Ron Hartwell Music Lessons

Oh yeah

Of the many great post-war jazz arrangers, the one we probably know least about is Billy Byers (May 1, 1927 – May 1, 1996). Despite his superlative credits as an orchestrator and player, very little has been written about him. Part of the problem is that from the late 1950s onward, Byers operated behind the scenes as a ghost for hire. In this capacity, Byers was paid by big-name arrangers to score for them, with the arrangers then taking credit for the charts.

The practice was fairly common in the LP era, as enterprising marquee arrangers for major labels farmed out work. As studio workloads mounted, prominent arrangers with LP, television and movie assignments typically hired lesser-known arrangers who could write fast and in their style to get all the work done. Byers was among the best.

Given Byers's many talents, it's surprising that he recorded only three leadership albums in a career that notched 340 known jazz sessions. Perhaps he was more comfortable in the confines of his office than leading an orchestra. Or perhaps he had a family to feed and work-for-hire projects were easy money. Whatever the reason, precious little is known about Byers today, including which charts were his and which were by the big-name arrangers he worked for.

So how good was Byers? He was exceptional. From his first recordings with Georgie Auld in 1949, Byers's confident and supple ability on the trombone was remarkable and his arrangements were uniformly taut, hip and packed with punch. All three of his leadership albums—Billy Byers: Jazz Workshop (1955), Byers' Guide (1956) and Impressions of Duke Ellington (1961)—remain tasty swingers.

This is certainly true of Byers' Guide. The album was billed as a co-leader session with trumpeter Joe Newman. Recorded for the Concert Hall Society label and reissued by Jazztone Records, the sextet included Joe Newman (tp), Billy Byers (tb), Gene Quill (cl,as), Lou Stein (p), Milt Hinton (b) and Osie Johnson (d).

According to the original liner notes by Paul Shapler, "Byers was born in Los Angeles in 1927 and was something of a musical prodigy. He was composing by age 11, and in his early teens he could play the piano, organ and trombone with professional skill. Then by 16, he worked in both motion pictures and radio as a trombone player.

"He attended Harvard University, and after his military service was completed, he played with the bands of Georgie Auld and Benny Goodman on the West Coast before moving to New York with Charlie Ventura. In New York City, Byers soon became prominent as an arranger and conductor as well as a pianist and trombonist and was pretty much fully occupied working in the studios of both radio and television. His first love, however, had always been to play jazz, and for this session Billy chose Joe Newman as his co-leader."

All of the arrangements on the album and most of the compositions are by Byers, while Dialogue in F and April's Delight were by composer-pianist-singer Judy Spencer, a pseudonym for Judith Dvorkin, who died in 1995. Every single song on this album is smartly arranged and beautifully played. Byers had a gentle, insistent sound on his trombone that sounded like a combination of Urbie Green and Bill Harris. Newman and Gene Quill are exquisite here, and the three of them together make for a spirited front line. The rhythm section also was smartly chosen, particularly pianist Lou Stein, who is too often overlooked.

Byers and Newman were perfect together. A shame someone didn't have the wherewithal to record them for another dozen albums. Byers' Guide is a must own.

Billy Byers died in 1996. Joe Newman died in 1992.

Source: Marc Myers, Jazzwax

Question in Quora:
Is it even worth trying to teach a beginner a difficult piece by rote, or does it just kill interest and progress?

This song / composition needs to be one they absolutely need to be able to play to consider they can play the instrument.

They need to be able to hum or sing the melody and rhythms. If there are words make sure they can say, hum or sing them.

For example I once taught a youngbeginning Piano student “We Will Rock You” by rote. First lesson he could only play / remember the opening notes. I sent him home to learn the words. Next lesson he was able to remember 80%.

Why More People Should Take Art & Music Lessons

A message designed to inspire, not pressure.

Most people don’t take art or music lessons because they think they’re “not talented,” or “too old,” or “too busy.”
But here’s the truth nobody tells them:

Art and music aren’t about talent.
They’re about coming alive.

When someone picks up an instrument or a paintbrush, something shifts:

• Their mind slows down.
• Their attention sharpens.
• Their stress melts.
• Their creativity wakes up.
• Their confidence grows in ways that spill into the rest of their life.

Lessons aren’t about becoming a professional.
They’re about becoming more yourself.

Music teaches you to listen.
Art teaches you to see.
Both teach you to be present — maybe for the first time all week.

And the best part is this:

You don’t need to be good to begin.
You become good by beginning.

If you’ve ever felt the pull — that quiet little “I wish I could…” — that’s not a fantasy.
That’s a part of you asking to be expressed.

Say yes to it.

Take the lesson.
Pick up the instrument.
Try the class.
Let yourself explore again.

You don’t need permission.
You just need a starting point.

Ok image used to scare newbies to take a baby set approach to music.

Ok Yeah

Oh yeah

Yes thank you.

Steve Grossman was born January 18th, 1951 in Brooklyn, New York. He started practicing the alto saxophone in elementary school. At the same time he became very interested in Jazz, especially in the music of Charlie Parker. After which he became immersed in Be-Bop and his main influence was Jackie McLean.

At 13 years old, Steve Grossman was working on week ends with his older brother Hal, who played trumpet. They modeled themselves after Nat and Cannonball Adderley. They had a quintet called 'The Uniques' and with this group they performed at the Pittsburgh Jazz Festival and also on some public television shows.

Steve became a professional jazz musician at 16 years old. His first important gig was with Elvin Jones featuring Wilbur Ware and Billy Green at 'Pookie's Club'. It was July 1967. "At that time I was strongly influenced by Coltrane's music and I started to play soprano almost exclusively. Obviously the next step was to play tenor which occurred six months later" he says.

In 1968 Steve joined a group called The Jazz Samaritans. This group had many young musicians who later became well known including Billy Cobham, Lennie White, Clint Houston, George Cables. About this time, he met Miles Davis. Steve Grossman's collaboration with Miles is documented by six records that were made between November 1968 and August 1970.

After six months of freelancing Steve joined Elvin Jones in late 1971 and stayed with him until 1976. Steve played with many different musicians in Elvin's group : Jimmy Garrison, David Williams, Hank Jones, Tommy Flanagan, Gene Perla, Frank Foster, Joe Farrell, Junior Cook, Dave Liebman.

In the late seventies, Steve Grossman became a leader of his own groups. He started to travel around the world performing in many important festivals leading various quartets and trios. He had some very important encounters with musicians like Elvin Jones, Cedar Walton, Billy Higgins, David Williams, Art Taylor, Walter Bishop Jr, Louis Hayes, Peter Washington, McCoy Tyner, Johnny Griffin, Harold Land, Jimmy Cobb, Tom Harrell, John Hicks.

In February '91, Steve signed a long-term exclusive recording agreement with Francis Dreyfus's label 'Dreyfus Jazz', in Paris. The first album released on this label entitled DO IT was recorded in April 1991 with Barry Harris, Art Taylor and Reggie Johnson. The public's response and the reviews of the critics were enthusiastic. The same enthusiastic response was shown for IN NEW YORK, an outstanding collaboration of McCoy Tyner, Art Taylor and Avery Sharpe. In 1993, Steve also recorded SMALL HOTEL with Cedar Walton, David Williams and Billy Higgins, a hard-swinging session that demonstrates his incredible talent and maturity. Also in 1993 was recorded TIME TO SMILE with Elvin Jones, Tom Harrell, Cecil McBee and Willie Pickens. In March 1996, release of BOUNCING WITH MR. A.T, with Art Taylor and Tyler Mitchell.

The saxophonist always shoed a great sense of playing and a genius for improvisation in his formations, notably in the albums like Steve Grossman Quartet with Michel Petrucciani and Steve Grossman/Johnny Griffin Quintet.

Steve Grossman died in Glen Cove, New York on August 13, 2020 of cardiac arrest following a long illness; he was 69 years old.

Source: Henri Selmer Site/Scott Yanow

Humm…

Donald Fagen, co-founder of Steely Dan, is recognized for crafting some of the most sophisticated music in rock history. Born in New Jersey, Fagen was drawn to jazz from an early age, inspired by artists like Duke Ellington. With Walter Becker, he formed Steely Dan, creating a unique fusion of rock, jazz, and pop. Their meticulous studio work produced timeless albums such as Aja, Countdown to Ecstasy, and The Royal Scam. Known for irony-filled lyrics, smooth vocals, and intricate arrangements, Steely Dan redefined studio perfectionism in the 1970s. Though the band initially stopped touring in 1981, Fagen launched a successful solo career, with The Nightfly hailed as a masterpiece. Steely Dan later reunited, winning Grammy Awards, including Album of the Year for Two Against Nature in 2001. Fagen’s music remains celebrated for its wit, precision, and enduring grooves. He stands as one of rock’s intellectual architects, pushing boundaries while keeping songs accessible. His legacy is a testament to artistry that thrives on complexity, depth, and timeless cool.