Green On Grey is a composition by me that was inspired by nature on a lovely spring evening.
I was standing in our “deer park,” a patch of slowly spreading blue grama grass surrounded by oak, juniper and blue spruce. I was looking up through the new tender green oak leaves at a patch of sky filled with unusual silver-grey clouds. I enjoyed this special moment of peace and beauty. The feeling percolated within me overnight and in the morning I wrote this piece. The recording is from the score and has only chords and melody now but I think it does communicate the experience.
This piece, along with another of my compositions, has been selected to be specially arranged for a big band and will be performed some time in the next few months. Meanwhile, you can take a few minutes, relax and enjoy the peace.
Despertar by Joseph Liberti, was written upon awakening and has a latin twist.
For some reason I have recently been inspired to compose several songs in a latin groove. Despertar, which loosely translates to awakening, came to me almost in it’s entirety upon awakening in the wee hours of morning. It is simple, pretty, has a nice groove and will be fun to perform.Despertar is now in the playlist for our fall concert. You can listen to the score recording now (The open rhythm sections are where the improvisation will take place.)
A link to FluteDaddy Music has been added to the menu. FluteDaddy provides beautiful hip music for special events and was founded by me in 2009.
New FluteDaddy music samples have recently been added:
The new music samples are of Joseph Liberti with the FluteDaddy quartet and recorded in a live LifeJazz performance at 21C:
1. A cool jazz rendition of Dave Brubeck’s In Your Own Sweet Way.
2. A medium uptempo samba of Antonio Carlos Jobim’s Chega De Saudade.
3. A special ballad version of Michel Legrand’s You Must Believe In Spring.
You Must Believe In Spring features a gorgeous 2 minute piano solo intro followed by a piano and alto flute duet and then a final improv out chorus with the whole band. It is a little long but beautiful and the audience loved it. Here it is:
Just You, Just Me was a a song from the 1929 musical film Marianne, composed by Jesse Greer with lyrics by Raymond Klages. Later a contrafact by Thelonius Monk.
Just You Just Me was adopted by musicians as a jazz standard and reinterpreted over the years. In the 1940s, pianist Thelonious Monk composed a song with harmonies adapted directly from “Just You, Just Me” but with a new melody, which he titled “Justice.” In Jazz this is called a contrafact – a musical composition consisting of a new melody overlaid on a familiar harmonic structure. Contrafact can also be explained as the use of borrowed chord progressions.This kind of oblique reference between “Just Me” and “Just Us” and “Justice” is commonplace, but Monk went a step further when he later renamed his composition “Evidence.”
Who are considered the 50 best jazz bassists of all time?
In jazz, as in most music, the bass is the bottom line. It’s both part of the rhythmic foundation of the music (along with the drums) and the sonic glue that binds everything together. In the New Orleans-style jazz ensembles of the early 20th Century, basslines were usually played by the tuba – reflecting jazz’s marching-band roots – but that instrument was eventually superseded by the upright, four-string double bass. As the jaunty 2/4 meter of 20s jazz evolved into the fluid 4/4 swing rhythms of the 30s that defined the big band era, the best jazz bassists played a crucial part in keeping the music flowing by playing…
How Do Soprano Sax and Flute Duets Work In A Jazz Combo? Listen Now.
I’m experimenting with some compositions for small group by adding soprano sax and flute duets to the FluteDaddy quartet for a performance. There are some interesting possibilities for creating unusual harmony and counterpoint. I can make it weird and spacey, funky or blues or classical sounding. I’m still undecided. What do you think?
No Major Reason Featuring Soprano Sax and Flute
Here’s an mp3 of the first draft of No Major Reason for quintet featuring soprano sax and flute with piano bass and drums. The open sections of just the rhythm groove are where the individual improvised solos take place.
We will be doing a live recording of The the LifeJazz Show during our Program May 6.
Live recording is always tricky but we are going to go for it during our LifeJazz Show on Sunday May 6. We have some great new tunes, some great players including the exciting Reggie Berg on piano, and some great sound engineers, so with a little luck we will get some recordings to share. All we need is you, the live audience to make it really special. Come join us, enjoy some engaging music and story and boost your spirits.
Sunday May 6, 2:30 PM
The Venue at Library 21C
1175 Chapel Hills Dr
Advance $11, Door $15.
LifeJazz Is sponsored by The Art of Jazz, a non-profit arts advocacy.
People have asked me about how I create music. “Do you start with a melody or a rhythm or a mood,” They ask. The answer is, it varies. It could be any or all of those things and especially when grass whispers or walls sing.
My music is inspired by nature, art and life experience. When I consider my composing experience, I notice that a number of my songs have written themselves in my head as I hike in the morning. I think that the hiking and the centering effects of being in nature produce a kind of walking meditation. In that kind of altered state I hear the sounds of grass and trees and rocks. I feel the rhythms. Often I write a complete piece when I get back to my home studio. My composition Morning Meadow wrote itself after a hike. My new piece Prairie Frost is a vivid example of nature speaking to me.
A similar change in consciousness occurs when I visit a gallery, stand before a painting and focus all my attention on the sound that painting is making. I can hear the slashes of color as notes and sometimes chords. I feel the rhythms of music that the shapes lead me to. I need to be patient when listening but if I am attentive and focused, eventually the walls sing with music. My recent composition Wednesday Blue was composed immediately after sitting with the painting Esspressivo by Suz Stovall for a quiet time.
Recently I have been composing pieces of music that come from a physical/emotional experience of life. Bela Bela was composed as I was reliving the experience of a Bela Fleck concert the morning after. What To Do? was written right after a morning walk when I was revisiting a vivid spiritual experience of the night before.
All of the original pieces that I will perform with the FluteDaddy quartet during The LifeJazz Show on May six originated in these kinds of experiences. All have interesting stories and I will are them with you. Join me?
“Coltrane, Brubeck, Legrand and who else’s songs did you say you will be performing Sunday?,” was the question.
I happened to meet a woman in a doctor’s office who had attended our February LifeJazz Show. “We are coming to your next show and bringing some friends,” she said, “will you be playing the same music?” “No, I replied,” we have a new music.” I was thrilled she was returning and we talked about the program.
We will be playing pieces by Dave Brubeck, John Coltrane, Michel Legrand and a bunch of new pieces by me, Joseph Liberti.
I feel a little crazy when I think about adding my name to that list of composers. I would never pretend to own their competence. But, I am very grateful and very willing to share the music that is in my soul through my newest compositions.
The FluteDaddy Quartet with Reggie Berg piano, Jason Crowe Bass, Tyler Kennamer drums and yours truly playing flutes will premiere some new pieces inspired by art, nature and life. There’s an interesting variety of swing, jazz waltz, swing-hop, bossa nova and even a latin piece in 5/4 with a tip of the hat to Dave Brubeck. One piece will be dedicated to the artist whose work inspired it and she will be present.
What is bebop? Some say it was jazz’s most influential development.
The term bebop is well-known, but many jazz newcomers often ask: what is bebop? And why is it hailed as the most important development in jazz? uDiscover Music reveals all…
The Big Apple certainly didn’t know what hit it when Charlie Parker blew into town like a tornado and shook the jazz scene to its very core. It was 1942, and the 22-year-old alto saxophonist from Kansas City, then playing in pianist Jay McShann’s band, was blowing his horn in a way that had never been heard or seen before. Molten melodic lines poured out of him in a rapid-fire torrent of improvisation that took virtuosity to a new level. Read More