The Avatar Sessions – The Music Of Tim Hagans features Tim Hagans, Peter Erskine, Dave Liebman, George Garzone, Randy Brecker, Rufus Reid, Vic Juris and the Norrbotten Big Band performing the music of Tim Hagans. Trumpeter and composer Tim Hagans has served as soloist and Artistic Director for the Norrbotten Big Band since 1996.

“The Norrbotten Big Band is known all over Europe for their innovative projects and creative energy,” Hagan said. “Together with these amazing guest soloists who have performed with the Norrbotten Big Band on tour and on this recording, The Avatar Sessions is the culmination of a very special artistic journey.”

Hagans is at the helm on The Avatar Sessions, leading the Norrbotten Big Band through seven original compositions that demonstrate his impressive compositional range. The album was named for the 53rd Street studio where the album was recorded and not for James Cameron’s recent ultra-blockbuster, but while there are no ten foot tall blue creatures sitting in with the band there is nonetheless an impression of alien cultures finding harmony, with a European eclecticism brought to bear on an urban Manhattan sensibility.
–  Shaun Brady, Downbeat

If Miles were still alive, this is what he would sound like.
–  The Music Den

Hagans’ fusion of jazz concepts, rhythms and instruments with electronic elements is so seamless and intuitive that it shows us how linked these genres really are…it’s a wild, mixed ride — some tracks have Hagans and others blowing over preprogrammed rhythm tracks, some incorporate live bass and drums over the programming for a thrilling effect, but all the way through the inspiration is boundless — it’s like watching someone make fresh tracks on newly fallen snow.
– Salon.com

Tim Hagans’ other CDs include Worth the Wait and Future North.

I have been involved with a jazz guitar rehearsal group for several years now. This gives each member the chance to play songs he likes and wants to learn or just get better at, playing with other guitar players.

We met during the week, Tuesday, Wednesday or Thursday. We changed nights from time to time to suit members schedules. This has been much better than just playing along with backing tracks, which is good too.

Playing with other people is more fun, and it is always different. There are a number of things that I have found make things work better.

Our group had between three and ten players, but regardless how many showed up, we all had a chance to play. We discussed what songs we wanted to play the next week, and had fakebook sheets of each song for each member, usually three  to five songs.

Here’s one of the fakebooks we use: The New Real Book, Volume 1 (Key of C). There’s also a second volume: The Real Book – Volume II (C Instruments): C Instruments 2nd Edition (Fake Book). Got a bassist in the group? There an edition for him or her too: The Real Book -Bass Clef; Sixth Edition (Fake Book)

One of our members had a copy machine at work, so he took the responsibility of making copies for the group. This also ensures that we all had the same arrangements in the same key.

One of us would play melody and the others rhythm. We would play the song twice, and the soloist could play the melody straight, or improvise, his choice. At the end of the two times through, the next player in line would take his turn as soloist, and the same format continued until everyone got their turn. Sometimes we would play the song all over again, or just go on to the next one, and follow the same format.

At a jam session, everyone must know the songs, or you just have nothing to play. Each meeting we would have the charts ready for the next week, so everyone would know what to practice. It becomes obvious which players did not practice. Everyone soon learns that if you come prepared, you sound better, and it is more fun, and you learn things by playing with other musicians that you don’t learn on your own.

Organization makes a huge difference. It is easy to turn a session like this into a blues-only jam session, because not enough people know the same songs.  You have to keep each member interested. Playing blues is OK, but you don’t learn a repertoire that way and it becomes boring quickly.

We picked jazz tunes, bossas, and standards that everyone should know anyway. After a few months, we had quite a list of songs and everyone became competent at playing them.

Here is a list of some of the songs we play: Fly Me To The Moon, Solar, Girl From Ipanema, Wave, Four, Green Dolphin Street, Gentle Rain, All The Things You Are, Yesterdays, Desafinado, Here’s That Rainy Day, A Foggy Day, Polka Dots and Moonbeams, Georgia On My Mind, Autumn Leaves, All Blues, Blue Bossa, Blue Monk. All these are well known songs that you can play on a gig, and are “must know” songs.

If you have questions on how to start a group in your city, please leave a comment and I’ll respond.

These courses are all about the tips and tricks of playing heavy metal guitar. Even if you have never picked up a guitar before, these guys will teach you everything you need to know. The first is here and the second is here.

Hot Nashville  guitar licks as played by Brent Mason, Danny Gatton,  and many others, performed and taught by Doug Seven, Nashville guitarist.  Two or three cameras show every detail.

Fast version, then played slow. Watch the free videos.

Susan McKeown, a Grammy Award-winning Irish singer-songwriter, will perform on Saturday, July 3 at the 2010 National Alliance on Mental Illness (NAMI) convention awards dinner in Washington, D.C.

She will share songs from her upcoming new album, Singing in the Dark, which will be released in October 2010 during Mental Illness Awareness Week.

Influenced by the poetry of Lord Byron and Anne Sexton among others, the new album examines the depths of living with depression – and the hope of recovery.

“It’s been important to me that throughout this collection of songs there is an overall sense of hope,” said McKeown.

McKeown’s music from past albums is available on the Internet. One song to anticipate in her NAMI performance is “Gracias a la vida” (“Thanks to Life”) by Chilean folk singer Violeta Parra, who died tragically from depression and suicide in 1967. It has since become one of the most popular folk songs in Latin America and was introduced to the United States by singer Joan Baez.

Some of her other CDs are Saints & Tzadiks and Blackthorn: Irish Love Songs. She also contributed to the multi-artist compilation disc, Respond II, which raises money for victims of domestic violence.

McKeown was born in Dublin, Ireland and while her songs echo her Celtic music roots, her inventive interpretations cross genres. Thoughtful lyrics, moving melodies and her unique voice have earned her accolades in contemporary world music.

The Boston Globe has reported that McKeown “walks on the wild side of Gaelic melody.”

“Growing up in Dublin I was conscious of how the Irish were outstanding in global arts and creativity, especially in terms of literature and music,” said McKeown. “But I was also conscious of a huge stigma around the area of mental health and things that people weren’t comfortable talking about in their families.”

“I am a long-time fan,” said NAMI Executive Director Michael J. Fitzpatrick. “NAMI is absolutely thrilled to have Susan’s support. The NAMI convention is a platform that will help inspire growing interest in the album, which in turn will help raise public awareness about mental illness.”