/11/01 with my band, Anita Brown Jazz Orchestra and USMC Silent Drill Platoon: www.standsymphony.com. Thanks Oprah! ~Anita"</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332222011-02-25T11:19:49-12:002023-12-10T05:07:55-12:00Send In The Marines!
<p>I couldn't be happier to announce that The United States Marine Corps Silent Drill Platoon has availed themselves to the premiere of my piece of performance art conceived to integrate their performance with my jazz orchestra. Stand: A Symphony for Jazz Orchestra will be premiered with Anita Brown Jazz Orchestra under my baton and will feature The Silent Drill Platoon in Nyack, NY on September 10, 2011, in commemoration of the American experience of our national tragedy of September 11, 2001.
While I await confirmation of paperwork, the Captain in charge of Operations for the precision drill team indicates that it "...shouldn't be a problem Ma'am."
Please visit the calendar and check back for updates! This is a daunting task so please be sure to visit the website where you can help with a tax-deductible donation through Fractured Atlas. Visit www.standsymphony.com</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332212011-01-27T19:01:59-12:002022-05-22T00:41:02-12:00"He is proudly in command of his CH-53..."
<p>This has been really amazing! What a privilege...
I always follow my nose when I'm writing music. I never question the idea, whether it is musical or to reach out and ask questions or assistance of someone who knows more than I.
Last fall I composed a tune called "Major Nepenthe." In conversation, a friend had the idea of having the sound of the rotars of the Sikorsky CH-53 D (Sea Stallion) or E (Super Stallion) (respectively, medium/heavy lift helicopters) in the production mix of a track when I finally get to record the tune, led me to ask a number of questions about the availability of such material.
What happened was pretty amazing. Through a series of phone calls I made a new friend in a Lt. Col of The United States Marine Corps who is in charge of the logistics for this beast.
I learned that Sikorsky is now making the successor to the heavy left "Echo" (E) Super Stallion. It is called the CH-53K and its lift capacity exceeds that of the D by three. The first one is in the works and all who are involved here are very excited, as I have become.
I was privileged to attend the Change of Command ceremony and meet both officers. They find my plight of acquiring audio of their helo for the purposes of my musical endeavors amusing and want to hear the crude demo for "Major Nepenthe." :) At the same time, armed with newly printed business cards for a project I have yet to publicize, but will any minute now...the response has been truly outstanding.
This afternoon I will have the opportunity to meet with a pilot and hear some of these aircraft for my production purposes. Tonight, another celebration of the Captain's retirement.
You can hear my crude living room demo of "Major Nepenthe" at the music page on this website www.anitabrownmusic.com Just click on the title for the lyrics & back story.
The new project I alluded to is called "Stand: A Symphony for Jazz Orchestra." It is a piece in five movements intended to commemorate the American experience of September 11, 2001. My goal is to have a premiere on or about September 11, 2011, either in NYC or the Washington, DC area. Please visit a special website for the project and leave a comment on the guestbook. Visit www.standsymphony.com.
Always follow the idea...that's what Sikorsky did too.
~AB</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332202010-10-28T02:32:58-12:002016-06-28T23:38:32-12:00The Leading Edge: Earl Gardner, Unedited (Sept. 2010 Issue)
<p><strong>Who were your top three earliest influences as a lead player before you turned thirty?</strong></p>
<p> </p>
<p><strong>Earl Gardner</strong></p>
<p>I was playing in the house band at a night club in Cherry Hill, NJ called “The Latin Casino.” <em>Bill Pusey</em> was the lead player. Every week there was a different act from Sinatra to Gladys Knight, Vic Damone, Cyd Charisse. I really learned about what lead playing was about from him on that gig. </p>
<p> <em>Conrad Gozzo</em> who played with Sinatra was an influence sound-wise, and <em>Snooky [Young]</em> for phrasing. They’re kind of similar; real big, bright but fat, not edgy. They had real brilliant sounds like a sizzle but a fat sound. It had some body and weight to it. Of course, <em>Maynard [Ferguson]</em> had everything. He had a great sound and he could do it all.</p>
<p> <em>Al Porcino</em> taught me how to play lead with Thad and Mel. Originally I was playing third and he was playing lead when I joined the [Thad Jones/Mel Lewis] band. They told me I was going to be playing lead and I didn’t know why. Thad called me into the dressing room and said, “When we get back to New York you’ll move over and play lead.” Turns out it was because Porcino suggested it because he decided to stay in Munich. Normally the second player would move over to play the first chair but Lynn Nicholson was moving to Vegas so the trumpet section was going to shift. That turned out to be my first lead trumpet gig.</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332192010-10-28T02:32:41-12:002022-05-28T08:56:37-12:00The Leading Edge: Tony Kadleck, Unedited (Sept. 2010 Issue)
<p><strong>Who were your top three earliest influences as a lead player before you turned thirty?</strong></p>
<p><strong>Tony Kadleck</strong></p>
<p><em> Bobby Shew</em> was the first lead player I heard who could also play great jazz. He used that sensibility in his lead phrasing.</p>
<p> I studied with <em>Lew Soloff</em> and always admired his fearlessness, which is something needed to play lead. He could do a lot of different things, and when you’re growing up hearing him on all those records, wow! Also guys like Marvin Stamm, Randy Brecker and Alan Rubin, and Jon Faddis…it seemed like those guys were on every record in the ‘70’s and ‘80’s.</p>
<p><strong> </strong>Of the guys I worked with, <em>John Frosk</em> had <em>the</em> sound, in my opinion: “old school,” a wide sound, with tons of overtones. He played lead with a lot of people. He played with The Tonight Show. They invited all those guys to go to LA when the show moved out there but Johnny was so busy he stayed here. He was on Pizzarelli’s first record actually, ’89 or ‘90. It’s called <em>All Of Me.</em> Do yourself a favor and listen to <em>The More I See You. </em> And that was when he was in his early 60’s. Real funny guy and a super sound. I had never heard a sound like that before. I couldn’t believe it. It was vibrant and WIDE! Like Lawrence Feldman is always telling me, “Oh man I like how you play. Your sound has <em>sides</em> to it,” which is <em>good</em> because I like that; the width of the sound. I like bells that are a little larger because I like to feel the bell vibrate. I swear, Johnny, even if he was three guys away from you, you could feel his bell vibrate. It was a wide, fat, enormous sound. And he didn’t play above a high G often. He wasn’t a screamer playing double C’s, but vibrant. Ridiculous. He played <em>Chicago</em> before Glenn Drewes. That was his last show, but I played Will Rogers’ Follies with him around 1990-92.</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332182010-10-28T02:32:28-12:002016-06-28T23:38:32-12:00The Leading Edge: Jon Owens, Unedited (Sept. 2010 Issue)
<p><strong>Who were your top three earliest influences as a lead player before you turned thirty?</strong></p>
<p><strong>Jon Owens</strong></p>
<p>My early influences of lead trumpet players were generally the players on the touring bands, some of whom I saw perform live as a teenager. One memorable concert I saw was Toshiko Akioshi's band with <em>Joe Mosello</em> playing lead trumpet, opening up for Maynard Ferguson's band. I heard the Buddy Rich band with <em>Eric Miyashiro</em> playing lead trumpet among many others. I listened to tons of recordings. I got a hold of some bootleg tapes with <em>Dave Stahl</em> playing lead. <em>The Woody Herman 50th Anniversary</em> album with <em>Roger Ingram</em> playing lead is a particular standout. Then you had all the great horn section session players, <em>Jerry Hey, Chuck Findley</em>, and guys like <em>Lew Soloff</em> and <em>Jon Faddis.</em> Of course everyone heard <em>Doc Severinsen</em> wailing on the Tonight Show. The list goes on and on. I have always loved that sound of a trumpet soaring over a band. </p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332172010-10-23T19:21:31-12:002016-06-28T23:38:32-12:00The Leading Edge: John Fedchock, Unedited (Sept. 2010 Issue)
<p><strong><em>Who were your top three earliest influences as a lead player before you turned thirty?</em></strong></p>
<p> </p>
<p><strong>John Fedchock</strong></p>
<p> I first became interested in the jazz trombone at the age of 16, when I discovered recordings of <em>Urbie Green.</em> His sound and command of the instrument were astounding, and his versatility in styles was uncanny. His was the sound and style I tried to emulate most in my early years playing jazz trombone. He was not only a jazz player, but one of the greatest lead trombonists of all time. Even at a young age, I could recognize this from his recordings. I discovered that he played with Woody Herman’s band in the 1950s, and immediately became a Woody Herman fan. While I was in high school I saw Woody’s band play several times in concert. <em>Jim Pugh</em> was the lead trombonist at the time, and being such a fan of the band, I made a point of buying all the albums that band released, including those with Jim. It eventually paid off 5 years later when I actually joined Woody’s band, staying for 7 years. I knew the style of lead player Woody was looking for, because I had studied all the great players that had passed through his band (Bill Harris, Urbie Green, Carl Fontana, Phil Wilson, etc). I first played the jazz chair for 3 years with Woody, then moved up to the lead chair for another 4 years. As a college student, my love for Woody’s band brought me to investigate all the other touring big bands and their recordings, and I was particularly impressed by <em>Al Grey’s</em> concept in playing with the Count Basie and Dizzy Gillespie big bands, which had a very special and persona sound, different from others I had studied. That got me thinking more about some of the inherent differences in lead playing in relation to the specific band and their unique style of music.</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332162010-10-22T10:11:49-12:002022-07-24T03:38:52-12:00The Leading Edge: Keith O'Quinn, Unedited (Sept. 2010 Issue)
<p><strong><em>Who were your top three earliest influences as a lead player before you turned thirty?</em></strong></p>
<p> </p>
<p><strong>Keith O’Quinn:</strong></p>
<p> The first trombone player that really grabbed my attention was <em>Phil Wilson</em> with the Woody Herman band around 1964. In the band room where we rehearsed was a built-in turntable with two sets of headphones (which was a new thing to us at that time) and one of the records that was there was <em>Woody Herman-1963, Swingin’est Big Band Ever.</em> I was about 13 years old and had just started playing lead trombone in the Jr. High school jazz band. There is a ballad on the record called <em>It’s a Lonesome Old Town (When You’re Not Around)</em> and Phil plays a solo that just amazed me. I can still remember the feeling I had when I heard it back then. He comes in on a <em>Double A</em> and plays this gliss down into the melody that I listened to hundreds of times until I wore the record out trying to figure out how he did it. (I never did.) He also ends the tune on another <em>Double A.</em> I got my own copy of the record and listened to it all the time. I loved his approach to playing. He also played several up-tempo solos on the record that I really liked. Phil was my teacher years later when I went to college at Berklee School of Music in Boston.</p>
<p><em> </em>A couple of years later, when I was 15, I made my first trip to the Stan Kenton Clinics in Redlands California. There I met <em>Dick Shearer</em> who was the lead player with Stan’s band. Each evening after dinner the band would play a concert and I got to sit up close to the trombone section every night and really check out what they were doing. Dick became a friend and mentor to me during my high school years.</p>
<p> Also around that time I discovered the incredible playing of <em>Urbie Green,</em> first through the record he made with <em>Twenty-One Trombones</em> and later through various records that I could get hold of. His lead playing had a very big influence on me. I don’t believe there was ever anyone better.</p>
<p> I also began listening to a lot of jazz trombone players. My favorite was <em>J.J Johnson</em> and I tried to listen to as many of his records as I could get hold of. <em>Curtis Fuller</em> was also a favorite and I listened to him a lot on all of the Art Blakey records that he was on with Wayne Shorter, Freddie Hubbard, Lee Morgan and all those guys.<em> </em></p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332152010-10-09T22:15:13-12:002016-06-28T23:38:32-12:00The Leading Edge: Mark Patterson, Unedited (Sept. 2010 Issue)
<p><strong><em>Who were your top three earliest influences as a lead player before you turned thirty?</em></strong></p>
<p> </p>
<p><strong>Mark Patterson</strong></p>
<p> I’d say my two early trombone influences as a lead player were <em>Lawrence Brown,</em> with the Ellington Band, and <em>Jim Pugh,</em> with the Woody Herman Band. Those are two quite different conceptions, really, but both had a distinctive sound that sang in a beautiful way that fit with the whole ensemble sound, meaning that their style of singing was perfect for style of orchestration and the feel of the rhythm section.</p>
<p> Lawrence Brown had a way of barking out rhythm with his section that <em>goosed</em> the time, all the way from the Jimmy Blanton years onward; and also his sound on lyrical phrases had a ringing quality that I thought of as an ‘ar’ feel, because when I would try for that type of sound my mouth would gravitate toward a wide open feel, like saying the syllable ‘ar’, and this helped me to feel the sound singing through a legato phrase. Jim Pugh’s lead sound was distinctive too in its way of singing. I liked his use of straight tone with some purposeful vibrato to shape the end of a note within a phrase. I say purposeful because it wasn’t automatic vibrato, but it was inserted at a place which would move a long note forward.</p>
<p> I think that for lead playing my conception was also largely framed by trumpet players. <em>Snooky Young</em> and <em>Danny Stiles</em> really come to mind in the recordings I wore out of the Thad Jones/Mel Lewis Orchestra, and also the Basie band. In fact for some reason I had always thought Snooky Young was the lead player on that first record of the Jazz Orchestra, “Solid State,” and just loved the way he made the ensemble sing and made the time move and dance in such a perfect way. Then I found out that I hadn’t checked the listing very closely, and it was Danny Stiles on that particular record, so I have to name him as a favorite now!</p>
<p> Anyway, the two things I love about a great lead player like Snooky are the way he can make a note sing and move, using vibrato and dynamics, though I think of it more as singing and moving, because the vibrato is used more as a singing tool than an automatic component of the sound, and the dynamics are subtle and not necessarily written, but used to move the phrase forward and shape it.</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332142010-10-06T19:54:29-12:002023-12-10T04:51:52-12:00The Leading Edge: Dick Oatts, Unedited
<p> </p>
<p><strong><em>Who were your top three earliest influences as a lead player before you turned thirty?</em></strong></p>
<p><strong>Dick Oatts:</strong></p>
<p> <em>Marshall Royal</em> had a great commanding sound, time, and style of his own. I felt his section followed him well because of his consistency and leadership. He seemed to make every phrase musical whether it was a sax soli or not.</p>
<p> <em>Wayne Lage</em> was from Iowa and I played second under him as a teenager. He was very stern about matching breathing, articulation, blend, sound, styles, dynamics, and phrasing. Wayne was a dentist but had worked in a lot of territory bands in the mid-west. He was a great sight-reader and demanded that section mates listen and play at the same time. He taught me what to expect as a lead player and how to get it. He was both demanding and musical. </p>
<p> I worked with <em>Gerry Niewood</em> for over 20 years. He was totally amazing in his determination and musical consistency. He was so easy to breathe with because we heard things the same way. We listened to the same players and were both tenor players as well. We liked a heftier approach on alto sounds. He was also a great doubler and very dedicated to play the best he had in him at all times.</p>
<p> I had the incredible opportunity to play under <em>Jerry Dodgion</em> for a year and a half while playing with Thad Jones/Mel Lewis Jazz Orchestra. He will always be one of the most natural lead players I have every played with. He sounded like a jazz player soloing when he played lead. Jerry could carry a section based on his own passion for the music. He never said much but had an amazing ability to inspire you to follow him. His sound was deep and rich, not edgy and hard. His beat was wide and he had the warmth of Johnny Hodges. What made Jerry a great lead player is that he knew how to play second alto so supportive as well. He was my biggest influence and will always be my personal favorite.</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332132010-10-01T19:54:00-12:002021-08-09T18:56:06-12:00The Leading Edge: Steve Wilson, Unedited
<p><strong>Who were your earliest influences as a lead player before you turned thirty?</strong></p>
<p><strong>Steve Wilson:</strong> Some of my teachers introduced me to Johnny Hodges and Marshall Royal. They became a reference for me during my first year in college. Around the same time I became aware of Jerome Richardson and Jerry Dodgion’s work in the Thad Jones/ Mel Lewis Orchestra.</p>
<p> I moved to New York at the age of 26 and had a chance to perform with Dick Oatts and Jerry Dodgion in the Thad Jones/Mel Lewis Orchestra. They were a big influence on me and I continue to learn from them. They both lead by example.</p>
<p> In 1983 I met Kenny Garrett when he was playing the lead chair in the road show of <em>Sophisticated Ladies.</em> They came through Virginia and I played with him. I hung out with him at his hotel. We would go to the basement to jam and he was playing all these <em>out</em> notes. But he was a total, professional musician. I remember seeing him do long tones and exercises; practicing fundamentals. I thought, “Ah, he’s getting his foundation together…” It showed me that you’ve got to be on top of things even when you’re on the road and that he is a serious musician who is not just about improvising solos. It’s about learning the instrument. Kids are always surprised to hear that Kenny Garrett plays long tones and exercises.</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332122010-09-26T19:52:56-12:002016-06-28T23:38:32-12:00The Leading Edge: Introduction and Dave Pietro, Unedited
<p>I hope you all were able to see my column, <strong><em>The Leading Edge</em></strong> in the September 2010 issue of JazzEd Magazine. If you have not, you may view it and/or subscribe online by clicking this link: http://www.jazzedmagazine.com/ME2/Default.asp </p>
<p>Click on <em>JazzEd Has Gone Digital </em>and navigate the page numbers with the dots at the bottom of the window. This month's installment of <strong><em>The Leading Edge </em></strong>appears on pg. 48.</p>
<p>The difference between the word count constraints of the column and the actually word count of the interviews is, in this month's installment, about 1500 words. Below please find my complete introductory statement followed by the question addressed in this month's column. Included after that is <strong><em>Dave Pietro's</em></strong> complete answer on this question. In the coming days I will post the answers of <strong>Steve Wilson, Dick Oatts, Mark Patterson, Keith O'Quinn, John Fedchock, Jon Owens, Tony Kadleck </strong>and<strong> Earl Gardner.</strong> Their answers will be posted a day or two apart from each other. Please check back and contribute to the dialogue!</p>
<p>Also, I will post each question on the discussion board on <em><strong>Anita Brown Jazz Orchestra's </strong></em>fan page on Facebook. Perhaps you would like to discuss your own answers to these questions or discuss the same with other musicians.</p>
<p style="text-align: center;"><strong>The Leading Edge</strong><em><br>Unedited Manuscript<br>by Anita Brown</em><br>All Rights Reserved, Ó 2010</p>
<p>Currently a New York jazz composer and band leader, I have had the unique privilege to learn about important aspects of ensemble playing through my experiences as a former K-12 music educator, an eight-year veteran of the prestigious BMI Jazz Composers’ Workshop under the tutelage of Manny Albam, Jim McNeely and Mike Abene, a loyal fan and supporter of the great New York jazz ensembles (including The Vanguard Jazz Orchestra, Maria Schneider Orchestra and John Fedchock’s New York Big Band) and a member of the social circle of their members.</p>
<p>Over time I learned to observe various aspects of performance through attendance at weekly Monday night performances of Maria Schneider Orchestra at Visiones and The Vanguard Jazz Orchestra at The Village Vanguard (formerly known as Mel Lewis/Thad Jones Orchestra) in New York City’s Greenwich Village, often attending Maria’s first set and running to 7<sup>th</sup> Ave. for VJO’s second set. Through more than a decade’s worth of careful observation, note-taking, conversation and regular participation in the BMI Workshop Reading Sessions I forged a concept for my own jazz orchestra which is strongly rooted in the prowess and contributions of the lead players of the trumpet, trombone and reed sections.</p>
<p>My respect and excitement for the contribution of each lead player has been a great teacher and inspired this article, for it is an often-overlooked role that plays so importantly in creating the sound of a band. Without the specific lead players in our favorite big bands of today and of yesteryear, definitive renditions of beloved works would necessarily be defined completely differently. </p>
<p>With an obsessive curiosity and affinity for what these players bring to the works of music they shape, I decided to ask nine of New York’s finest lead players to answer a series of in-depth questions regarding their unique perspectives as pertains to this defining yet unsung role. Participants were asked to focus on those questions that resonated with them the most. Some of the participants addressed all the questions and others did not.</p>
<p>These players were selected because they in one way or another helped me to define and shape my own music through discussing, rehearsing, performing and/or recording my music, or through my attending countless performances to observe them in action. They include three lead alto, three lead trombone and three lead trumpet players of note; respectively: <strong>Dave Pietro</strong> (Anita Brown Jazz Orchestra, Toshiko Akiyoshi), <strong>Steve Wilson </strong>(Maria Schneider Orchestra, Smithsonian Jazz Masterworks) and <strong>Dick Oatts</strong> (Vanguard Jazz Orchestra, Carnegie Hall Jazz Band), <strong>Mark Patterson</strong> (Anita Brown Jazz Orchestra, Dennis Mackrel Big Band), <strong>Keith O’Quinn</strong> (Maria Schneider Orchestra, Bob Mintzer), <strong>John Fedchock</strong> (John Fedchock’s New York Big Band, Woody Herman Orchestra), <strong>Jon Owens</strong> (Anita Brown Jazz Orchestra, BMI New York Jazz Orchestra), <strong>Tony Kadleck</strong> (Maria Schneider Orchestra, John Fedchock’s New York Big Band), <strong>Earl Gardner</strong> (Mingus Big Band, Thad Jones/ Mel Lewis Orchestra). </p>
<p>This interview will be published in installments in subsequent issues of JazzEd Magazine. The aforementioned players will discuss some of the definitive attributes being a lead player and experiences that shaped their concepts regarding conviction, lead chair vs. second chair, interacting with the rhythm section and the other lead players, what to learn and listen for, artistic contributions and responsibilities and equipment.</p>
<p> Some of the questions that will be addressed subsequently include:</p>
<ul>
<li><strong><em>Please describe what you think are the definitive attributes for a lead player of your instrument in a large jazz ensemble.</em></strong></li>
<li><strong><em>Please tell us about some life experiences that have shaped you, your concept and conviction as a lead player.</em></strong></li>
<li><strong><em>How is lead playing different from playing second in your section?</em></strong></li>
<li><strong><em>Please tell us how you view, hear or interact with the rhythm section and other two lead players.</em></strong></li>
<li><strong><em>What does a player need to learn, know, do or listen for in order to become a solid lead player of your instrument?</em></strong></li>
<li><strong><em>Did you understand at an early age that you would have artistic responsibility to shape new music as a lead player?</em></strong></li>
<li><strong><em>Please speak a little about your equipment or your thoughts regarding equipment.</em></strong></li>
</ul>
<p>NOTE: None of those interviewed knew who the other participants were until the conclusion of all the interviews.</p>
<p>Please check back and post you questions and comments for these fine, New York lead players who have helped define the music of so many writers. </p>
<p>~AB</p>
<p style="text-align: center;">*************************************************************</p>
<p><strong><em>Who were your top three earliest influences as a lead player before you turned thirty?</em></strong></p>
<p><strong>Dave Pietro (Anita Brown Jazz Orchestra; Toshiko Akiyoshi Big Band):</strong> Dick Oatts, Jerry Dodgion and Jim Riggs. I had a number of recordings of Dick with the Thad Jones/Mel Lewis Orchestra and when I first started subbing for Billy Drewes at the Village Vanguard I used to really tune into what Dick was doing as a lead player. I think he's the one of the greatest lead alto player on the planet! He has such a distinctive sound and style that has been an integral part of that band for over 30 years. Around the same time I began subbing for Jim Snidero on Toshiko's band and similarly used to listen to how Jerry played the lead book. Jerry has such a beautiful sound and his lead playing is so lyrical. Jim Riggs was my saxophone professor at the University of North Texas. I probably learned the most from him because my undergraduate years were very formative and North Texas was a big band oriented jazz program. I worked with Jim on gigs where he would play lead and I would play second alto and I also played under his direction in the Two O'Clock Jazz Band. I sat directly in front of him playing lead alto for four days a week during an entire school year and he would constantly be giving me pointers and critiques. It was like having a private lead alto lesson everyday.</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332112010-09-20T09:19:36-12:002020-01-19T05:50:24-12:00Stand
<p><span style="text-decoration:underline">Announcing <strong><em>Stand</em></strong></span><span style="text-decoration:underline"><em>:</em></span><span style="text-decoration:underline"> A symphony for jazz orchestra</span></p>
<p><strong><em>Stand</em></strong> is an original symphony for jazz orchestra in five movements, commemorating and depicting the American experience of the events of September 11, 2001 and its effect on our nation’s psyche. The work has been conceived to feature <em>The United States Marine Corps, Silent Drill Platoon. </em></p>
<p> </p>
<p><span style="text-decoration:underline">How <strong><em>Stand</em></strong></span><span style="text-decoration:underline"> was conceived:</span></p>
<p>As a New Yorker who frequented Greenwich Village and The World Trade Center, the events of 9/11/01 were of course personally devastating. My only solace was to write music. I began to create sketches on 9/12/01 and continued through December of that year. Soon I couldn’t tolerate the gut-wrenching effect of sitting with those sketches and allowed them to fall from my consciousness.</p>
<p>In March 2010, I began revisiting my sketches, which were still as raw as the day they were forged. I wrestled with whether or not I could tolerate working with the material. Through a series of personal encounters I happened upon the work of <em>The United States Marine Corps, Silent Drill Platoon. </em>Somehow the sublime statement of their silent performance seemed to define <em>The Marines</em>, their strength, precision and commitment; their role in The United States’ existence, survival and defense. This military ceremonial display of <em>performance art</em> by a meticulously trained platoon of high-security clearance infantry Marines, selected also for uniformity in height and weight, connected with my deep-seated guiding principle that <em>silence</em> is indeed the most dramatic effect in music. </p>
<p><span style="text-decoration:underline">Research:</span></p>
<p>My research for this piece took me to Marine Barracks, Washington, DC, where I attended morning drill practices for The Evening Parade on August 13, 2010. The power of <em>The Silent Drill Platoon’s </em>performances<em> </em>comes from flawless, unison execution, each Marine handles his 10.5 lb. <em>M1 Garand rifle with fixed bayonet,</em> in masterly, spectacular display utilizing no verbal commands or cadence. Through the graciousness of my hosts, <em>The United States Marines,</em> I learned, metronome in hand, that they march between 58-84 beats per minutes.</p>
<p>While it seems a rather odd to pair the work of a New York jazz composer with a USMC ceremonial performance ensemble, this juxtaposition feels both natural and powerful to me. After all, jazz, America’s music, was founded on the fusion of cultural, iconic elements, far and wide.</p>
<p><span style="text-decoration:underline">The intention of <strong><em>Stand:</em></strong></span></p>
<p>The original sketches are being developed so as to evoke imagery of the American experience of September 11, 2001, through my personal filter as a New York jazz composer. The work begins with my depiction of the relative complacency of American life before that date, then takes the audience through the emotionally wrenching effects the events of that day had on the national psyche. It recalls that moment in time when, in <em>silence</em> and the stillness within, our personal and collective grief morphed into resolve and strength; when for a moment we all stood together, no matter our political or cultural differences.</p>
<p> </p>
<p><span style="text-decoration:underline">Its structure:</span></p>
<p style="text-align: center;"><strong>Stand</strong><strong><em><br>A Symphony for Jazz Orchestra and<br>The United States Marine Corps, Silent Drill Platoon</em></strong></p>
<p style="text-align: center;"><strong><em>Anita Brown, Composer/Arranger</em></strong></p>
<p>Movement I: <strong><em>The Homeland</em></strong> (Classic American jazz elements)<br>Movement II: <strong><em>Tuesday Morning</em></strong> (Depicting a lovely morning and subsequent anguish)<br>Movement III: <strong><em>Benumbed</em></strong> (Aftermath: grief, introspection, meditation/prayer)<br>Movement IV: <strong><em>Valor</em></strong> (Action: The United States Marine Corps, Silent Drill Platoon)<br>Movement V: <strong><em>Stand</em></strong> (Strong and resolute)</p>
<p> </p>
<p><span style="text-decoration:underline">The project:</span></p>
<p>I am composing <strong><em>Stand</em></strong> for 17-piece jazz orchestra. In the interest of being ready for a premiere date on or about September 11, 2011, I am currently writing this piece without a commission (a.k.a., unpaid). Here are some details about the logistics:</p>
<p> </p>
<ul>
<li>Costs for mounting such a work of “performance art” (a combination of musical and theatrical elements) include:
<ul>
<li>music preparation (preparing the parts for individual players to read from),</li>
<li>band rehearsal time,</li>
<li>band rehearsal space,</li>
<li>preparation of rehearsal recording for Silent Drill Platoon,</li>
<li>dress rehearsal time & space: band with SDP</li>
<li>transportation, accommodations and rider specs for band and SDP personnel (dictated by premiering ensemble’s home base and location(s) of premiere(s).)</li>
<li>on-site audio & video recording</li>
<li>audio & video post production</li>
<li>composer’s expenses: research, travel, accommodations, materials, miscellaneous.</li>
</ul>
</li>
<li>While I intend to have at least one premiere with my band, <em>Anita Brown Jazz Orchestra </em>featuring<em> The United States Marine Corps, Silent Drill Platoon,</em> I am investigating options in metropolitan New York and Washington, DC.<strong><em> </em></strong>
</li>
<li>I have made application to a couple of “really cool things” that have the potential of pushing this along, but as of this date, have no news to report on that front.<strong><em> </em></strong>
</li>
</ul>
<p> </p>
<p><strong><em>*If you wish to participate as a patron of this artistic endeavor, your tax-deductible contribution will be most appreciated and put to good use, as I will soon be affiliated with a non-profit organization supporting artists’ visions, </em></strong><strong>(details forthcoming on <em>anita’s blog</em></strong><strong> and <em>news</em></strong><strong> pages of my website). To assure I have your contact info, please sign the guestbook and enter your email address at <a href="http://ats.anitabrownmusic.com/" data-imported="1">www.anitabrownmusic.com</a></strong></p>
<p><strong><em> </em></strong></p>
<p style="text-align: center;">Thank you for supporting <em>live</em> music.</p>
<p style="text-align: center;"> </p>
<p><span style="text-decoration:underline">Disclaimer:</span> </p>
<p>This work of “jazz art music” and any/all accompanying promotional text is intended as a personal statement; <em>an account of my view</em> of the effects of September 11, 2001 on greater New York, our nation and the means by which I have assimilated its effects into my life. In no way is this piece of music intended to function as a political statement in favor of or against the ongoing conflicts in the Middle East since that date.</p>
<p>I am grateful for the personal assistance and support of <em>United States Marine Corps</em> personnel at Marine Barracks, Washington DC and to those who have answered my questions online.</p>
<p><strong><em>Anita Brown Jazz Orchestra</em></strong> supports and thanks all <em>USMC Personnel</em>, particularly <em>Marine Infantry Troops</em> and all <em>United States Armed Forces </em>and their families for their service and profound sacrifices.</p>
<p> <strong><em>~ Anita Brown</em></strong></p>
<p><strong><em><br></em></strong></p>
<p>
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</p>
<p>This video was made with permission during my research following inspiration for "Stand," my Symphony for Jazz Orchestra, scheduled for completion in August 2011: Marine Barracks, Washington, DC, Silent Drill Platoon, Morning Drill Practice, August 13, 2010. The platoon executes its drill written by Corporal Robert Dominguez at 58 beats per minute on the metronome, without wavering. The voice is mine and I am holding a metronome in my left hand, camera in my right as I attempt to view with my own eyes over the camera.</p>
<p> </p>
<p>
<object style="width: 425px; height: 350px;" width="425" height="350" data="https://www.youtube.com/v/vCXlclCslQk" type="application/x-shockwave-flash">
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</p>
<p>This video of The United States Marine Corps, Silent Drill Platoon, was recorded with permission at Marine Barracks, Washington, DC at the Evening Parade on Friday, 8/13/10. Periodically the drill changes. This drill was written by Corporal Robert Dominguez. </p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332102010-09-20T00:54:36-12:002020-01-19T05:50:23-12:00The Leading Edge
<p>Today my copy of JazzEd Magazine's September issue arrived in the mail. Did you get yours? </p>
<p>I am happy to report that the first installment of my column entitled "The Leading Edge" is in print. This column will continue to illuminate the perspective of nine of New York's iconic lead players of alto sax, trombone and trumpet.</p>
<p>Please check back for my posts of these players' unedited answers and blog activity. Ask questions if you like, as they are all aware that a discussion may ensue with YOU, the readers and students of readers of JazzEd Magazine.</p>
<p>My thanks to my friends and colleagues, the nine wonderful players who gave so much to make this possible...and I'm not done YET!! :-)</p>
<p>Those players include...<br>Alto Sax: Dave Pietro, Steve Wilson, Dick Oatts<br>Trombone: Mark Patterson, Keith O'Quinn, John Fedchock<br>Trumpet: Jon Owens, Tony Kadleck, Earl Gardner</p>
<p>Be sure to check back often!!</p>
<p>And don't forget to visit Anita Brown Jazz Orchestra's fan page on Facebook! A direct link is available below the navigational menu on this site. Start a discussion of your own!! :-)</p>
<p> </p>
<p>~AB<br>Practice, listen, listen and practice...</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332092010-09-09T22:10:26-12:002016-06-28T23:38:32-12:00My Response to a post on "Marines" Facebook Page
<p>The topic was the price tag for military bands. The argument of some if it's not worth the money. What some fail to realize is that the price tag includes paying the musicians for their work (playing for ceremonies, concerts, parades and funerals for the fallen) in addition to transportation and accommodations whenever a band travels, including traveling to play for the troops overseas.</p>
<p> </p>
<p>My response:</p>
<p>The existence of the bands is rooted in history. Trumpets and drums were used to communicate across vast expanses of battlefields. Over time, and with the invention of better instruments, more were incorporated and implemented in ceremoni<span class="text_exposed_hide"> </span><span class="text_exposed_show">es of all kinds. Music is part of our culture. Art and the ability to reason is what sets humans apart from animals. Every college athletic team has a band in its corner. They don't get much attention, but they're there. Why shouldn't each Armed Service have its own band? (Rhetorical) Colleges are an extension of the bigger picture, modeled after something bigger. @Bob, the hierarchy, at some point, decided that if Marines are the "best" then they should be represented by the best musicians and decided to hand pick those musicians from the most accomplished in the land. The highest level musicians would not agree go to boot camp. They just want to play music. Nothing more. They are all highly accomplished adult musicians, not college-bound kids. For the fact that they are selected by the most stringent audition requirements necessarily means there is nothing better. They play for every event within the White House, for every inauguration, for every Presidential funeral and a plethora of other occasions. <br><br>When I went to DC about a month ago I was privileged enough to observe The Marine Band's String Orchestra rehearsal at 8th & I. They were rehearsing for something at The White House. It was the finest string section I have ever heard in my life, bar none, and I have been a music educator as well as a professional composer/band leader and student of music all of my life. That string orchestra blew me away and that's the hardest thing to get right: strings. The Army Blues Band (DC) and the West Point Jazz Knights (NY), both of which I have had the honour of conducting on my own music are incredible bands and function in various capacities to bring awareness to the public. Members of those ensembles also function in a ceremonial capacity for fallen heroes at Arlington National Cemetery and in other public relations capacities at West Point.<br><br>At the Evening Parade they offer the explanation that the band wears a red uniform because historically, the band had been non-combatant young boys, recruited solely for performing music as needed. While they currently wear these uniforms in performance they actually wear civilian clothing during rehearsal, unlike the bands from the other branches, which do go through basic training of their respective branches. So they really never don the EGA unless they are performing, and are set apart from Marines with the color of their uniform, as history dictates.<br><br>We should be celebrating all the accomplished musicians who contribute to events of all kinds for the Armed Forces. It is what enriches us as a people. Music speaks to the inner soul. It's just a fact. Different music touches different people and everyone has a personal relationship with music. Most refuse to be separated from their music. I, as a composer, mostly sit in silence now, as there is too much music in my head to listen through my ears except when I really feel the need.<br><br>The whole music performance industry is going belly up because of technological advancements. Human being musicians are changing careers because as a whole, our nation does not seem to value *live* music, and I can attest first hand to the fact that we surely do not value music education in our schools. At the very least, I know our military bands will help keep music alive in our culture, for which I am grateful. <br><br>BTW--John Phillip Sousa was the director of The Marine Band and as such was writing for the band. There is a huge statue of him within the wrought iron gates of The Annex of The Marine Barracks, Washington, DC., two blocks from the entrance at 8th & I. (A *lovely* walk under the highway.) He is the definitive composer of marches. Had he not held that post we probably would not have the archives of wonderful American military marches that have become a staple of every (if still existing) American school/college band program. There are a couple videos posted on my video tab from 8/13/10 at 8th & I. <br><br>Just a New York Jazz Composer's perspective...with all due respect. :-)</span></p>
<p> </p>
<p><span class="text_exposed_show">Music is not free.<br>--AB</span></p>
<p> </p>
<p><span class="text_exposed_show">And...A Marine (perhaps an inactive Marine) whom I met online said to me the other day, "You're the rich composer..." I had to laugh. "Rich composer" is a bit of an oxymoron, although some do make it. They're usually in Hollywood writing film scores. </span></p>
<p><span class="text_exposed_show">I pretty much write for nothing or next to nothing and try to get my music played by others so I can have exposure to do clinics or sell music to college jazz programs. It's a calling, like being a Marine is a calling. Marines don't do it for the money, they do it because they want to be a part of something bigger than themselves. I do what I do because I need to express myself in these terms and I can only hope that I give a small bit of respite from someone's daily grind, or if I'm really lucky, give someone pause enough to reflect, as a result of my efforts. That's pretty much it.<br></span></p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332082010-09-07T09:25:19-12:002022-05-28T08:54:35-12:002010 New Jersey All-State Jazz Band to play "Quagmire"
<p>My piece, <strong><em>Quagmire,</em></strong> will be performed by the <strong>2010 New Jersey All State Jazz Band </strong>under the direction of <strong><em>Dr. Jeffrey Kunkel</em></strong>. The performances will take place in a casino to be announced in Atlantic City, NJ on Thursday, November 4, 2010 and at NJPAC (NJ Performing Arts Center, Newark, NJ) on Friday, November 12, 2010.</p>
<p>Dr. Kunkel is the Director of Jazz Studies at Montclair State University, Montclair, NJ and has served as President of the NJ Chapter of IAJE, NJ Music Educators' Association and NJ All-State Jazz Band Coordinator.</p>
<p> </p>
<p>Click here to see a video of <em>Anita Brown Jazz Orchestra </em>performing <strong><em>Quagmire </em></strong>at The Tea Lounge in Brooklyn, NY, July 26, 2010. Click on the YouTube box for personnel listing.</p>
<p> </p>
<p>
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Anita Browntag:anitabrownmusic.com,2005:Post/61332072010-09-06T06:37:38-12:002022-05-22T00:40:29-12:00Big & Exciting News!
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/392168/acacb1495df6e3e41c4c7d65fa565a417b20f384/original/atbirdlnd1a.jpg/!!/b%3AWyJyZXNpemU6NjA0eDQ1MyJd.jpg" class="size_orig justify_inline border_" alt="_atBirdlnd1a.jpg" height="453" width="604" /></p>
<p>Steve Wilson, Anita, Tony Kadleck & Keith O'Quinn, Birdland, July 2010.</p>
<p> </p>
<p>I am quite ecstatic to announce that beginning with this month's issue, I will have a column in <strong>JazzEd Magazine.</strong> It is entitled <strong><em>The Leading Edge</em></strong> and was inspired by my deep affinity for the role of the respective lead players of a big band or jazz orchestra: Lead Alto, Trombone and Trumpet players.</p>
<p>In my two decades of observation on the New York jazz scene I have learned so many things by listening and observing interaction between section leaders, section players and band leaders. I have heard and <em>felt</em> the importance of each lead player's contribution to rehearsal and performance alike, in bands such as The Woody Herman Band, Maynard Ferguson's Big Bop Nouveau, The Count Basie Orchestra, The Vanguard Jazz Orchestra (a.k.a. Thad Jones/Mel Lewis Orchestra), Carnegie Hall Jazz Band, Jon Faddis Jazz Orchestra, Toshiko Akiyoshi Big Band, Fedchock/Schneider Big Band, Maria Schneider Orchestra, John Fedchock's New York Big Band, The Don Sebesky Band (featuring John Pizzarelli), The Mingus Big Band, Dizzy's All-Star Big Band, Bob Mintzer Big Band, Loren Schoenberg Big Band, BMI New York Jazz Orchestra , Diane Moser's Composers' Big Band, Gary Morgan's PanAmericana, Pete McGuinness Big Band, New Yorkestra, Mike Holober's Gotham Jazz Orchestra, Lew Anderson Big Band, Arturo O'Farrill Big Band, Mike Davis' Trumpets Eleven, The Frank Wess Nonet and an incredibly tight 12-piece, NY funk band, The Funk Filharmonik, as well as Tower of Power and the Saturday Night Live Band.</p>
<p>My observation and assimilation of all this has guided my decisions both as a band leader and a composer/arranger for many years. In the extensive liner notes of my CD, "27 EAST," I tip my hat to the lead players for their role in shaping my music and the recording itself. In particular, those lead players include Dave Pietro, lead alto, Mark Patterson, lead trombone and Jon Owens, lead trumpet with appearances in the latter role (on one track each) by Greg Gisbert and Nick Marchione.</p>
<p> </p>
<p>My column, <strong><em>The Leading Edge,</em></strong> in JazzEd Magazine seeks to illuminate the perspective of nine of New York's finest big band lead players: three, respectively, of each section. These players were selected with the strict criteria that they had a significant hand in assisting and inspiring me to shape my own music over the past 20 years through my hearing and observing them in rehearsal, performance and through conversation prompted by my endless stream of questions, which they have all navigated with patience and poise through the years.</p>
<p>They are: <strong> </strong></p>
<p><span style="text-decoration:underline"><strong>Lead Alto</strong></span></p>
<p><strong><em>Dave Pietro: </em></strong><em>Anita Brown Jazz Orchestra, Toshiko Akiyoshi Big Band</em><strong><em><br>Steve Wilson: </em></strong><em>Maria Schneider Orchestra, Smithsonian Jazz Orchestra</em><strong><em><br>Dick Oatts: </em></strong><em>The Vanguard Jazz Orchestra, Carnegie Hall Jazz Band</em></p>
<p><strong><span style="text-decoration:underline">Lead Trombone</span> </strong><strong><em> </em></strong></p>
<p><strong><em>Mark Patterson: </em></strong><em>Anita Brown Jazz Orchestra, </em><em>Dennis Mackrel Big Band</em><strong><em><br>Keith O'Quinn: </em></strong><em>Maria Schneider Orchestra, </em><em>Bob Mintzer Big Band </em><strong><em><br>John Fedchock: </em></strong><em>John Fedchock's New York Big Band, Woody Herman Orchestra</em></p>
<p><span style="text-decoration:underline"><strong>Lead Trumpet</strong></span></p>
<p><strong><em>Jon Owens: </em></strong><em>Anita Brown Jazz Orchestra, BMI New York Jazz Orchestra</em><strong><em><br>Tony Kadleck: </em></strong><em>Maria Schneider Orchestra, John Fedchock's New York Big Band</em><strong><em><br>Earl Gardner: </em></strong><em>Thad Jones/Mel Lewis Orchestra, The Mingus Big Band</em>, <em>SNL Band</em></p>
<p> </p>
<p>The research for this article took the form of comprehensive interviews. Most of the players spent an inordinate amount of time answering a series of in-depth questions via e-mail. A few opted to meet with me personally for a sit down, recorded interview, from which I transcribed and extracted answers.</p>
<p>The column will offer the players' answers to each of the questions, one question and one issue at a time. Due to word count constraints their answers will necessarily be truncated. However, each player's full answer will be offered here, on this blog, one question and player at a time. This will become a place where you can ask questions of them and they will be able to answer your questions, in most cases. (Keep in mind, some, like myself, are not comfortable with technology, and may opt out of participating in said forum.) </p>
<p> </p>
<p>I hope you will pick up a hard copy or subscribe online for the September issue of <em><strong>JazzEd Magazine.</strong></em> I know you will enjoy reading the insights of these stellar and esteemed lead players as much as I have enjoyed opening up this dialogue for this all-too-often overlooked, albeit significant and defining role in large-ensemble jazz.</p>
<p>If you haven't already, please consider joining the new incarnation of <em>IAJE </em>(International Association for Jazz Education) which is called <strong><em>JEN</em></strong> (Jazz Education Network) at www.jazzed.org for your free subscription to JazzEd Magazine. You can also see the publication online at http://www.jazzedmagazine.com/</p>
<p> </p>
<p><em><strong>Anita Brown Jazz Orchestra</strong></em> is a <strong>Charter Partner</strong> of the <strong>Jazz Education Network</strong>. Please look for information regarding the second annual conference, scheduled for January 6-8, 2011 in New Orleans, LA.</p>
<p> </p>
<p>www.anitabrownmusic.com</p>
<p>http://www.facebook.com/#!/AnitaBrownMusic</p>
<p>http://www.facebook.com/#!/pages/Anita-Brown-Jazz-Orchestra/122899935157?ref=ts</p>
<p>Search user name <strong>anitabrownjazz</strong> on YouTube<br>https://www.youtube.com/watch?v=XkSKgKvd-K0</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332062010-08-31T08:23:47-12:002020-01-19T05:50:23-12:00Do you have an answer?
<p>A question that was posed to my conducting class by my late mentor, Stanley D. Hettinger, which has only one real answer, has remained with me all of my adult life as a musician. The members of that class, and students in classes I have taught since then, all sought their own answer. The answer continues to hold an important place in my consciousness as a composer. </p>
<p>Do you have an answer for the question: <em><strong> </strong></em></p>
<p> </p>
<p style="text-align: center;"><em><strong>What is the most dramatic effect in music?</strong></em><br></p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332052010-08-28T22:52:05-12:002016-06-28T23:38:32-12:00Anita Brown Jazz Orchestra Debuts on YouTube!
<p>On August 27, 2010n ten videos of Anita Brown Jazz Orchestra's July 26th performance at The Tea Lounge were uploaded to YouTube. Four videos were shot by Jack Frisch of UprightVideo.com in HiDef. Five videos were shot with my little Nikon by Marsha Bowe, my student and apprentice. One video was shot on the same camera by Alex Norris while I played a new tune for some of the guys in my band after our rehearsal at The Union in midtown Manhattan.
I'm really ecstatic to finally have a presence on YouTube and am grateful for the permission granted by each individual player to post!
You can search "anitabrownjazz" on YouTube or go to the links page and find direct links there.
I just thought I would mention that I find it excruciatingly tedious to blog from my BlackBerry while sitting in the service waiting room at Sears Automotive. They have a nice TV that blasts ONLY infomercials. Nice. :)
Apparently I picked up a spring in my tire (not to be confused with a spring in my step, like when I was in DC). I'm awaiting word as to whether or not it can be fixed. "Here's a single chick! Let's tell her she needs 14 new tires!". ~:-{</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332042010-08-20T06:01:05-12:002022-05-22T00:40:18-12:00Recent Activity
<p>Recently, friends have been inquiring as to why there seems to be a flurry of activity in my life pertaining to the military and in particular, The Marine Corps. Suffice it to say that I have been making a number of inquiries with various military performance organizations for a plethora of reasons pertaining to both existing music from my pen as well as a piece for which I drafted sketches in the days following September 11, 2001.</p>
<p>Having found it excruciatingly difficult to face those sketches over the past nine years, I have finally learned a number of things that have caused me to come to the right "angle" to now revisit those sketches. Through asking many questions of friends who are serving or have served in the military and searching for information, photographic images and videos online, I have come to a place where those sketches now make sense and are finding their way out of "holding" and into an active creative stream.</p>
<p>I feel a little like a method actor must feel when researching for a role. Through this recent immersion I can honestly say that I feel privileged and humbled to have met so many members of the armed forces, past and present, in person and online, who have given generously of their time, expertise and resources for the purpose of answering my questions.</p>
<p>Whether one agrees with the decisions of the present and previous Administrations regarding military activity, the fact is we stand as a nation because of wise military strategies during the the 18th century and the resolve of those troops. It's in our history, and so in seems, in our blood. I am happy to have also learned of the multitude of humanitarian activities our troops engage in around the world on a daily basis. </p>
<p>As a result of reconnecting with my colleague Liesl Whitaker, who has held the post of Lead Trumpet Player in the Army Blues Band for ten years, I was truly honored to have the opportunity to conduct that band on a few of my own pieces. To later be chauffeured by Liesl through the grounds of Arlington National Cemetery due to her status as an Army Bugler, was in itself a great honor. I was deeply moved to visit Section 60, those who have fallen while on "Active Duty," followed by the opportunity to observe from a respectful distance, a Full Honors Army Funeral, narrated for me by Liesl. All of this adds to the direction said musical sketches will offer me.</p>
<p>I was profoundly impressed to learn that all Marines stationed at "Marine Barracks at 8th & I" in Washington DC are required to pass the highest level of security clearances as they serve the dual purpose of providing security for The President and other dignitaries while mounting ceremonial productions of many configurations for the benefit of fallen heroes and their families, as well as for the general public.</p>
<p>While I still stand as I always have from the perspective of a single American woman, music educator-turned-composer/performing artist, I also now have a renewed and more well-rounded respect for those who have served and who currently serve our nation.</p>
<p>To any of you who may read this, thank you for your service. If you are not a member, past or present, of the United States Armed Forces, please thank one for their service today.</p>
<p> </p>
<p>Details regarding said piece of music will be offered on this blog when there is more to report.</p>
<p>If you are reading this on Facebook please visit the active blog on my website, aptly named "anita's blog."</p>
<p><strong>www.anitabrownmusic.com</strong></p>
<p>You'll remember: <strong>"Anita </strong>drink!" Guinness is <strong>Brown</strong> <strong>Music</strong>. DOT COMMMMMM...</p>
<p>:-)</p>
<p>~AB</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332032010-08-18T10:28:33-12:002016-06-28T23:38:32-12:00Facebook Discussion 8/18/10: “The President’s Own” United States Marine Corps Band
<p><strong>TOPIC:</strong> “The President’s Own” United States Marine Corps Band personnel displays the EGA (Eagle, Globe & Anchor) symbol on its uniform. Those who earned their EGA through hard work and perseverance in Boot Camp find it a discrepancy that is hard to swallow, as they feel anyone who wears the highly respected and meaningful emblem should have “earned” it through completion of Boot camp. They feel anything short of that dilutes their ability to wear it with pride. </p>
<p>This discussion ensued on The United States Marine Corps Official Page and on my Facebook wall following my trip to Marine Barracks at 8<sup>th</sup> & I, Washington, DC this past weekend, during which I learned quite a lot through personal observation and discussion with Marine Corps personnel.</p>
<p>Additionally, I have to say that I was completely blown away by a rather impromptu musical experience while there. Having been in touch with my long-time colleague Liesl Whitaker prior to my departing New York, she invited me to attend a rehearsal of The Army Blues Band, in which she serves as Lead Trumpet player (and sounds amazing, I might add!). I packed a bunch of music to leave with them, but much to my surprise, they were able to take the time to read through three of my arrangements, which I had the privilege of conducting, and in one case, singing with them. </p>
<p>We played through my arrangement of Antonia Carlos Jobim's <em>Sabia',</em> and my original works <em>Remembrance </em>and <em>Santa's On His Way</em>, which I sang--after all, an original Christmas tune isn't a Christmas tune unless it has lyrics! I and happy to say that all three titles in addition to <em>Alexander's Lullaby Waltz </em>are now in their band library. Another profound privilege.</p>
<p>Considering the following discussion is mostly regarding “The President’s Own” United States Marine Corps Band, I would also like to add that The Army Blues Band, a 17-piece jazz ensemble, completely blew me away in its top notch artistry and sight reading abilities. I look forward to working with them again in the future.</p>
<p>More blog entries to come…I hope…</p>
<p>Here is the Facebook discussion regarding the Marine Corps Brethren vs. “The President’s Own” Band.</p>
<p>I feel privileged to be protected by our Constitution and that it is protected by our Armed Forces, with our bull dogs and pit bulls, The United States Marine Corps Infantry, guarding The Gate.</p>
<p>This is an active blog, if you are viewing this at <a href="http://ats.anitabrownmusic.com/" data-imported="1">www.anitabrownmusic.com</a></p>
<p>If you are not, GO THERE!</p>
<p>;-)</p>
<p>~AB</p>
<p><strong><span style="text-decoration:underline">Facebook Discussion: </span></strong></p>
<p>After my incredible experience in DC I had to comment and clarify on The United States Marine Corps Official Page, where some people see only through a very specific filter. As a composer and someone who understands production, being privy to these rehearsals was mind boggling for me, and an enormous privilege:</p>
<p><strong>Jim Krantz</strong> I understand Austin, but i can tell you officers earn their EGA. their road to the Corps is a whole lot harder than us enlisted. It's not just OCS. But I was surprised to find out about The Marine Band. On the other hand the 8th & I Drill team must be 0300 Marines. They are volunteer as is the 8th & I Drum & Bugle Corps. I did the same thing at NATTC Millington, TN. the Marine Air Detachment Drum & Bugle Corps.</p>
<p><strong>Anita Brown </strong>@Jim, <strong>"The President's Own" </strong>serves a particular purpose. I was just at 8th & I and was the guest of a number of officers at different events, concluding with The Evening Parade and actually, followed by a get together at Center Ho...use, the... Officer's club. In the words of active officers, if USMC did not hand select by rigorous musical audition process, and allow these first rate musicians to simply be among a performing ensemble, the members of its band (which includes a full string orchestra, jazz ensemble and rock configuration within it--also different from the other services) would not be as outrageously amazing as they are. I sat in a rehearsal of the Marine Band String Orchestra at the Annex. It was better than the New York Philharmonic's strings. It was the finest string ensemble I have EVER heard. The piece was Arthur Honneger's <em>Symphony No. 2,</em> a dense, harmonically challenging (understatement) work. Because they play for The President and Heads of State they must represent The Marine Corps and what it, as an aggregation, stands for. The Marine Corps is supposed to be the finest of the finest. This is why, I believe, it is the only performing organization that does not require its players to go to boot camp. Musicians whose primary goals in life are to play music simply will not subject themselves to the rigors of boot camp. It's that simple. I don't know whether their uniforms display an EGA, as they are significantly different than all the other uniforms of USMC, but you can rest assured that 1) they earned the position (albeit in a different way), they represent USMC in the finest light musicians can offer and they take their position and honor to hold rank very seriously. ALL OTHER MUSICAL ORGANIZATIONS EXCEPT "THE PRESIDENT'S OWN" Band (i.e., all the Drum & Bugle Corps and other performing organizations of USMC audition FIRST, THEN go to boot camp and then go to Marine Corps Music School...but I forget where that is. <strong>The Silent Drill Platoon,</strong> whose rehearsal on 8/13/10 I was privileged to attend at 7:15 am is comprised of all 03xx's. They have either deployed or are going to deploy. They go through rigorous ceremonial training and can also lose their spot via a challenge by another waiting in the wings. They are NOT volunteers. The responsibilities of all Marines at 8th & I are to serve The President, Heads of State, the fallen Marines and their families at ceremonies and to bring awareness and USMC pride to the public. I might add that they do exactly that. They are the link to the public, offering a microcosm of The USMC to be viewed by whomsoever should care to attend an Evening or Sunset Parade; each Marine on staff and in a performing organization, particularly <strong>The Silent Drill Platoon,</strong> offers insight to the public of the finely tune, well-oiled machine that IS The United States Marine Corps. Respectfully submitted.</p>
<p><strong>Austin Stewart</strong> i just find it odd that they would let that just happen iv played a lil in mid school i was first chair for the alto sax i just dont understand that they would do that and i have no problems with OCS they also have my respect by far its just why would the just give them the EGA to wear when other earn the right to be there and play there instrument</p>
<p><strong>Anita Brown</strong> I just explained it to you. They HAVE to be a cut above the rest. Think of it as NOT just a fighting force, but a representation of the US Armed Forces that represents THE best of everything THE PRESIDENT needs, and where do we put them? In The USMC; where else? Think of it as hand picking the finest of the finest. Remember, sometimes the need to EARN the EGA in the eyes of Marines--with all due respect--becomes a very black & white topic of conversation. Apparently whoever set this up this way (Maybe Thomas Jefferson--can't remember) felt THIS method of cherry picking musicians was the method that would achieve the performance goals and the musical link to the public in the best way possible. Playing first alto in jr. high doesn't make you an expert, with all due respect. I taught those kids and that is NOTHING like the level of playing that exists within that band. As a composer in NY with a jazz orchestra full of NY's finest B'way & jazz players, I was flabberghasted with the quality of the strings and moved with the band's evening performances at the Evening Parade. These performance are "DEFINITIVE" performances. No other service's musical entities are "definitive." My ears are pretty damn keen. These guys blew me away. And BTW, the <strong>USMC Drum & Bugle Corps</strong> personnel around the world who DID go thru boot camp are also NOT volunteers, AND they carry weapons. The only organization that does not carry weapons is <strong>"The President's Own Band."</strong> That's why they call it "The President's Own" because they serve The President at his every whim, musically speaking. The diversity required to pull THAT task off, musically, is enormous. These musicians are TOP rate worldwide. Hands down. No question. Did they earn the EGA? If you can be understanding of the concept, then yes. Technically as Boot Camp goes, no. Does the USMC want them in the position they are in? ABSOLUTELY!</p>
<p><strong>David Jackson</strong> WHY? They should be playing for military personell not these stupid rich performers</p>
<p><strong>Anita Brown</strong> It's the face of The United States brought to the public eye worldwide. Think bigger. Anyway, On my fan page for my band (facebook search <strong>Anita Brown Jazz Orchestra</strong>) I just posted the 8/13/10 performance of the <strong>Silent Drill Platoon </strong>at 8th & I. Sorry for the less-than-stellar camera work. Was trying to see with my own eyes while taping. Small camera. But, exciting and inspiring nonetheless. :-) At least to ME.</p>
<p><strong>Jim Krantz</strong> Well, it looks like I started something. Loius, Austin is in Middle School, therefore we should cut him some slack. Austin, you keep working at whatever you feel good about in life. If it's music, the Marine Corps or anything else do your ...very best. Work hard and you will be proud of what ever you accomplish because you will know you earned it. Just as I did my Blood Stripe some 50 years ago. Tell you father Semper Fi from an Old Marine. God Bless You, Young Man. Anita, I understand what you are saying, I really do. I don't know if you earned our "Title" or not, but I am assuming you did not. We are a brotherhood that only we truly understand. Louis mentioned trusting with my life. We do that. At 71, there isn't much I can do except support my young brothers as they go to the Zone. The Marine Band uniforms display our EGA, on their collars and the brass buttons of their blouse. Many who earn that EGA, and who understand the history and the honor it represents are not anxious to share it with anyone no matter who they are. They wear the rank of a Marine and I don't like it! If anyone came up to me in a bar and tried to represent himself as a Marine fraudulently I would at 71 years of age cold cock the sob. period.</p>
<p>Almost 2 years ago John McCain was at a back yard gathering in a small town 30 or so miles North of Des Moines. i was there wearing a Once A Marine... cap Sen Mc Cain offered a Semper Fi as he walked past to the mic. I said Thank You Sir. Not Semper Fi, as he is not a Marine. After he finished he stopped at my table to sign a poster for a woman as I stood at a "relaxed" "Parade Rest" ( I was almost 70 after all). He said in my direction, "I have a son who is a Marine" . I responded, "Yes Sir, I know, he is my brother". Senator Mc Cain stopped what he was writing and looked up at me and said " You know, I never understood that until now". We ARE a brotherhood. There is no doubt that the Marine Band is made up of fine musicians. But they are NOT Marines. I really do not care WHO says differently. I suspect you are a fine musician as well. And I understand the unending hours of practice. I did that to a small degree as well. I do respect their expertise, but I do resent their wearing of the uniform that I DID go through the rigors of boot camp to EARN!</p>
<p><strong>Anita Brown</strong> @Jim, I completely understand what you're saying about the Marine Corps. No, I have never served in the military at all. However, my view of USMC is colored by my deep admiration for what it stands for and provides. Without going into it any further, let it suffice as is. However, far be it for any of us to tell those who set up the <em>United States Marine Corps</em> before any of use were around to observe its inception, to tell them that they got it wrong. Someone decided that the USMC band would be the finest in the land. They gave them different colored blouses because, as it was told at the 8th & I Evening Parade this past Friday, the musicians used to be non-fighting boys. Young boys. They gave them a different colored uniform so as to differentiate between them and the trained, fighting Marines.</p>
<p>Please bear in mind that the history of music begins with warfare: trumpets and drums in battle. Actually, the drum came first, which is an angle the Geico commercials haven't thought of yet. ;-) Trumpets and drums were used as signals in a time when there was no other means of communication across great distances of open expanses. In an age of cell phones music has evolved to a place that is complex at least. While the military no longer "needs" trumpets and drums on the battle field to indicate which flank should move in which direction, the tradition remains. Coupled with the added ceremonial responsibilities that the Marine Band handles, the tradition has grown and become equally as complex as the role of The Corps and even music itself, to return to a previous statement.</p>
<p>I completely understand your tug and that the EGA is something that is <em>earned.</em> However, there are powers that be that have said, "YOU are gonna do THIS for US because we are the BEST, so you better be the BEST. Are you the BEST of the musicians in our land? Then you can work for US and do as we see fit. If not, Have a nice life. And demands will be put upon you and you WILL comply." There is no other playing gig like it in the land. All the military bands are incredible, but <em>The President's Own</em> is cherry picked.</p>
<p>I hope you will try to understand they bear the EGA because someone in your fraternity who ranks higher than you decided it should be so. And BTW, they really do represent you well. Few know how challenging it is to be a lone bugler playing the fanfare for the morning colors, announcing the arrival of one or another entity and most profoundly, playing Taps for a fallen hero. Do you want anyone but the finest players with musical endurance analogous to that of fighting Marines ("analogous to") to be representing you and your loved ones or your brethren? I think not. Why would you want anything but the best musicians in the land representing the face of The United States Marine Corps to the public?</p>
<p><strong>Liesl Whitaker</strong> As a member of the <strong>US Army Band - "Pershing's Own"</strong> in DC, I will also add that the majority (and I mean a very significant majority) of DC military musicians (Army, Navy, Air Force and Marines) have a minimum of a Bachelor's degree in college. More than half have Master's degree's, and many have their Doctoral degrees, making them "Dr. X", as well as SSGs, SFCs, MSGs and SGMs (and the equivalents across the services). They are not just former 1st chair holders in their junior high or high school, or even college bands, with due respect. We are trained experts in our field. Many have professional experience to boot, such as former Broadway musicians, major symphony musicians, and/or international touring musicians, making us among the best not only in the US, but in the world! Yet we enter the services as enlisted personnel, not officers. Those in the medical and dental MOSs enter as officers. They are not thought as lesser soldiers, seamen, airmen or Marines because their field of expertise is looked upon as necessary in battle, in my humble opinion.</p>
<p>But we, too, serve a very important purpose. Not only are we a link to the public, as Anita said, but we also carry out an extremely important task in that we pay tribute to the lives of those lost, either in war or peace, by rendering final military honors with "Taps" and other ceremonial pomp. I, personally, have played all over the world as both a civilian and a soldier musician. I've played in Carnegie Hall, Lincoln Center, to name a couple of well-known halls. Yet none of those venues meant more to me, nor presented such a musical challenge as playing<strong> the 24 MUST-BE-PERFECT notes of "Taps". </strong><em>This is the most difficult musical task I have,</em> as I am challenged by perfection <em>much in the same way</em> as the drill teams and other ceremonial units are, and much the same as someone in combat is challenged. I have been to Iraq and Afghanistan over the Holidays as part of the USO tours with the sole purpose of entertaining our troops. These are the most important venues I have ever performed in, far more important than Carnegie Hall or Lincoln Center, as the people being served are our fellow soldiers, etc., who are also among the best. We are trained experts, and our purpose is vital. Incidentally, we (the Army Bandsmen) DO go to boot camp, and many of us sail through! We are in great shape, and are left to stay physically fit without organized PT. Our unit just displayed 100% pass on the last PT test. I don't know of a lot of others that do that on a regular basis. While the Marine Band doesn't go to boot camp, they are expected to weigh in and abide by Marine Corps standards. We spend YEARS perfecting our skills. There are levels far greater than junior high and high school levels out there, and you should know that your servicemen and women reflect those professional levels, and earn the right to wear the uniform and serve in the ways that we are skilled.See More</p>
<p><strong>Anita Brown</strong> Amen Liesel! Thanks again for everything--the visit to Arlington National Cemetery coupled with your knowledge of the grounds as an Army Bugler was truly special.</p>
<p> </p>
<p>Please realize that Liesl is saying "much in the same way" not to equate musical performance with the horror of being called to perform as a member of the infantry. Rather she is saying that the manner in which our finest fighters prepare mentally, expect the most of themselves, strive for the greatest degree of perfection minute by minute is common to all who serve out great nation and in fact, is all for the same goal: to honor each other and stand united. And regardless of our personal opinions, it is still great.</p>
<p> </p>
<p>~AB</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332022010-07-19T07:08:52-12:002016-06-28T23:38:32-12:00NPR Survey and Online Database
<p>Some more very exciting news! </p>
<p>I recently completed a survey for NPR Music’s “Hey Ladies: Being A Woman Musician Today” online database. My answers "helped to inform a series of radio features airing on NPR throughout the summer." There is a web presentation of this project where folks can view the responses of hundreds of women musicians who took part in this survey. My edited copy and photos have yet to be entered but at least it's posted!</p>
<p>Click on this link to see my entry and for additional information regarding broadcasts:<br>http://www.npr.org/templates/story/story.php?storyId=128517091&artistId=250</p>
<p>You can also join the discussion on Facebook at <br>http://www.facebook.com/topic.php?uid=117070478302975&topic=221</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332012010-07-15T09:39:15-12:002016-06-28T23:38:32-12:00Anita Brown Jazz Orchestra at The Tea Lounge: Size Matters!!!
<p style="text-align: center;">I am happy to announce that <strong><em> </em></strong></p>
<p style="text-align: center;"><strong><em>Anita Brown Jazz Orchestra, and</em></strong></p>
<p style="text-align: center;"><strong><em>Featured Guest Artist, Ted Brown, Tenor Sax (a.k.a. "Dad")<br></em></strong></p>
<p style="text-align: left;">...will perform as part of the <strong>"Size Matters"</strong> series, curated by my esteemed colleague, JC Sanford, at <strong>The Tea Lounge</strong> in Brooklyn, NY. </p>
<p style="text-align: left;"> </p>
<p style="text-align: left;">While there is an event listing posted on <em><strong>Anita Brown Jazz Orchestra's</strong></em> Facebook fan page, it seem far easier to announce in this manner, which feeds into Facebook, given my personal challenges with technology. (ugh) :-)</p>
<p style="text-align: center;">Please join us at:</p>
<p style="text-align: center;"><strong>The Tea Lounge</strong>, 837 Union St., Brooklyn New York 11215</p>
<p style="text-align: center;">(718)789-2762 (Reservations are not necessary.)</p>
<p style="text-align: center;">By Train: R Train to Union St., or Q/B Trains to 7th Ave.</p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><strong>Monday, July 26, 2010, Sets at 9:00 & 10:30 pm</strong></p>
<p style="text-align: center;"><em><strong>Suggested Donation: $10 </strong></em></p>
<p> </p>
<p style="text-align: left;">Summer time is sometimes a challenging time to secure regular personnel due to so many summer jazz camps festivals and family activities making demands upon these wonderful players. I am excited to fill the last few chairs for this gig, but happy to announce the following in the way of personnel...and in particular...the RETURN of the brilliant <strong><em>GREG GISBERT</em></strong> to my trumpet section!!</p>
<p style="text-align: left;"> </p>
<p style="text-align: left;">I'm very happy to announce that my father, <strong><em>Ted Brown, </em></strong>a<strong><em> </em></strong>recorded jazz artist and an original member of <strong><em>The Lennie Tristano</em><em> School, </em></strong> will, <em>for the first time,</em> sit in on my arrangements of his own compositions!</p>
<p style="text-align: left;">Band Personnel:</p>
<p style="text-align: left;"><strong>Reeds: </strong> <em>Dave Pietro,</em> Marc Phaneuf, Tom Christensen, Virginia Mayhew, Ed Xiques</p>
<p style="text-align: left;"><strong>Trumpets: </strong><em>Jon Owens,</em> Seneca Black, Alex Norris, Greg Gisbert</p>
<p style="text-align: left;"><strong>Trombone: </strong> <em>Bruce Eidem,</em> Mike Christianson, Jason Miller, Jeff Nelson</p>
<p style="text-align: left;"><strong>Rhythm: </strong> Mike Holober, Leo Huppert, Ray Marchica</p>
<p style="text-align: left;"><strong>Flailing Arms At Podium 'Til Music Stops: </strong> "Yours Truly" :-)</p>
<p style="text-align: left;"> </p>
<p style="text-align: left;">Hope you can join us!!!!!!! </p>
<p style="text-align: left;">Thank you for supporting <em>LIVE</em> music!!!</p>
<p style="text-align: left;"> </p>
<p style="text-align: left;">The Tea Lounge serves food, teas, coffees and libations. Pick your poison!</p>
<p style="text-align: left;"> </p>
<p style="text-align: left;"><strong><em>Photos of ABJO in rehearsal are in the photo gallery of this website as well as our Facebook Fan Page.</em></strong></p>
Anita Browntag:anitabrownmusic.com,2005:Post/61332002010-07-14T05:28:33-12:002021-12-15T18:46:54-12:00Profoundly Proud
<h3 class="UIIntentionalStory_Message"><strong><span class="UIStory_Message">I just learned, and am profoundly proud to tell you, that a set of score & parts for my piece for nine brass entitled "Elegia" has been officially catalogued and entered into the music library of The United States Marine Band, "The President's Own," in Washington, DC. You can hear its *live* debut performance given at the John Stubblefield Memorial Concert at St. Peter's Church, NYC on September 25,<span class="text_exposed_hide"> </span><span class="text_exposed_show">2005 on the music page of this website. Click on the title for personnel listing.</span></span></strong></h3>
<p><strong><span class="UIStory_Message"><span class="text_exposed_show">Photos of John Stubblefield at his 60th Birthday Party in the apartment of Sue Mingus can be seen in the photo gallery.<br></span></span></strong></p>
<p><strong><span class="UIStory_Message"><span class="text_exposed_show">~AB</span></span></strong></p>
Anita Browntag:anitabrownmusic.com,2005:Post/61331992010-07-01T23:13:42-12:002021-07-18T04:47:02-12:00This is a blog feed test...again...grrrrrr
<p>I'm still trying to feed this blog into facebook. This is why I hate technology. Why has life come to this? We just have to sit for hours and hours at a computer and watch the beautiful weather go by through a small window? GRRRRRRRRRRRRRR</p>
<p> </p>
<p>TEST-ING!!!!!!!!!!!!!!!!!!!!!!!!!</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61331982010-06-28T23:07:05-12:002016-06-28T23:38:32-12:00So Excited!!
<p>While I have been thinking about the many opportunities I have had to write a blog entry, something seems to always get in the way. As someone who kept a journal daily for a ridiculous number of years, one would think this would be a piece of cake. I will try to be more vigilant now that there is a proper blog format set up.</p>
<p>So, WHY so excited today? ...you may ask... Not quite sure, but the tune I finished in April or so, entitled <em><strong>Major Nepenthe</strong></em> (piano/vocal living room demo & back story on music page, photos in photo gallery) has some very exciting potential. While I have not yet written its horn arrangement I do have in my head a clearer and clearer picture of its recording production.</p>
<p>Today I finally made contact with Lt. Col Phillips, USMC, 4th Marine Aircraft Wing in Louisiana. We talked on the phone about the possibility of my securing some audio of the CH-53D and CH-53E, along with photographs that would be cleared for my use in recording and selling a properly recorded and produced track of <em><strong>Major Nepenthe.</strong></em> Not only is Lt. Col. Phillips agreeable to assist me in this endeavor, but the fact is he will soon be transferred to Maryland and be in command of "logistics" for said aircraft. When I mentioned my interest in driving down and seeing and/or recording these beasts for myself, (with engines RUNNING) he was more than agreeable! HOW EXCITING!!!</p>
<p>:-)</p>
<p>~AB</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61331972010-05-20T22:21:33-12:002022-07-24T03:38:21-12:00ABJO Rehearses with Judi Silvano
<p>I am happy to have finally completed two big band arangements for the wonderful vocalist, Judi Silvano. They are now in the hands of copyist, Evan Barker.
On Monday, May 24th Anita Brown Jazz Orchestra will rehearse these two charts as well as two other vocal charts of mine with Judi in midtown Manhattan from 1:00-5:00pm.
This is a very exciting time, as Judi and I will finally have the chance to work together in this configuration. It is particularly exciting for me, as there really isn't anything more fun than writing for and rehearsing my band.
Judi will perform these charts at a festival in Israel in early June. She and I hope to be able to bring this to a performance in the metropolitan area soon!
Stay tuned...
:-)</p>
Anita Browntag:anitabrownmusic.com,2005:Post/61331962010-04-25T19:39:21-12:002016-06-28T23:38:32-12:00Writing Big Band Charts for Judi Silvano!
<p>Judi Silvano has asked me to expand the two small ensemble charts I wrote for her over the winter into big band charts. She will be performing them in Israel in early June! We are both looking forward to running them down with Anita Brown Jazz Orchestra in mid to late May in New York. Judi is also considering learning some of my existing vocal charts and we look forward to the possibility of performing together in the future.
This is also the first entry of an interactive blog, and I'm not sure a) if it will work, and b) how often I will be able to keep up with it and c) whether I can feed it into facebook.</p>
Anita Brown