In sheet music, ad lib is an abbreviation of ad libitum which in Latin means at one’s pleasure. Musicians know Ad Lib to mean improvise or play freely. In Ad Lib I will blog on my experiences thoughts, feelings and insights in the pursuit of creativity in music, art and life. Please read About Joseph Liberti for more information about me and the ad lib blog
As I write this post I am listening to Two Lonely People from the album: Bill Evans and Stan Getz – But Beautiful. The album also features bassist Eddie Gómez and drummer Marty Morell. The video has some beautiful performances from jazz masters.
As I listen I notice all the new things I hear now that I did not recognize so clearly before. I am reminded how much we can learn from the masters whether our discipline is jazz music or painting or whatever.
I also notice that as I learn and develop my musical skills to a greater degree how I am able to listen with “new ears” which leads me to new appreciation for the art and the artists. And, after listening to many repetitions of this album, the unique language and expression of the artists being to show up in my music performance and in my writing.
If you are into jazz you may love this album. If not chose your artist and try seeing with “new eyes” or hearing with “new ears.” Let the experience inspire and inform your art and life.
I will pin the post to the top of the blog as a way to introduce Ad Lib to new readers.
Last night at our gig we had an extraordinary experience of synergy. After the trauma of relocating indoors to escape the rain, we started warming into our groove.People enjoyed us and we had fun. By the third set, when many of the patrons were heading home we had built up a full head of steam. The remaining folks gathered around the band to just listen. We musicians, anchored by relationship and trust turned loose and became exuberantly creative. The more we opened up the more the listeners became engaged, and they and we, all became part of the music performance. The music was over the moon. It was the kind of experience musicians live for and fans leave home in any weather to go be a part of.I awakened this morning thinking, that is what life can be when we are not divided by fear but rather united in joyous celebration of being.
Check this out! You will love it! I am not affiliated with Jazz At Lincoln Center but love their music and support of jazz! The following content is from Jazz At Lincoln Center.
These one-night-only, live performances have never been released before. Recorded between 2003 and 2007, United We Swing—the latest album from Blue Engine Records—finds an unparalleled array of music talent that collectively boasts 94 Grammy Awards joining Jazz at Lincoln Center Managing and Artistic Director Wynton Marsalis (a nine-time Grammy Award winner himself) and some of the world’s top jazz musicians to perform blues-inflected versions of iconic American repertoire.
Here’s where to listen to the album samples and order the music:
These one-night-only, live performances have never been released before. They include Lenny Kravitz performing Marsalis’s hypnotizing, New Orleans-inflected arrangement of Kravitz’s own song, “Are You Gonna Go My Way”; Susan Tedeschi and Derek Trucks uniting for a stirring, infectious take on Civil Rights anthem “I Wish I Knew How It Would Feel to Be Free”; Bob Dylan adding harmonica licks to a deeply felt, in-the-pocket rendition of “It Takes a Lot to Laugh, It Takes a Train to Cry”; and Ray Charles taking the stage for one of his final performances to play “I’m Gonna Move to the Outskirts of Town.”
Together these artists raise their voices to highlight jazz’s importance to America’s cultural heritage and to remind us that, even in divided times, music can unite us all. All proceeds from the album will go toward Jazz at Lincoln Center’s education programs, which introduce thousands of children to jazz each year.
Celebrate Independence Day with the sound of America swinging together!
The Wynton Marsalis Septet’s acclaimed, star-studded United We Swing is out now as a double-disc, audiophile set—and from now through Sunday, you can use the code “HAPPYFOURTH” to receive 20% off United We Swing and all other vinyl albums available at Jazz At Lincoln Center online store.
1. The Last Time feat. Blind Boys of Alabama
2. It Takes a Lot to Laugh, It Takes a Train to Cry feat. Bob Dylan
3. I’m Gonna Move to the Outskirts of Town feat. Ray Charles
4. I’m Not Rough feat. Eric Clapton
5. Creole Love Call feat. Audra McDonald
6. Milk Cow Blues feat. Willie Nelson
7. I’m Gonna Find Another You feat. John Mayer
8. My Baby Don’t Tolerate feat. Lyle Lovett
9. The Worst Thing feat. Natalie Merchant
10. Please Baby Don’t feat. John Legend
11. Mean Old Man feat. James Taylor
12. Are You Gonna Go My Way feat. Lenny Kravitz
13. Fool’s Paradise feat. Jimmy Buffett
14. Empty Bed Blues feat. Carrie Smith
15. I Wish I Knew How It Would Feel To Be Free feat. Susan Tedeschi and Derek Trucks
16. What Have You Done?
Thank you Jazz At Lincoln Center for this fabulous music and for all you do to support jazz!!
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.”
Here’s a full-length sample of my new tune What To Do?
To create the sample I used digital instruments to play the score as a backing track and recorded myself playing along on flute. When we perform the song with the FluteDaddy quartet you will also hear additional improvised solos on piano and bass.
What To Do? is is a happy, bouncy tune that will premiere at our LifeJazz concert May 6 and I’ll share the story of its origin at the concert, but there was an interesting effect of writing the song that I’ll share here.
I was looking for solutions to problems when I wrote this piece. When I completed it I was flooded with creativity, new solutions and renewed confidence. Over the years I have noticed this effect before, in me and in my clients. When we take up any creative activity we tap in to our deeper self and become more resourceful and resilient. The next time you a feel stuck, do something creative. Paint, dance, take photos or something else you love. It doesn’t matter how good you are at it or that you have not done it in a long time. Just engaging the activity will access more of your authentic self and will free some new energy. Try it. Need ideas? This article about drawing might help.
Come join us for The LifeJazz Show on May 6th for music and story that will please your ears and lift your spirits.
The downbeat for the next new sound of my music is May 6 at 2:30 PM.
That is the Sunday that the new FluteDaddy quartet will premiere my latest compositions at the venue at Library 21C 1175 Chapel Hills Dr. The music is unique and engaging and I am really excited to share the songs and the stories of their creation with you. Here’s why:
All of the pieces in the show on May 6 are inspired by nature, art and life and each has a wonderful story. Prarie Frost is a somewhat cinematic piece inspired by a hazy dawn rising over a prairie touched with a magical coating of frozen droplets. Spring Forwarddescribes a tale of a courageous crocus and is presented in a polyrhythmic, latin theme.
And, I am especially excited to perform Wednesday Blue, a piece inspired by the art of the highly regarded artist Suz Stovall. I think the piece represents well the spontaneous and joyful visual feast of color that is her art. I will tell the unusual story of the music’s creation and Suz will be present to accept my dedication. There are more pieces and all as interesting. Listen to sound samples here
The new instrumentation of FluteDaddy quartet features dynamic jazz and classical pianist Reggie Berg, a newcomer who has been impressing people around the Front Range with his playing lately. I have had the great pleasure of working with bassist Jason Crowe for years and he is not only one of the finest players but adds a genuine, warm presence. Tyler Kennamer, our drummer, regularly performs with Jason and Reggie, really sets the groove, and all together the rhythm section really clicks.
Please, please come and join us for The LifeJazz Show on Sunday May 6 at 2:30 PM. It will be a memorable experience.