Chica Fluta Studio

65th Monterey Jazz Fest Longest continuously-running jazz festival. Be a part of jazz history! Get tickets now!

Excellent points in this read. I hope to meet her sometime soon.

Music professor breaks down Critical Race Theory and why it’s crucial for 21st-century music education One year on from Dr Joyce McCall’s widely publicised appointment at Arizona State University, we speak to her about her specialism in Critical Race Theory and why this subject has become an integral addition to arts education.

Chaminade Concertino practice tips Here is a practice guide for another great French work: Chaminade’s Concertino. This piece is played a lot, but quite often with some important details overlooked. As I say to my students, “don’t be an overlooker”! I will also give some tips for practising some of the tricky passages. Legato...

Poulenc!

Poulenc Sonata 1st movement tips Poulenc Sonata for Flute and Piano 1st movement: Allegro malincolico High E The first challenge of this sonata is the entry on a high E, with some editions marking the entry as piano, however the latest edition is marked mf. Whatever the dynamic, it is good practice to start with a “soft attack”...

Finding resonance on the flute “How do I get a big sound?” is often a question students will ask. Indeed, developing one’s sound and dynamic range is part of a musician’s daily practice. So, apart from blowing more, what can we do as flute players to get a bigger sound? Well, it’s all about resonance. Resonance is the q...

Someday My Prince Will Come, by Miles Davis
The opening title track from the album Someday My Prince Will Come, released this month in 1961. Fantastic cast of musicians here, with John Coltrane invited as a guest to Miles Davis' regular band at the time.
Here is a paragraph from his autobiography discussing the album cover:
"It was on Someday My Prince Will Come that I started demanding that Columbia use black women on my album covers. So I was able to put Frances on Someday My Prince Will Come. After that Frances was on two more album covers ( E.S.P., In Person Friday and Saturday Nights at the Blackhawk), then Betty Mabry was on Filles de Kilimanjaro, Cicely Tyson on Sorcerer, and Marguerite Eskridge on Miles Davis at the Fillmore. Next I got rid of all them stupid liner notes, which I had been trying to do for a long time. See, I never thought there was nothing nobody could say about an album of mine. I never did like no one writing about what I played on an album, trying to explain what I was trying to do. The music speaks for itself."
Credits for this track:
Miles Davis – trumpet
Hank Mobley – tenor saxophone
John Coltrane – tenor saxophone
Wynton Kelly – piano
Paul Chambers – bass
Jimmy Cobb – drums
https://www.youtube.com/watch?v=ygc5nXlgLkQ

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