Professional Documents
Culture Documents
Editors Greeting
Welcome to the first issue of
York Jazz Scene! Some of you may be thinking what scene?, but as you read on, it should become clear that the city is home and host to a wealth of talented musicians and dedicated supporters, many of whom are fabulous writers! A lot of fantastic jazz is being created in and around York, but unfortunately, not a lot of people seem to know about it. Here is where York Jazz Scene, or YJS, aims to step in, by providing an outlet for the different jazz streams to come together, and to create a stronger feeling of community amongst those who are enthusiastic about jazz! Inside, you will find articles ranging from reviews to interviews, and be sure to check out the profile for York Jazz, the worlds friendliest jam session. At the heart of this issue is the upcoming performance with Kenny Wheeler and the University of York Jazz Orchestra. This is likely to be the most significant jazz event to occur in York this year, so make sure you buy a ticket (if you havent already)! I would like to say a massive thank you to all the contributors for their hard work, especially to Gwen Postle for her much appreciated assistance and support. I hope that you enjoy reading York Jazz Scene, and look forward to receiving any feedback which may help to improve future issues. Best wishes, Anna Lacy York Jazz Scene Editor
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Confessions of a 1213 MD; University of York Jazz Orchestra What Would Norma Do? TranscriptionBased Harmonic Considerations of Keith Jarretts Ballad Playing
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It is a pleasure to be invited
to say a few words for the first edition of what looks to be a promising magazine covering all aspects of jazz music in the city of York. With education in this genre
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Editor: Anna Lacy Chief Assistants: Gwen Postle Matt Postle Proof Reader: Gwen Postle Contributors: Paul Baxter Dave Cook Jonathan Eato Jonathan Forster Ruth Keggin Anna Lacy James Lancaster Becca Lattimer Vanessa McWilliam Chris Moore Dave Morecroft Matt Postle Tony Priest Noah Noutch Zezo Olmpio Hannah Witcomb Amy Wray Photography: Michael Brunsden Aaron Carey Logo Design: Amy Wray Special thanks to: Rosie Carlton-Willis Anna Doughtery Dave Morgan Becky Thumpston
York Jazz Scene. Copyright of individual pieces remains with the contributors.
The Jazz and Blues Society is on Facebook. To find it, type York Jazz and Blues Society into the Search box, and join up! The society also has a slot on University Radio York (abbreviated to URY), 130AM. The show is called Jazz and Blues Fusion, and airs on Sunday nights, 9-10pm. Listen live through the URY website <http://ury.york.ac.uk/>
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Jazz trumpeter Freddie Hubbard playing in Rochester, New York in 1976. Photo: Getty Images
Hubbards playing not only contained a rich history of jazz trumpeters...but also created a whole new way of approaching the instrument.
My words on Freddie Hubbard can only go so far; to truly understand him, or any other jazz musician, one must listen to the music. Only then can his significance be understood. Hubbards recordings continue to challenge the way modern improvisers approach their instrument; for us trumpeters, we can only shake our heads when we listen to him play. The mixture of technical virtuosity and pure soulfulness in his sound makes him arguably the most influential of all jazz trumpeters. Freddie passed away on 29th December 2008, at the age of 70. He will be greatly missed.
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Want to know more about York Jazz? Find us online! Official Website: http://www.yorkjazz.com/ MySpace: www.myspace.com/yo1jazz Alternatively, ring Paul Baxter: 07788 536152
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Since it started, which is about eight years ago. When I first came, there were more of them than there were of us; I think there were
about five or six in the band, and there were four of us in the audience. At that time we were downstairs in the front bar. What is it about the jam night that has made you attend for such a long period of time? Well I have been a jazz fan ever since I started buying records in the 1950s/60s (if I dare say so). However, I didnt take a lot of notice until about the early eighties, which was when I started to see what was going on in the jazz scene in York. What do you think of the jazz nights here? Theyre absolutely excellent in many respects. The guys really need organising in terms of somebody to take money on the door and for the raffle; but, jazzers being jazzers, they say oh no, we prefer to do it ourselves, Tony, despite how many times you offer.
Could you tell us about any personal jazz highlights over the years? You were very kind not to say over so many years! I did see Count Basie at Birmingham Town Hall in 1962, which was absolutely phenomenal I was blown away! I was a Salvation Army boy at the time, so hearing so many wonderful brass players was heavenly! Do you have any memorable moments from the jazz nights here? Yes I have! Weve had some pretty good guest artists like Alan Barnes, who is, I suppose, everybodys favourite, because everybody would have seen him perform at some stage! He is truly a jazz enthusiast, and will talk to anybody about jazz; he tries to promote the genre as best he can, anywhere in the world. We also saw Peter King, who is a fantastic saxophone player. Weve also had Steve Waterman on trumpet here, and tonight, of course, we have Mark Nightingale, who is, again, a totally wonderful player. Has the jazz night here changed in any way over the years, and if so, how? Well, as I said, there were more of them than us the first night. But about three or four months later, it had moved upstairs to the room where we are now, and attracted the attention of a lot of York University studentsby which time it was difficult to get a seat, anyway! Thats fine for me, because I like to stand just inside the door to listenand heckle, sometimes! What is your opinion of jazz in York? Its not bad; its a bit difficult when you listen to a guy like Mark Nightingale tonight and we havent got anything of that standard, perhaps [at which point Paul Baxter walks past and laughs incredulously at what Tony has just said]. But the selection of jazz round and about is not bad at all. Musicians are reliant on pubs to give them a venue to play, of course, and the Black Swan tends to do so more than most. Were grateful for what we can get in York, in a manner of speaking, but even so its better than a lot of cities that are pretty soulless in that respect. How would you like to see jazz develop in the city? Well it would be nice to see a purpose-built jazz venue, so that any decent jazz bands we got could come and play there. Im sure that they would get enough attention from the local jazz media in order to get a good attendance. Which of the special guests are you looking forward to seeing in the coming months? Apparently Alan Barnes is coming back again in September, and Ill be interested to see him again. I havent looked at the programme, but for all the guest artists that come, I shall be there. What can people expect from the jazz night at the Black Swan? Decent ale in the bar downstairs, and decent jazz when they get upstairs. Its fairly informal; the guys are all very friendly and approachable, and Im sure that they would have a great welcome, were they to come. Thank you very much, Tony; youve been brilliant. My pleasure; its been nice to talk to you.
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5 Pieces of Silver will also be performing: 26th March, Sela Bar (Leeds), 22:00 2nd April, Coopers* (Leeds), 20:30 3rd May, Pave (Hull), 14:00 3rd June, Scarborough Jazz, 20:30 (* = gig featuring guest vocalist Louise Gibbs)
5 Pieces of Silver formed in June 2008 and are a quintet dedicated to performing the music of
pianist and composer Horace Silver. Despite this relative youthfulness as an ensemble, their wealth of experience brings cohesion and ensures dynamic musicianship at all times. Paul Smiths explosive drum solo began the first set, fixing all eyes on the stage (and causing those close by to jump!), before the band moved into the opening number. John McKillup (tenor sax) and James Lancaster (trumpet) are the formidable horn players; from punchy motifs, to gutsy growls and soaring altissimos, their solo work always proved popular with the audience, as did Lancasters comedic compering. The rhythm section, comprising of Paul Baxter (double bass) and Zezo Olmpio (Fender Rhodes keyboard), alongside Smith, also deserve attention. All are dexterous performers capable of producing engaging solos Baxters ability to create interesting melodic ideas should particularly be noted and their interactions with the front line, as well as each other, definitely heightened the level of excitement. Highlights from the sets include: the irresistibly vibrant Cape Verdean Blues which made you want to dance (I was certainly grooving and bopping away in my seat!); Bonita, a sultry tune underpinned by alluring harmonies and habanera-like movement in the bass; Seor Blues, with its enticing melody and sensual riff, which also yielded one of Olmpios best improvisations of the evening; and Mexican Hip Dance, whose 3/4 time was distinctly refreshing, and acted as fertile ground for McKillups full-bodied soloing. The ensemble should additionally be commended for incorporating challenging tunes like Nineteen Bars a title indicative of its unconventional structure and complete with fiendish tempo into their repertoire. This was a highly satisfying performance; in fact, the worst part was needing to leave for my train, and therefore missing the encore! With the audience crying out for more, how could they possibly refuse? Forget silver this was pure gold!
5 Pieces of Silver currently have no scheduled gigs in York. If you would like to book them for a performance, contact Paul Baxter on: 07788 536152
For more information, check out their official MySpace page: www.myspace.com/5pi ecesofsilver
5 Pieces of Silver: Paul Smith, John McKillup, Zezo Olmpio, special guest vocalist Louise Gibbs, James Lancaster, and Paul Baxter. Photo taken at their recent recording session.
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Black Swan: York Jazz Jam, every Wednesday night, 8:45-11:15pm. Special guest nights happen on the last Wednesday of every month. Bring along your instrument! Old White Swan Pub: Ron Burnetts Mardi Gras Jazz Band, and Bejazzled, every Thursday night (each band plays on alternate weeks). Kennedys Bar: Rob Lavers Quartet, Sunday lunchtimes, 12-4pm. The Tanglewood: Jazz trio led by Karl Mullen, Sunday lunchtimes. Ye Olde Starre Inne: John Addy plays here on alternate Wednesdays. The Court Caf Bistro & Bar, Dean Court Hotel: Jazz Suppers with the Andy Hillier Trio on the first Tuesday of every month, from 8pm. Full payment is required when making reservations. Pizza Express (Lendal Bridge): Monthly jazz events held on Thursday evenings. March 12th: Tony Rocca Duo; 9th April: John Whalley. National Centre for Early Music: Hosts special Jazz Weekends every November and May, and includes jazz performances within its regular concert programme. Dennis Rollins is performing there on 28th March, 7:30pm. Sir Jack Lyons Concert Hall, University of York Music Department The University of York supports performances by professional artists and student-run ensembles throughout the year. Re:impressions are performing at 1pm on 17th March. Basement Bar, City Screen Cinema: A variety of events are held here, including the occasional jazz gig.
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Your YJS
York Jazz Scene is on the hunt for material to appear in the next issue!
Got a great idea for an article? Fancy writing a gig or album review? In a band that we havent heard about? Need to promote your jazz event? Want to make your voice heard? YJS is dedicated to the jazz community in York, so whether youre a musician, venue owner, promoter, or simply someone who enjoys listening to jazz and attending gigs, you are a part of this, and we want to hear from you! All jazz-related items will be considered, just get in touch! Email: yorkjazzscene@googlemail.com Telephone: 07939 463936 Or feel free to approach me for a chat! Watch this space for future internet expansion!
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Matt Postle is a PhD student at the University of York. Throughout his research, he has dedicated a lot of time to studying, transcribing, and archiving the music of Kenny Wheeler.
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Confessions of a MD
Jonathan Eato answers some tough questions about the Jazz Orchestra
terms of rehearsals, maybe its useful to have someone who says this is the vision that were aiming for, because we only have two hours a week to rehearse, and a conductor or director can speed things up. If we ever have repertoire that the band can do without me, then great; Im happy to turn up to the practices, rehearse the band, and then sit in the audience. Could you explain how the opportunity to perform with Kenny Wheeler arose? Entirely through Matt Postle. He came to study here because John Taylor is here, and because of Johns relationship with Kenny over the years. Matt is very interested in Kennys music, and knows him and his manager, Andrea. He suggested the idea for the gig, and has What is the Jazz Orchestra and what is its purpose? How do you feel the students are handling the repertoire? Really well. Its difficult, and its not the same as a lot of big band repertoire that people might have been exposed to previously. Its clearly from that lineage, but it has other challenges; for instance, its not that usual for swing band music to change time signature a lot, or have as many different sections. There are quite a lot of notes, and its a saving grace that the band are such good readers, because we only have short rehearsal run-ups during the terms. A greater challenge for people is the soloing, because the harmonic language is unique to Kenny and its very specific; hes clear about what he wants. You can get away with certain things in more familiar repertoire, but playing a blues scale over a lot of Kenny Wheelers music probably wont get you very far. Of course, thats not something that you can learn overnight; it involves a lot of individual listening, and understanding the harmonies. What direction would you like to see the Jazz Orchestra take in the future? Id like to see it continuing to play music that people want to have experience of playing, and are interested to hear, that is not readily available elsewhere in York, or even in the North East of England. I would also like more people to write for
pretty much done all the work; I cant claim any credit for it. Most often when Kenny does stuff with youth jazz orchestras even professional jazz orchestras the Sweet Time Suite is the thing they want to play, because its fantastic music, everyone knows it, and its been recorded on Music for Large and Small Ensembles. But Kenny, Matt and John also came up with a lot of alternative suggestions, which was great, because Kenny has written so much music, and not all of it is so well known. Were lucky in the department because there are a lot of good singers, which is essential for the difficult vocal parts in the Sweet Time Suite and the standards; its not a traditional way of treating the voice in a big band context. There are also two brass pieces and a sax quartet in the programme, all of which emerged out of conversations between Matt, Kenny, Andrea, and John.
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the ensemble; Zezo Olmpio has composed for the band, and I know Dave Morecroft has produced some arrangements, as have other people. Next year, the Jazz Orchestra is going to be involved in the first ever Lyons Celebration Award [an annual award set up by Lady Roslyn Lyons, the widow of the late Sir Jack Lyons, which allows the recipient to undertake a significant creative musical project, culminating in a public musical performance, according to the University of York Music Department website. Applications for the project are asked to be inspired in some way by Bernsteins Chichester Psalms, one of Sir Jack Lyons favourite works]. There were about ten applications; it could be in any style, and only one was jazz-based. The commission went to Zezo Olmpio, who is writing for jazz orchestra, gospel choir, string ensemble, solo voice, and solo improvising saxophone. These sorts of projects are very exciting, because itll be the first time that anyone plays that music. Interviewed by: Anna Lacy. Special thanks to Aaron Carey for providing the photography for this article.
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Trombones:
Trumpets:
The University of York Jazz Orchestra will also be joined by special guest, and renowned saxophonist, Julian Argelles
- Vanessa McWilliam
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Midlands Jazz Orchestra approached her following a singing competition at her school, and her jazz-related activities have continued since then. Becca approached singing in her teens as a fun alternative to her violin and piano studies, and focused on developing her vocal skills at university, upon discovering that she could have lessons with a jazz vocal teacher (Louise Gibbs). She cites her elder brothers own interest in jazz as early influences: it became ingrained into me; so at university, I found that although I didnt know anything about jazz, I could improvise! Interestingly enough, Becca is currently the only first-study jazz vocalist in the department. In terms of who they regard as figures of inspiration, Ella Fitzgerald, Sarah Vaughan, Nina Simone and, of course, Norma Winstone! are mentioned; however, in addition to these divas of jazz history, both are interested in listening to a range of
vocalists covering a myriad of styles. Hannah explained that, with regards to technique, all singing is pretty much based on the same principles, but it is what you bring to it and your own interpretation that is the most important part of performance.
I didnt expect to get it...I got a text message from someone saying well done, and I was like, for what?? - Hannah Witcomb
Although the Jazz Orchestra began rehearsing in October, this is the first time during the academic calendar that vocalists have been able to collaborate with the ensemble. Recalling my own ignorance of Kenny Wheeler prior to my arrival in York, I enquired as to how familiar the pair were with his
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work before the auditions. Hannah revealed that she sang a number of Wheelers compositions in a lunchtime concert earlier on in the term, and Becca became aware of his music through participating in projects taught by long-term Wheeler collaborator, John Taylor. Hannah admits that she was initially reluctant to put herself forward due to her busy workload, and therefore auditioned for the experience; Becca, however, was the first to sign up for a slot, knowing that opportunities for vocalists to work with departmental ensembles are rare. When asked about the audition process itself, both ladies become increasingly animated. It is a widelyheld notion that when a group of (female) singers vie for something, there is intense rivalry. However, in spite of the hype surrounding the occasion (candidates only had a weekend to learn Consolation, the sixth movement of the Sweet Time Suite, off by heart), Hannah and Becca describe a supportive atmosphere, as the auditionees found themselves united in their battle to master Wheelers flipping hard vocal lines. The auditions attracted five potentials, all possessing very different voices, and Becca insists that the calibre of talent was so high that it couldve been anyone. Hannahs response is equally modest: I didnt expect to get it I got a text message from someone saying well done!, and I was like, for what?? As we move on to discuss the music, it becomes clear that Wheeler is as challenging in his vocal lines as he is in his ensemble writing; and from the amount of times that her name is mentioned, the pair are very aware of the standard Norma Winstone has set. Winstone has a long history with Wheelers music, dating back to the early 1970s when she contributed wordless vocals to his sophomore album, Song for Someone. The unique dimension that this brought to his compositions encouraged Wheeler to write music particularly for large ensembles specifically with her in mind. The technical virtuosity needed to perform some of this material has brought her international renown, and also made her a tough act to follow! Singing with Kenny Wheeler is just outrageous! exclaims Becca. Im really scared hes going to be like: I dont think much of your choice, Jon Eato. Who is this girl? Shes no Norma! Lets be fair, continues Hannah, Norma would upstage the rest of us! Whilst the Jazz Orchestra are able to utilise their instruments to cope with entries, tricky intervals and extremities of range, for the vocalists the experience is far more exposing. This is because Wheeler treats the voice as another instrument, rather than adhere to its traditional role as a
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lines to sink in, and that the experience has made their practice sessions more constructive by improving their self-discipline, and, in Beccas case, increasing motivation: Im open about how lazy I am, so Im glad to do this, because I need to practice every day for a good hour to get this stuff into my head. With some things it takes me an hour to learn half a page, its so hard. Bearing all of this in mind, how do they think their instrumental counterparts are faring? When I came to the first rehearsal, everyone was so amazing begins Becca, I think weve been made to feel really welcome. Everyone is playing really well, adds Hannah, and wants to be there. Theres a massive buzz in rehearsals. I think its going to be really intense when Kenny gets here. Our attentions turn to the day of the performance, and I ask what they are most looking forward to about the experience. Singing with Kenny Wheeler and the Jazz Orchestra , and being able to say that Ive done that answers Hannah, later including the satisfaction of knowing that I managed to learn this beast of a piece! For Becca, the performance holds even more significance: The whole three years of my jazz life [in York] is leading up to this. Ive done lunchtime concerts and sung at ballsbut this is a measure of what Ive learned. Its a proper test, because in a lunchtime concert you can go into your comfort zone, and this is not in my comfort zone, so its going to be a really exciting challenge. This is a once-in-a-lifetime opportunity for the city of York, as much as for the students, to host and perform with a living jazz legend. Make sure you dont miss it.
The whole three years of my jazz life [in York] is leading up to this...this is a measure of what Ive learned. - Becca Lattimer
soloist. Both women agree that this approach has taken some getting used to, Becca stating youve got to learn how to blend, and Hannah declaring that this is the first time Ive felt part of an ensemble. They strongly advocate listening to recordings whilst following through with the parts as a vital preparatory tool. In Hannahs own words: I look a bit like a Kenny geek, because if you go on iTunes it tells you how many times youve played a track, and all the Kenny Wheeler songs are much higher compared to everything else! The songstresses also explain that much of their practice time is spent repeating passages over and over in order for the
YJS wishes Becca, Hannah, and the Jazz Orchestra all the best for the performance.
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After careful analysis and scrutiny, we come to the conclusion that the piece is not harmonically simple. The most common approach by a jazz musician would be to embellish the harmony with added and altered tensions and re-harmonizations. Jarretts approach, however, is more like a de-harmonization, where he practically reduces some of the chords to their bare bone structure. This is evident in bars 5, 13, 15-16 and 33, where instead of playing the expected Maj7 (sometimes Maj9) chord, he opts for a simple triad with an added 9th. This produces a very simple sound something that our ears will not instantly associate with the jazz idiom and is reminiscent of simple folk songs or lullabies. This is not to say that these chords are any less sophisticated, because it is their combination with more traditional jazz voicings that creates this particular idea. The deharmonization is sometimes used as a simplification of the II V cadence, where instead of playing the full cadence he reduces it to the V chord alone, as seen in bars 4 and 8.
Another interesting feature observed in the transcription is the delayed use of an altered tension. Instead of approaching a tension at the beginning of a bar, Jarrett holds on before introducing it during the final beats, whereby reducing the level of instability; examples of this can be found in bars 2, 10, 12, 18-20, 26, 31-32 and 36. Note that in bars 18-20 and 31-32 he uses a b9, natural13 chord structure, which is not very common, but proves effective. This is not particularly idiomatic of jazz vocabulary, but happens to be a common device in classical music. Futhermore, the way that voice-leading techniques are used in order to embed the altered tensions requires notable levels of musicianship, something which Jarrett exudes.
His voice-leading devices in the left hand present a fruitful topic for exploration. The way that Jarrett chooses to play the left hand accompaniment is musically interesting, and happens to be very difficult to execute with precision, because a number of the voicings require some stretching of the hands. The fact that it was all created in real time, as were most of the elements mentioned in this account, is impressive.
From examining the beginning of the transcription, it is clear where Jarrett gets the idea for the pattern he uses throughout the song. It is almost there in the second bar, and is fully present thereafter. He continues this ostinato-like figure throughout the whole tune, with some intermission and variation during the bass solo and transitional sections. Again, this could be considered a far more common approach in classical music than in jazz.
However, when one looks at the other famous rendition of Never Let Me Go by pianist Bill Evans (taken from the 2005 Alone album), it is interesting that this accompaniment pattern does not emerge again, not even in Jarretts own version on the Standards Vol. 2 album, issued in 1994. It is unknown if any of the music was pre-planned, but from several of Jarretts declarations, one gains the impression that most of his trio repertoire is created with little or no prior preparation.
The way that Jarrett morphs one chord into another, carefully choosing ambivalent structures which work in the previous chord, as well as the one in sequence, with very little note changing, highlights his musical sensibility. This is due not only to the ambiguity of the voicing itself, but also the way it is placed in context. His piano touch softens an otherwise aggressive cluster voicing, and provides an ideal opportunity for incorporating triadic elements.
The material used in bars 8 and 14 are good examples of voice leading and the moving of inner-voices within the chord structure. In bar 8, Jarrett utilizes the tension 13 on the Bb7 chord to approach the subsequent Bb-7 chord; in order to create a moving inner-line, he lowers the 13 to a b13 and resolves it into the 5th of the next chord. This is a simple, but very effective device, and is used successfully again in bar 14. It is peculiar that voicings which include the root are utilised throughout the piece, because most jazz players would immediately choose rootless voicings, by far a more standard approach and possessing a familiar sound.
To follow in the steps of the historical greats and attempt to make a tune truly your own is very demanding, but also very rewarding! I personally believe that placing yourself in the same line-up as a Jazz giant and telling your version of the same story is one of the attractive points of playing standards. This is not easy to achieve with a ballad like Never Let Me Go, because it is played slowly and without double time solos for flashy note bashing, like in up tempo numbers. The real challenge is to keep the improvisation both simple and sophisticated. As an ensemble, the aim is to embrace this concept, and further elevate the tunes simplicity and beauty; and this is possible without needing to resort to any kind of complicated arrangements or formats.
During the meticulous process of transcribing Never Let Me Go, it was fascinating to uncover all the details of performance, and be able to view the big picture, layer by layer. In addition, it was interesting to see how much one can benefit from dissecting a tune and viewing it from an analytical perspective. Therefore, it should be asked: how much can be extracted from a piece of music? In my experience, more than one can imagine. You can email Zezo Olmpio at: zezoolimpio@mac.com. Check out his MySpace profile: www.myspace.com/zezoolimpio