Jazz Transcription Clinic

Episode 7 - Roberto Occhipinti

Hello everyone,
This is Mirko Guerrini, and I welcome you to the Jazz Transcription Clinic, a monthly interviews podcast where we talk with accomplished jazz doctors about their lives, careers and their personal transcription secrets.
On this episode of the Jazz Transcription Clinic Podcast Mirko Guerrini interviews the guest jazz doctor: Roberto Occhipinti
Listen to Roberto Occhipinti's answers to the questions below:
Why do you transcribe? 04:34What do you expect to bring home from a transcription?  11:36How do you choose the solos you transcribe? 18:34What is your transcribing methodology? 20:18How do you practise the solos you transcribe? 26:06How do you incorporate ideas from the transcriptions into your playing? 43:44Which transcription of yours is your favourite? 49:10
Bassist Roberto Occhipinti was born in Toronto, Ontario, Canada, on March 25, 1955. He comes from a prominent musical family that includes two guitarists: younger brother Michael and cousin David. Michael Occhipinti is a well-known sideman and co-founder of NOJO -- the Neufeld-Occhipinti Jazz Orchestra. At the University of Toronto, beginning in 1972, Roberto Occhipinti studied under Thomas Monohan and was mentored by Joel Quarrington and especially the acclaimed jazz bassist Dave Young. He was a member of the Winnipeg Symphony Orchestra in the mid-'70s, the Hamilton Philharmonic Orchestra in the early to mid-'80s, and the Canadian Opera Company Orchestra in the mid- to late '80s; was principal bassist with the Esprit Orchestra from 1986 to 1994; and was a longstanding member of Arraymusic from 1979-2000. By 1997, Occhipinti began working with Cuban expatriate jazz pianist Hilario Durán, then saxophonist Jane Bunnett's Spirits of Havana, NOJO with guest Sam Rivers or Don Byron, the Toronto sextet Soul Stew, Marty Morell, Gorillaz, Englishman Damon Albarn's Mali Music, the Russian Globalis Symphony Orchestra, the True North Brass, Jovino Santos Neto, the Gryphon Trio, the St. Lawrence Quartet, and Via Salzburg. Also a well-respected producer, Occhipinti has worked for Hilario Durán, Dafnis Prieto, Quartetto Gelato, and the Shurum Burum Jazz Circus, and has been a music director and orchestra contractor for films and commercials. He received an Artist Diploma from the University of Toronto in 1999, and in 2001, as part of Bunnett's Spirits of Havana, he shared the Juno award for Best Global Album. In 2005 he received his own Juno as producer of Durán's New Danzon CD. Other awards include the National Jazz Award for Producer of the Year in 2005 and 2006, and Acoustic Group of the Year for his own band in 2005. In 2006 he received a SOCAN award for the cartoon series George Shrinks. 
In this episode, Roberto explains his personal transcribing approach and shows how to profit from every transcription you make. Among all the great things that Roberto says, my favourites are: 
'What I put on paper when I transcribe is not what was originally written on paper, I write what I hear'; 
'I am always looking for good stuff to steal'.
'As Clark Terry use to say: Imitate, Assimilate, Innovate'
'You don't do justice to Dexter Gordon when you write his solos on paper'
'Most of the times, when I transcribe, I do it for the specific purpose of getting paid'
'The whole point of transcribing is to figure out why the player did that thing, why it works and why it appeals to you'
Artists mentioned in this episode:Clark Terry, Dexter Gordon, Dave Liebman, George Russell, Richard Davis, Gorillaz, Jamiroquai, Joe Henderson, Mike Smith, Miles Davis,  a.o.
You can check Roberto Occhipinti here: https://en.wikipedia.org/wiki/Roberto_Occhipinti
You can check Mirko Guerrini's music here: https://mirkoguerrini.bandcamp.com
Mirko Guerrini is a D'Addario artist, playing D'Addario mouthpieces and reeds.
I acknowledge the Traditional Owners of the land on which this podcast is being recorded. I pay my respect to their Elders, past and present, and the Aboriginal Elders of other communities who may be here today.

Episode 6.1 - Splanky - Frank Wess‘ Solo

Hello everyone,
This is Mirko Guerrini, and I welcome you to the Jazz Transcription Clinic LIVE, a variation of the podcast of the monthly interview where we talk with accomplished jazz doctors about their lives, careers and their personal transcription secrets.
On this episode of the Jazz Transcription Clinic Podcast Live, I am analysing my transcription of the song Splanky, as played by Frank Wess on the album Atomic Basie.
I am talking through the entire solo and explaining some of the strategies and ideas employed by Frank Wess. Motivic development, harmonic substitutions are the highlights of this performance which I think is one of the best choices to start your transcription journey.
I acknowledge the Traditional Owners of the land on which this podcast is being recorded. I pay my respect to their Elders, past and present, and the Aboriginal Elders of other communities who may be here today.
Subscribe to my YouTube Channel.
You can download this podcast episode, or any other episode here: Apple podcast: https://podcasts.apple.com/.../jazz.../id1574500923 Google Podcasts: https://www.google.com/podcasts... Spotify: https://open.spotify.com/show/1oQqf6mptnbh97XLi8Tcd6 Amazon Music/Audible: https://music.amazon.com/.../8b6f521b-d990-4c37-9a92
DISCLAIMER
Copyrighted music is here used exclusively for nonprofit educational purposes. My sole aim with this video is to teach how to transcribe solos for personal study and development on one's own musical instrument

Episode 6 - Paul Grabowsky

Hello everyone,
This is Mirko Guerrini, and I welcome you to the Jazz Transcription Clinic, a monthly interviews podcast where we talk with accomplished jazz doctors about their lives, careers and their personal transcription secrets.
On this episode of the Jazz Transcription Clinic Podcast, Mirko Guerrini interviews the guest jazz doctor: Paul Grabowsky.
Paul Grabowsky is a pianist, composer, arranger, conductor – and is one of Australia’s most distinguished artists. Born in Papua New Guinea, Paul was raised in Melbourne. During the late 70’s he became prominent in the music scene in Melbourne, working in various jazz, theatre and cabaret projects. He lived and worked in Europe and the US from 1980-85, during which time he performed with many jazz luminaries including Art Farmer and Johnny Griffin. He returned to Australia in 1986 and established a reputation as one of Australia’s leading jazz musicians with such bands as his own trio and sextet, the Wizards of Oz and as musical director for singer Vince Jones. He was musical director of Tonight Live with Steve Vizard (a nationally televised variety show) from 1990-1992. He was Commissioning Editor (Arts and Entertainment) for ABC Television 1995-98. He has written the scores for over twenty feature films in Australia, the UK and US including ‘Innocence’ (Paul Cox), ‘Last Orders’, ‘The Eye of the Storm’, ‘Words and Pictures’(Fred Schepisi) and ‘Shiner’ (John Irvin). His television credits include the series ‘Phoenix’ and ‘Janus’ and the Emmy-winning ‘Empire Falls’. His works for the theatre include four operas and various multimedia works. His most recent opera, created for soprano Emma Matthews, ‘The Space Between’, with libretto by Steve Vizard, premiered at Arts Centre Melbourne in September 2018. He is the Founding Artistic Director of the Australian Art Orchestra, which he led from 1994-2013. He has won seven ARIA awards (most recently in 2019 for his recording ‘Tryst’ with singer Kate Ceberano)), two Helpmann awards, several APRA and Bell Awards and a Deadly award. He was the Sydney Myer Performing Artist of the Year in 2000, and received the Melbourne Prize for Music in 2007. He was the 2010 Australian National University H.C.Coombs Fellow. He was Artistic Director of the Queensland Music Festival from 2005-2007 and was Artistic Director of the Adelaide Festival of Arts for 2010 and 2012. He is currently a Professor at Monash University, and director of the Monash University Academy of Performing Arts and the Monash Art Ensemble. In 2014 he was made an Officer of the Order of Australia for services to music and arts administration.
In this episode, Paul explains his personal transcribing approach and shows how to profit from every transcription you make. He is also providing many examples of solos that have been significant to his musical growth.
Among all the great things that Paul says, my favourites are:
'You won't ever sound like somebody else, because you are not that person',
'MIles can play one note and all of the sudden all the energy conveys there!'
'George Coleman is the Mozart of Hard Bop'.
Artists mentioned in this episode: Gary Costello, Lennie Tristano, Bud Powell, Charlie Parker, Lester Young, Billie Holiday, Bud Powell, Fats Navarro, George Coleman, Herbie Hancock, Brad Mehldau, Keith Jarrett, Wayne Shorter. a.o.
You can check Paul Grabowsky here: https://paulgrabowsky.com.au
You can check Mirko Guerrini's music here: https://mirkoguerrini.bandcamp.com
Mirko Guerrini is a D'Addario artist, playing D'Addario mouthpieces and reeds.
I acknowledge the Traditional Owners of the land on which this podcast is being recorded. I pay my respect to their Elders, past and present, and the Aboriginal Elders of other communities who may be here today.

Episode 5.1 - Come Here And Say That - Paul Grabowsky

On the 1st of December, a new episode of the Jazz Transcription Clinic Podcast will be available. Guest Doctor for December is Paul Grabowsky​.Meanwhile, I took on board Paul's suggestion to transcribe and analyse his (wonderful) solo on his tune Come Here and Say That.In this solo Paul presents all the quality and skills required to the excellent improviser: high-quality timbre control; micro-movements in tempo feel to create a more varied sound; motivic development that demonstrates superb qualities in ideas management and much more.
Shout out also to Niko Schauble​ that is completing the 'opera d'arte' of this piece of music. 
As always you can check this episode and all the past episodes on the main Podcast servers:
You can download this podcast episode, or any other episode here:Apple podcast: https://podcasts.apple.com/.../jazz.../id1574500923Google Podcasts: https://www.google.com/podcasts...Spotify: https://open.spotify.com/show/1oQqf6mptnbh97XLi8Tcd6Amazon Music/Audible: https://music.amazon.com/.../8b6f521b-d990-4c37-9a92
Don't forget to subscribe to my Podcast and to my YouTube Channel.

Episode 4.1 - But not for me - Chet Baker

Hello everyone,
This is Mirko Guerrini, and I welcome you to the Jazz Transcription Clinic LIVE, a variation of the podcast of the monthly interview where we talk with accomplished jazz doctors about their lives, careers and their personal transcription secrets.
On this episode of the Jazz Transcription Clinic Podcast Live, I am analysing my transcription of the song But not for me, as played by Chet Baker.I am talking about the art of Chet Baker of playing diatonically over a chord progression and how he was able to choose the right notes at the right time.
 
I acknowledge the Traditional Owners of the land on which this podcast is being recorded. I pay my respect to their Elders, past and present, and the Aboriginal Elders of other communities who may be here today.
 
DISCLAIMER Copyrighted music is here used exclusively for nonprofit educational purposes. My sole aim with this video is to teach how to transcribe solos for personal study and development on one's own musical instrument. Transcribing music, as I explain in this video and in my podcast “is one of the most efficient ways to improve all your auditory skills”. Transcribing is also important because your tone, your time, your motivic development, your improvisation will all instantly improve. Please consider that transcribed scores of copyrighted music might represent in your own country an infringement to current laws, if and when used during concerts or similar. I invite you to use your scores only for personal learning and professional development.

Episode 5 - Remi Bolduc

Hello everyone,
This is Mirko Guerrini, and I welcome you to the Jazz Transcription Clinic, a monthly interviews podcast where we talk with accomplished jazz doctors about their lives, careers and their personal transcription secrets.
On this episode of the Jazz Transcription Clinic Podcast Mirko Guerrini interviews the guest jazz doctor: Remi Bolduc.
Listen to Remi Bolduc's answers to the questions below:
Why do you transcribe? 02:36
Who did encourage you to transcribe? 05:35
How do you choose the solos you want to transcribe? 20:02
What is your transcribing methodology? 23:25
How do you practise the solos you transcribe? 34:02
Have you ever felt like becoming a copy of someone else? 38:28
How do you incorporate ideas from the transcriptions into your playing? 46:52
Which transcription of yours is your favourite? 54:06
 
Remi Bolduc is the Coordinator of Jazz Studies at McGill University in Montreal, Canada.
Remi is one of Canada’s best jazz saxophonists.
Acclaimed at the most important venues from New York to Paris by way of Geneva, Tokyo and Beijing, Rémi Bolduc captivates the audience with the dazzling virtuosity and stunning maturity that have made him a most accomplished musician.
On this episode, Remi explains his personal transcribing approach and shows how to build a constant, solid, transcription repertoire. He is also telling the listeners about his latest project: the transcription of Charlie Parker's opera Omnia. Remi has completed the first volume. A pamphlet of more than 600 pages of Charlie Parker transcriptions.
Artists mentioned in this episode: Michael Brecker, Ornette Coleman, Joshua Redman, Brad Mehldau, Joe Lovano, Hank Jones, Brian Blade, Dave Douglas, Jerry Bergonzi, Ben Monder, Charlie Parker.
Software mentioned in this episode: Anthem Score Transcribe! RX Izotope
 
You can check Remi Bolduc here: https://www.mcgill.ca/music/remi-bolduc
You can check his huge YouTube Channel with tons of transcriptions here: https://www.youtube.com/channel/UC5KB...
You can check Mirko Guerrini's music here: https://mirkoguerrini.bandcamp.com
Mirko Guerrini is a D'Addario artist, playing D'Addario mouthpieces and reeds.
I acknowledge the Traditional Owners of the land on which this podcast is being recorded. I pay my respect to their Elders, past and present, and the Aboriginal Elders of other communities who may be here today.

Episode 3.1 - The Cost of Living - Michael Brecker‘s solo

Hello everyone,
This is Mirko Guerrini, and I welcome you to the Jazz Transcription Clinic LIVE, a variation of the podcast of the monthly interview where we talk with accomplished jazz doctors about their lives, careers and their personal transcription secrets.
On this episode of the Jazz Transcription Clinic Podcast Live, I am transcribing in real-time Michael Brecker's solo on the song The Cost of Living, as played on the album 'Michael Brecker'.
I am using the platform Soundslice to transcribe it.
In the video, I am walking you through the functions of Soundslice and show how to produce a complete and accurate transcription. Soundslice is a web platform specifically designed to transcribe music. You can loop sections, you can slow it down and then you can immediately write the notes down on the platform. It is really convenient because you can save your work and access it at a later time from anywhere. You can create a free account or pay a small membership to have access to more features.
More info on www.soundslice.com
I am also walk through the whole transcribing process, with some tips and advice on how to make the most out of it.
 
I acknowledge the Traditional Owners of the land on which this podcast is being recorded. I pay my respect to their Elders, past and present, and the Aboriginal Elders of other communities who may be here today.
 
DISCLAIMER Copyrighted music is here used exclusively for nonprofit educational purposes. My sole aim with this video is to teach how to transcribe solos for personal study and development on one's own musical instrument. Transcribing music, as I explain in this video and in my podcast “is one of the most efficient ways to improve all your auditory skills”. Transcribing is also important because your tone, your time, your motivic development, your improvisation will all instantly improve. Please consider that transcribed scores of copyrighted music might represent in your own country an infringement to current laws, if and when used during concerts or similar. I invite you to use your scores only for personal learning and professional development.

Episode 4 - NIKO SCHÄUBLE

Hello everyone,
This is Mirko Guerrini, and I welcome you to the Jazz Transcription Clinic, a monthly interviews podcast where we talk with accomplished jazz doctors about their lives, careers and their personal transcription secrets.
I acknowledge the Traditional Owners of the land on which this podcast is being recorded. I pay my respect to their Elders, past and present, and the Aboriginal Elders of other communities who may be here today.
On this episode of the Jazz Transcription clinic Podcast Mirko Guerrini interviews the guest jazz doctor: Niko Schäuble.
Niko Schauble is an award-winning drummer, composer, producer and audio engineer, with a practice spanning the full range of contemporary notated and improvised music.
Niko explains his 'virtual' transcription process and how to make the most out of it. Niko also talks about how important is to be able to listen deeply to learn the subtleties in every player.
Music mentioned in this episode:
Bill Evans Live at Montreux ‘One For Helen’
https://youtu.be/V2tNmQW9QvI
 
Billy Cobham ‘Hip Pockets'
https://youtu.be/oDeB7xyj3XU
 
D’Angelo ‘Playa'
https://youtu.be/eo3iqsOH_54
 
You can check Niko Schäuble's Discography here: https://www.nikoschauble.com
You can check/buy Niko Schäuble's music here: https://pughousestudios.bandcamp.com
You can check Mirko Guerrini's music here: https://mirkoguerrini.bandcamp.com
Mirko Guerrini is a D'Addario artist.