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Max Perkoff: Reviews & Media Kit

Music Education

"Dear Max,

On behalf of the IAJE Executive Board and International Staff, thank you for your outstanding services as an IAJE Artist Outreach Network clinician. From reading your evaluation comments, I see that your sessions were a smashing success and well received by the students in attendance - Bravo!

I am please and grateful that you continue to play a vital role in the jazz education arena and wish to extend you the best wishes for continued success in the future."
The Max Perkoff Band is dedicated to working with teachers and administrators to contribute to quality music education in our nation's schools.

Pianist and trombonist Max Perkoff has 12 years experience teaching music in the classroom to all grade levels.

His award-winning clinics and jazz workshops continue to inspire students in elementary, secondary, and post-secondary grades.

Each group member is both qualified for and enthusiastic about interacting with students. Large assemblies, improvisation clinics, rhythm section clinics, can all be scheduled either separately or on the same day. Our primary goal is to work with music teachers and other school personnel to assist and support music education at each school site.
Educational Concerts & Clinics (Jan 1, 2005)
No list can include all the great and the near-great, but this one will come close enough for someone new to jazz.

Top 11 Most Influential Artists (in chronological order)

Louis Armstrong, trumpet/cornet
Ferdinand "Jellyroll" Morton, piano, composer

Edward Kennedy "Duke" Ellington, piano, composer

Billie Holiday, voice, composer

Lester Young, tenor saxophone, composer

Ella Fitzgerald, voice

Charlie Parker, alto saxophone, composer

Dizzy Gillespie, trumpet, composer

Thelonious Monk, piano, composer

Miles Davis, trumpet, composer

John Coltrane, tenor & soprano saxophone, composer.

You can't go wrong buying virtually any recording any of these artists made. Without them, jazz and so many other styles of music would not exist. Most improvising musicians (in my book, musician means instrumentalist or vocalist) compose as well.

Great Recordings
"The Genius of Louis Armstrong - vol. 1: 1923-33"

Louis Armstrong & Jellyroll Morton Duet Album. (Not the official title, but you can find it.)

"Jellyroll Morton 1923/24" (Milestone M-47018)

"The Indispensable Duke Ellington" (RCA Victor. LPM-6009)

"Ellington At Newport" (CK40587)

"Billie Holiday - The Golden Years"

"The Best of Count Basie - Count Basie and his Orchestra" (features Lester Young)

"A Perfect Match - Ella and Basie. (Pablo)

"Ella Fitzgerald day dream: best of the Duke Ellington songbook. (Verve)

"Charlie Parker - The Very Best of Bird" (Warner Bros.)

"Jazz At Massey Hall" (Billed as "The Greatest Jazz Concert Ever!" Bird, Diz, Bud Powell piano, Charles Mingus bass, Max Roach drums - and it's live! BUY THIS ALBUM!!!!)

"Sonny Side Up" - Dizzy Gillespie, Sonny Stitt, Sonny Rollins, Ray Bryant, Tommy Bryant, Charli Persip. (Verve)

"Thelonious Monk" (Prestige, 24006)

"Kind of Blue"

"Giant Steps" (Atlantic)

Max Perkoff - Jazz Listening Guide (Mar 28, 2005)
Jazz is so rewarding! It is music that can express every human emotion. The people's music, as Duke Ellington called it, is flexible enough to combine with any other musical style, and yet it keeps certain core attributes. The Blues, improvisation, the widest - possible definition of swing and soulful feeling are always present in any style I personally consider to be jazz.

Step 1: Memorize all 12 major scales. Practice with a metronome, beating on beats 2 & 4 of a 4/4 measure. Be sure to play them at widely varying speeds, from very slow, to very fast. Ideally, you should play them from your lowest to your highest note, or a minimum of two octaves. For beginners, two octaves will be very difficult on certain scales. Learn one octave, and expand to two and beyond as soon as you are able! Always go for quality over quantity - beautiful tone, accurate rhythm, clean articulation, all at slow to moderate speeds.

Step 2: Listen to live jazz as often as possible. There is NO substitute for hearing music live, up close and personal. Check your local paper, internet listings, my gig schedule, etc., for details. If you're a minor and you don't drive, talk to your parents, adult family & friends and go out with them to hear the music! (If you're a minor and you do drive, please remember to check left, check right, and check left again!)

Step 3: Listen to recorded jazz as often as possible. (For suggestions, see my jazz listening guide.) Here's a great way to learn a lot from any recording: First pick one you really like. Second, listen to one tune all the way through while focusing ONLY on one instrument. Your mind may wander, but stay focused on the bass, drums, piano, trombone, violin, voice, or whichever instrument you pick. Third, do it again focusing on a different instrument, until you've focused on each one. Use the same tune. You'll be amazed at how much you learn about how jazz is played, the functions of each instrument and section. Note: Steps 2 & 3 are life-long processes.

Step 4: Start with the blues.
Learn to play and sing (instrumentalists too!) the blues. Sing along with recordings of Bessie Smith, Billie Holiday, Joe Williams, Muddy Waters, B.B. King, etc. Memorize the blues scale: 1 b3 4 #4 5 b7 starting on all twelve notes. Apply it two ways: First, if the chord is C7 play the C blues scale.

Second, play the A blues scale. This functions as the relative minor blues scale, and works beautifully!

Step 5: Learn jazz by learning & memorizing jazz tunes.
[Each step is done in a steady tempo. Start as slow as you need to. Gradually build speed, never sacrificing musical phrasing. Use a metronome. The click or tone of the metronome should be heard as every beat in the bar, and also heard as beats 2 & 4 of a 4/4 measure.]

a) Learn the melody (& words if there are any).

b) Play these patterns over the chord changes: Roots; 1-3; 3-1; 1-3-5; 5-3-1; 1-3-5-7; 7-5-3-1; 1-3-5-7-9; 9-7-5-3-1
(up to 11 & 13). All combinations you can think of.

c) riffs over each chord. Make up one bar riffs (short melodic fragments).

d) Play a scale over each chord. Play from the root (1) up to the 7th tone; reverse directions; 1 to 9; 9 to 1, etc.

e) Listen to as many recordings of the tune as possible.

f) Whenever possible, improvise with a play-a-long recording. If you can, make your own., or you and your friends make it for eachother.

g) Practice all of these steps with other musicians.

h) With other musicians: Play bass lines for eachother, chords if possible. Call andresponse thru the changes.

A note about phrasing. Phrasing is how you play each musical statement. Think of it as a recipe. The main ingredient is legato playing, i.e. smooth and connected. The spices & seasonings are: Accents, stacatto; scoops; slides; half-valving; flutter-tonguing; etc. This is a major portion of anyone's personal style. Like the old blues lyric says: "T'aint what chya do, it's ta' way that chya do it!"

Max Perkoff - Jazz Improvisation (Mar 28, 2005)