Pianist Dave Frank has developed his unique approach to solo piano performance over a period of 25 years, and clearly excels in this demanding format. On POWER OF THE PIANO, he wrote all but one of the songs and carefully varied moods and tempos, creating a complete musical landscape. To hear Dave burn, click here Dave will be are touring across the country and throughout the world in the coming months. Read great tales from the road and as an added bonus, Dave will share is knowledge and provide tips on improvisation when he's in between gigs and at home in Boston. Your thoughts and words of encouragement are welcome throughout the tour. You can participate by clicking the "Add Your Comment" button on the bottom of the page.

About Dave: Dave is a professor of piano at Berklee College of Music, a co-founder of the New York School of Jazz, and the author of the #1 selling Hal Leonard book series, JOY OF IMPROV. He's traveled as an ambassador of jazz since 1994, has toured South Africa, Spain, Costa Rica, Nicaragua, Brazil, Argentina, England, Holland, Belgium, and across the States and Canada. In each area his solo concerts and master classes have been extremely well received - students everywhere are hungry for the concepts needed to develop their creativity. Dave was a featured performer at the 1998 Montreux Jazz Festival, and is presently in the midst of a series of US college tours that will take him through Oklahoma, Ohio, Minnesota, North Dakota, New Hampshire, Alaska, Mass., and NYC. He will be touring the Orient this spring, and has been invited to Argentina, China, Israel, and South Africa in '99.

 

Date:	28-Mar-1999 10:29:34
From:	Dave Frank
	Hello jazzfreaks..this is Dave Frank coming to you from moist Seattle, home of the famous trio - latte, mocha, and cappucino. Seattle should be called beantown, not Boston..I'm spent three great days here as guest of local promoter Richard Weeks conducting master classes, solo concerts, and private lessons. It's always a great experience to meet new jazzers, and suggests concepts that help to move their playing to a new level. The challange and the fun for me is that of instant diagosis. Each person has a unique musical vision, unique strenghts, and unique weaknesses. My job is to support the strengths, celebrate the vision, and suggest concepts and exercises that will help develop aspects of the person's musicianship that can be improved.It's a personal process that is done in the unique master class setting, and we're all learning and growing together..it's a joy and priviledge for me to have the opportunity to facilitate these meetings; it's the creative process in it's most direct form..it's a blast! In coming entries I'll be sharing the agony and ecstacy of life on the road,and reporting on my experiences performing for and working with musicians of all different backgrounds, in different parts of the US and abroad. Thanks to Michael Ricci for inviting me to contribute to ALL ABOUT JAZZ, and I look forward to meeting and corresponding with jazzhounds worldwide.. Now,I'm off to Starbucks to spill some coffee on meself and sue for 20 million! Pasta la Vista, Dave Frank

 

Date:	03-Apr-1999 00:34:09
From:	Dave Frank
	I arrived in Seattle on Sunday afternoon after the usual exhausting trip arranged by my travel agent,M.Rerroid and Sons.They sent me on a direct flight,from Boston-Tampa-Bangor-Cincinnati-Savannah-Phoenix-Boise-Seattle. Amazingly my luggage went to Buffalo, but that's another story... Seattle was in full bloom. One of the fun parts of being on the road is the climactic changes you experience - once I left Boston during a 95 degree heat wave in July, only to land in a snowstorm in Johannesburg..You notice two things about Seattle immediately, the Spaceneedle Restaurant that dominates the skyline, and the biggest hills you ever saw! The Spaceneedle looks like the Eiffel Tower with its head chopped off.. it's a twirling restaurant, featuring high prices and passing cuisine. The idea of twirling in a circle doesn't do much for my appetite, but, hey, to each his own.. I taught a masterclass in a part of the city named Queen Anne the same afternoon. The masterclass experience is always an intense learning environment, where we let our hair down, roll up our shirtsleeves, and delve deeply into the art of making music. During the masterclass I had the opportunity to work with a very talented pianist, we'll call her Shelly. Shelly had a strong background in theory, had recorded a fine CD, and had her own quintet. However, she felt that something was missing in her playing, and asked me to help her identify the weak element. After hearing her play a bit, it was clear to me that her internal pulse was weak, resulting in a meandering feeling during her solos. A weak internal pulse can often create the sense that some vauge element of music in one's playing is out of sync, or that something else needs to be learned in order for one's playing to "feel right". The experience of music-making generally rides on an invisible, internally felt pulse. In Chinese medicine, a doctor assesses the health of the patient by feeling the STRENGHT of the pulse - the stronger the pulse, the healthier the patient. In music it's the same - the internal pulse of the player can have varying degrees of strenght, and the "health" of the music depends on the strenght of the pulse. In Shelly's case, I suggested that she continue to play exactly the same way she had been playing, but to intentionally FEEL the pulse, physically, as if someone was tapping her rhythmically on the shoulder. I used the visualisation that a Zen master was hitting her on the shoulder with a stick, in perfect time! She played the same tune again, and WALLA, she sounded a hundred times better. Her playing had a sense of direction, of purpose, of drive, and her solos were right on the money! The smile that lit up her face sealed her moment of breakthrough - Shelley had that BING! experience which comes from the introduction of a new concept, which immediately moved her to a different level of playing, and opened for her a fuller realization of her musical potential. As teachers and students, we all live for those breakthrough moments. It's always exciting for me to see that often the next door that needs to be opened requires, not years of struggle, but a single key, a universal concept that serves to unlock the next level of our creativity... cya later, folks, this is Dave Frank..swingin' in Seattle..

 

Date:	05-Apr-1999 15:15:08
From:	Jack Rubinger (soli@teleport.com)
	To all: I had the great joy of studying with Dave Frank about twenty years ago when I lived on Long Island. In fact, to this day, I'm still proud of the nickname Dave gave me -- Action Jackson! I'm still playing alto sax, still singing Bird solos, still trying new things -- like playing clarinet in a belly dancing group! For those of you who are desiring an insightful, enthusiastic, extremely knowledgeable teacher and mentor, Dave Frank is absolutely the man. One final word, don't forget to remind Dave to ask you, "Now, how did that feel?" -Jack Rubinger Portland, OR

 

Date:	05-Apr-1999 23:53:53
From:	Dave Frank
	You get to meet alot of wacky, interesting folks on the road. Sometimes for no apparent reason they tell you their life story..I met a guy at a laundermat in downtown Seattle this morning. Somewhere between rinse and spin he told me at great lenght about his recent breakup with his wife..It seems that she had recently lost trust in him. He explained that it happened after he took $2000 out of their joint account without telling her. Why? To see a Barbara Streisand concert at the Coliseum! This guy spent $1500 on a single ticket to hear Babs flap her pipes!It turns out his wife hated Streisand!! And so it goes... AS I left the laundry I could swear I heard this guy doing a note perfect rendition of THE WAY WE WERE... I had a chance to work with a fine pianist that afternoon, we'll call her Stephie. Although she played well, she suffered from stagefright, and wanted some advice.. After hearing her play for awhile, it was clear that she had trouble projecting a solid sound from the instrument. There were some constrictions in her ability to express herself, and this constricted projection translated into stagefright in a performance environment. Rather than concentrating on the emotional root(s)of her problem, I told her to imagine that a strong beautiful tone was lying on the soundboard, and that her job as a pianist was to bring that strong tone UP out of the soundboard and into the room. I also suggested that she play not to the PEOPLE in the room, but to the GHOSTS in the room! She played again, and this time projected much more forcefully, and it sounded great... She smiled and so did I..

 

Date:	09-Apr-1999 00:15:31
From:	Dave Frank
	Just got back from playing a solo concert in downtown Seattle. I sat down to play and realized I was dizzy from the flight, jetlag, etc. Thank God it passed.. The MOMENT you begin a concert the reality of it smacks you in the face..there's a critical difference between thinking about performing, planning a performance, and actually doing one. It's the moment of truth! You just hold on and keep moving, and soon you're into the aura of your playing, and you become more relaxed, and all of a sudden you're comfortable. At that point for me performing becomes a gift. I create my space, my vibe in the room, and define it clearly and with conviction. Every performance is a special moment of fulfillment, unique and precious. Lennie Tristano used to tell me to be grateful for every opportunity to perform, not to treat a gig smugly..It takes time and experience to develop the neccessary conviction in your vision and in your ability to execute it. I remember starting out how much sheer courage it took to get up there.. Tonight everything went smoothly. The encore they asked for came right from the heart.

 

Date:	09-Apr-1999 20:54:36
From:	big scott
	To everyone, Let me tell you this...Mr. Gravey Dave Frank...plays from the heart...with a tremdous twist....I call it outstanding.. So Dave keep up the inspiring aspects for music..Thanks AND YA KNOW THIS DAVE SURE KNOWS HOW TO DRIVE A LITTLE BLUE CAR FINE....LOTS OF MILES....AND TO MY AMAZE...ITS STILL RUNNING...AND WAS INSPIRING TO MECHANICS WHO WORKED ON IT.. AGAIN THANKS FOR KEEPING MUSIC ALIVE AS IT SHOULD BE...

 

Date:	10-Apr-1999 15:28:44
From:	Richard Weeks 7 Days a Weeks Music Prod. (weekspiano@esc.com)
	I presented Dave Frank in his first appearance in Seattle March 22-24,1999. It is now April 10,1999 and I still receiving rave reviews about his playing, teaching and approachability. The greater musical world needs what Dave has to offer. My own playing has already gone to a much more relaxed place. Keep on burning Dave!

 

Date:	13-Apr-1999 16:02:05
From:	Jim Gutensohn
	Those of you who have head Dave or have taken lessons know that he's a great teacher and musician...but you got to watch out, like Socrates, he's a bad influence...and not only on the young, but the middle and old as well. Since taking lessons from Dave (12/13/95) I have been seen sneaking out of work early, calling in "sick" (well, "well" actually), staring off in the distance at meetings trying to arrange voicings in my mind and becoming the target of looks of concern about my balance. So my advice to those who haven't had large doses of Dave is to only take them under the direction of a physician. If you don't heed this advice, beware....you will become subject to the influence of strange voices and sounds and begin to rearrange your life to accomodate them. Carpe Diem

 

Date:	17-Apr-1999 09:23:07
From:	Dave Frank
	Yesterday I flew from Seattle-Anchorage, via Mexico City, to begin a week-long residency at the University of Anchorage.The first thing I saw in the lobby of the hotel was a life-size stuffed Alaskan tiger, frozen in attack mode.I made a mental note to tip the bellman... Anchorage, and all of Alaska as far as I could tell, was incredibly beautiful!Anchorage is a pleasant, mid-sized city, kinda like Albany in size, completely surrounded by snow-capped mountains. The weather was cool but nice, in the low 40's F.The first day there, I saw a family of moose (I believe the plural is mice), 5 bald eagles and raven the size of a schnauzer. New places, new people, new climates, new students and audiences - the perks of touring, great fun. Only the hotels remain the same to protect the innocent.. I presented a master class this morning to a group of music students from the surrounding area. Someone asked me how to structure a practice session. This is really the essential question for any aspiring musician...developing a regular, enjoyable routine is the secret to ongoing developement. The ability to improvise requires the synthesis of a number of psycho-physical processes. One must have vibrant access to one's feelings, a secure technique on the instrument, a strong understanding of chord-scale theory, and a well-developed inner ear. All of these faculties function together at the speed of sound to create a solo! To prepare for the creative process of improvisation, one should develop a practice routine that includes all the neccessary elements that go into a performance. Every practice session should be composed of both technical and creative work. Ideally the ratio should be about 60% technical to 40% creative.. On the practical level, for a one-hour session, I suggest 15-20 minutes of technique, 10-15 minutes of theory work, and 25-30 minutes improvising and working on tunes. I used to practice with a stop watch, timing each pre-planned segment of practice. One of my practice sessions as a teenager was between 12 midnite-3AM..at 2:59 I'd be finishing the last minute of scales, and when the second hand crossed the 12, I'd doze off! It's effective to work on the same technical exercises each day, gradually increasing the tempo using a metronome.By keeping track of your tempos, you can monitor your technical growth over time. Pablo Casalls, the great cellist, practiced the same exercise series at the age of 90 that he practiced at 13.(At his 85th birhtday party he said he was finally getting it right!)Picasso painted the same still life every day for years(culminating in his famous painting, MOLD IN A DISH, 1943), and Lennie Tristano told me he always practiced his scales first thing in the morning, to "get 'em out of the way!". These are a few examples of the kind of disicplines engaged by some of the great artists of the 20th century, and we can do the same..The ongoing practice routine is the dues you pay for the joy of creating music.The secret is to BRING YOUR JOY to your daily practice..it makes for a happy life, the daily swing! Chow for now, a moose is going through my luggage! Dave

 

Date:	20-Apr-1999 22:04:02
From:	Dave Frank
	The great thing about teaching is touching humanity. The great thing about playing is touching infinity. The light that shines in students' eyes Is one of learning. In the fire of improvisation, The music is forever burning!

 

Date:	21-Apr-1999 14:42:03
From:	Rob Spaulding (spindrift@cybertours.com)
	Having undertaken lessons w/Dave for the past few months, I can attest to the "joy" of improvisation that he has helped nurture in my playing and my love of jazz. So I am now en route to expanding my jazz vocabulary.....and hopefully having it find its way through my fingers. I think as the millenium approaches it is fitting that improvisation is alive and well.....the fact that it can be actually "taught" and is not mysterious gobbledy gook is very cool, although perhaps not every musician can open him or herself to it. When I used to hear jazz cats burn I used to think it was relative random excursions, but now I know there all these pathways of practiced expression that wind up becoming improvisation of the moment. Again, very cool. Keep the stories and inspiration shining Dave......if people can grab hold and dig the "swing" feel more, the fascinatin rhythm of Ellington, Evans, Davis, etc. will ever be felt. Glad to have caught the wave... Jazzin' down east.

 

Date:	03-May-1999 15:14:38
From:	Marc Horwitz (mhorwitz@lasal.net)
	Jazz (Dave) Fans, Great to see this website! What a great opportunity to talk with jazz artists and friends. Dave sent his CD "Power of the Piano" to the radio station here in little Moab, Utah, KZMU . I dropped him an E-mail "thanks" and in less than no time, Dave was in Moab to perform and teach. Not only did the community (and the radio station) benefit from his visit, I was pushed to raise my own performance on my jazz radio show. We interviewed Dave over the phone, too. I have used his Joy of Improv (JOI) cd repeatedly to help educate listeners about jazz improv. As Dave says, "the joy of improv is available to anyone". Dave's enthusiasm for jazz, for teaching, and for meeting people was a real pleasure. I am thrilled to have this forum to keep in touch and continue to learn from him.

 

Date:	03-May-1999 21:39:55
From:	Dfrankjazz
	Teaching keeps me laughing. Playing moves me beyond the superficial into the core of my integrity as a non-commercial being.

 

Date:	07-May-1999 15:00:31
From:	Dave Frank
	I've just returned from New York City, where I recorded my next solo CD, BALLADS AND BURNERS.I'm ecstatic about the session and can't wait to release it.. The two most important things for me about recording are PREPARATION and STUDIO COMPANY. Preparation, for me,has been the key to the performance and recording aspects of being a musician. Of course preparation means something different when it comes to improv..The way I play is a combination of total improvisation and prepared composition. By these means I've been able to keep the quality up to my own standards throughout the stylistic changes inherent in a complete performance. Even on the improvised pieces, I'm thoroughly comfortable with the chord changes, and have an overall schemata of the way the improvisation will develop, including cadenzas, endings, key changes, and the like.. I've been extermely fortunate to have had the opportunity to work with one of the top engineers and producers in the jazz business, Paul Bagin (most known for his work with legendary guitarist Pat Martino), who has engineered and co-produced each of my 3 solo CD's to date. The studio is a shrine, it's the moment of truth! You need to have people in there with you that you feel TOTALLY comfortable with..Between you and anyone in the studio needs to be a clear, undistracted communion; an unbroken concentration on the creative process in its most intense form. The committment that it takes to record, create and improvise a solo CD is immense, and I enjoy the hell out of it.. In the past it has taken me around 25 hours to record enough material for a 45 minute CD. This time, we recorded 43 complete takes in 6 hours.. Thanks to all my teachers, students and Mr. Bagin for making this experience possible..burnin' in the studio is as hot as it gets! Pasta la Vista, Dave

 

Date:	10-May-1999 18:40:18
From:	Dave Frank
	I received this email from a friend of mine in Kuwait.. Dear Dave: Greetings from the Middle East. I am currently working as a Social Studies teacher at a private school in Kuwait. I teach international (world) studies with 7th graders. It is a private all girls school, mostly composed of "Kuwaitee" nationals with a few bi-cultural girls. Life in Kuwait is very different than in the US; suffocating at times and other times enlightening. "Music" in Kuwait and specificly Jazz is slowly becoming a known and enjoyable entity. We just had the "Third Kuwait Jazz Festival" which was a miracle for this country since "music" is not typically a form of entertainment for all people. (More about that later) The musicians that performed at the Jazz festival were: Polish Jazz singer Grazyna Lobaszewska, American trumpet player Art Farmer and J. Smietana trio and European guitarist Jarek Smietana. I personally did not attend the concert. Performances such as these are usually attended by the "elites" and the cost is in the hundreds of dollars for tickets. There is virtually no freedom of expression in regards to the performing arts in Kuwait. That being, concerts, plays, ballets, opera, bands of any nature etc. . .Because of the Islamic influence within the government. Such freedoms of expressions do not agree with Islam, therefore rarely seen or heard in public. Occassionally, other Arabic National performer are invited to perform, however it is not a national pass-time event. Dancing in public is prohibited. A person may only clap or tap their feet in a controled concert environment. I did attend an ensemble at the University of Kuwait were University students performed mini-concerts. In the music stores there is "Western" music, most times censored and cut for any "unlawful" expression. Interestingly enough, men and women are segregated in most all social situations. The parties that I have attended do have music; that of the Arabic nature. Most people do not have "Western", English speaking or instrumental music at parties. Arab and other "third world" nationals typically maintain their own cultural music. I have been introduced to some forms of music from the Far/Near East cultures, however, I do not enjoy the sounds and tones of the instruments. Some of the music from the Arab culture is very beautiful. I personally enjoy Latin Rhythms, thus I am learning to enjoy what is available. In closing, it was a nice suprise to hear from you. Perhaps if you are interested in Arabic rhythms, I can send you original music from this culture. You can add this to your collection. Have a nice day!

 

Date:	13-May-1999 22:06:28
From:	ChriS (cslawec9@idt.net)
	Hey, Dave, thanks for spending your time and effort at "AAJ." Have you ever had the opportunity to instruct alongside either Yusef Lateef or Gary Burton, or watch either of them teach? I know they're both very active teachers in the New England area (Burton specifically at Burton). Are you fans of their music?

 

Date:	13-May-1999 22:07:36
From:	ChriS (cslawec9@idt.net)
	uh, obviously that should have been "Burton at Berklee." There was another mistake in there too, but I've forgotten what it was...

 

Date:	15-May-1999 10:27:38
From:	Dave Frank
	Hey Chris, nice to hear from you. Gary is now like the Grand High Exalted Mystic Ruler or something at Berklee..I see him in the hallowed halls from time to time. He's a master for sure.. I'll pass along one of his teaching tidbits to you: Never organize a solo by chorus. In other words, don't play 1/8 notes for one chorus, then switch to triplets at the predictable beginning of the next chorus.. switch concepts asymetrically. Sounds like a good idea. I break that rule all the time! Pasta la Vista, Dave

 

Date:	15-May-1999 17:08:24
From:	Dave Frank
	Learning to play is,ultimately,learning how to cut a path to your soul. Once the path is cut, your soul is always at your fingertips. Once the path is cut, your unchanging soul has infinite stories to tell and limitless expressions.Once the path is cut,soul access is yours forever and nobody can take it away from you. Is this cool or what?

 

Date:	23-May-1999 18:43:11
From:	ann (pianolady@gci.net)
	Hi! i just wanted to say how much of an influence dave had on my playing when he came up here to visit us in anchorage a month or so ago. I have been so busy playing his new ideas, i have neglected the internet completely. I was suprised someone like dave would take the time to come to anchorage, we get good players every once in a while, but rarely people from the east coast. now i can say i know one person from that end of the country! i wasnt supposed to be at the master class that dave taught that day, i still owe someone money for that. i was so excited about it, i could hardly wait for him to hear me, and help me out. being a classical player of 12 years.....heavy into competition and hannon excersises, i find that i dont really know what to do when it comes to actually practicing jazz. i know what to do when i sit down to practice classical, i have done it all my life, now all of a sudden, i have been bitten by this jazz bug thing, and i dont know what to do with it. since there are few influences up here for me to learn from, i find the only thing i can really depend on is the cd player, and memorizing charts....... the rest is completely greek, and i just play what sounds good. dave saw my situation right off, and told me, i will give you two hours of work you can apply to your practice everyday. i thought, yea right thats what everybody says, and the next day i'll just keep doin the same things, but then he gave me his book, so i didnt have an excuse. he was probably laughing at me all the way through the chugiak range....... the thing about his book joy of improv, is that it is very self explanitory. i really understand what to do, its not just a bunch of mumbo jumbo theory that know one knows how to realy apply it, its actual excersises that will refine what chops you have, or give you a very structured jump start. I have used his book ever since he left, and it has helped my practicing in so many ways...i dont just sit around and find stuff that sounds good (i still do that), but i have a plan when i sit down, and it is helping me become the pianist that i want to become. I really hope that someday i will have enough chops so that i can do what dave does......he has been such an influence, and he is a sincere person, and was very good at relating to me one on one. allthough my jazz band did not get to perform for him when he was here, i bought a couple of his improv books for my band director so that next year, everyone can benifit from them. Oh, by the way dave, did i tell you there was a moose right outside the arts building in the paking lot when i left that last day.........i think he was looking for you ann in ak :)

 

Date:	23-May-1999 23:14:20
From:	Dave Frank
	Great to hear from you, Anna. Interesting about the moose, if he was hangin around the arts building he must've been MOOSE THE MOOCHE... One of the amazing things about traveling is that wherever I go, I find people who have that special gift,a raw fire burning to develop. I once gave a master class at a baptist school in Managua, Nicaragua. No jazz teachers had ever taught there, and the whole town showed up!They brought out this 13 year old boy, he sat down, and he played his ass off! Anna is one of those burning people, studied classical music, won competitions, etc., and all of a sudden she got the jazz bug. She's looking for her musical direction, trying to figure out how to put it all together. When it comes to a musical career, I always feel a bit like I'm cutting a path through the jungle with a machete. Unlike many career paths, as a performer you're on your own. The joy comes from using your strenghts and finding your niche. It's a big world, it's open to you but tough too. The hard part these days is gettin anybody's attention! Anna, stay with your passion, explore, create and discover your unique voice. Find an EMOTIONAL musical space that's uncrowded,that feels like YOU, and project it!I once played a piece for Lennie Tristano, it wasn't particularly jazz, or what we'd been studying, but it came strongly form the heart. Lennie listened, and said,"that's where ALL your music should come from". Another great moment in sports! I've been invited back to Alaska in late '99, so perhaps we can have the opportunity to work together again. Til then, keep swinging, don't take any wooden nickels! Dave

 

Date:	02-Jun-1999 08:24:49
From:	yash (yjazz@hotmail.com)
	Hiya dave it's like real refreshing to hear what you have to write every time all the experiences and stuff, it kinda gets me goin' on inot my own quest for musical excellence tho' i'm sorta beginner. keep up the good work it's like your'e havin' a load of fun too. seeya around, i wonder would you be planning to come down to singapore? i live here down in SE Asia. ciao, yash

 

Date:	03-Jun-1999 08:47:38
From:	Dave Frank
	Hey Yash, thanks for the thoughts. The quest for musical excellence is the thing, man!As Pat Metheny says, every year you play you get closer to it..but at the same time, as you get closer to it, it moves away by the same distance! I recorded a CD one month ago, and already feel I'm at a totally different level of playing..It's part of the HUMOR of developing your talent.. I have a company trying to sponsor a trip to Japan at the moment, we'll see if I get to your side of the planet.. Keep the face, Dave

 

Date:	03-Jun-1999 09:05:11
From:	Dave Frank
	Being a jazz artist is like putting together two puzzles. One is HOW DO YOU PLAY this incredible music we've been handed? The legacy we've inherited is mind-blowing. The achievements of Bill Evans, Lennie Tristano, Art Tatum, Bud Powell, Bird, etc., are staggering. I spend my whole life in pursuit of the artistic excellence represented by these monsters.. Once you've spent 25 years developing your voice and learning, learning, learning, you feel you have something to say, something to contribute to the spectrum of created jazz. Now, how do you bring that out to the world? Sometimes it feels like I've finally become the shepherd I always wanted to be, but who needs a sheperd anyway, who's got any sheep? The next puzzle is one of MARKETING. Man, you've got to walk that road yourself, just like learning to play. It's like selling anything else, all strategy and packaging. What works is to plant as many seeds as possible, dogged self-promotion based on an unshakeable belief in yourself and what you have to offer.The seeds sprout at different times that you can't predict...I'm doing a solo concert at the Winnepeg Jazz festival this month, and I've developed the relationship with the festival producer over 4 years, this year he give me the gig... Let's all keep going, it's life, and it's worth it! Dave

 

Date:	13-Jun-1999 17:29:33
From:	mike brannon (mbra182153@aol.com)
	Dave, You seem to have some good answers and inspiration re: the many common questions arising in various stages of players careers. What is your own background: bands, teachers, recordings? I was at Berklee till '86 and studied w/ Banacos for a few years as well before returning to Texas to form a group and record. let me know if you'd like to have a copy sent to you, when completed. As a fellow player, leader and working on my first recording project as a leader I wanted to ask what you recommend as far as staying in touch w/ your vision and not losing your sense of quality control, etc in the studio. as we both know it can be misleading to be on either side of the glass as opposed to listening later w/out the various pressures involved. how to concentrate and stay focused? thanks, Mike

 

Date:	13-Jun-1999 23:54:24
From:	Dave Frank
	The "music technology" I'm into is developing the stable control of my fingers on the piano keyboard.We're talkin' HIGH technology here! Lennie's famous quote about the piano is that "the piano is a pile of junk! And the way most people play it, that's how it sounds.." Wires, screws, hammers, and felt, that's all us poor piano players have...making the piano sing, breathe, express, convey emotion, that's a mystery, man! Charlie Banacos has showed me some techniques lately that have helped me to understand , not WHY IT happens (nobody knows), but how to MAKE IT HAPPEN. First, the finger itself has a gradation of flesh and bone substance. The tips are bony and hard (a callous is the developement of that), and the middle of the finger is cushiony and soft. The sound you get from the piano depends on what part of the finger you use to depress the note. Isn't that far out? McCoy Tyner uses the bony part most of the time, therefore gets a hard, intense sound. Bill Evans used the cushiony middle part of the finger to get the beautiful tone and quiet fullness that was his trademark ( this may have changed somewhat towards the end of his life.)As Charlie was explaining this to me, I looked at the picture of Bill playing that hung above his piano. Sure enough, Bill's fingers were "flat", meaning that he was using the cushion instead of the bone. I tried experimenting with different finger/keytop angles (curved, slightly curved, to flat), and it was a revelation! I seemed to be closer to getting the sound that had always eluded me... The second far out concept is that, when playing a chord, not all the fingers hit the keys at the same time. You want to conciously hit one or more notes a tiny bit earlier or later than the others. This creates a three-dimensional sound - a curved space conception of playing. This makes the sound breathe, adds a depth of fullness to the tone, and eliminates the "clunky" sound from big chords. Being aware of all this is a trip! The notes are hard enough, this is a whole new dimension of difficulty... The great players could play all night, and have this perfectly controlled at all times. These cats were multi - dimensionally great; now I know why Bill described years of focusing on the technical aspects of playing, finally arriving at the emotional dimension... I heard once that the secret of happiness was to commit yourself to an impossible goal and work towards it every day of your life. All I can say, 30 years in, is that it works for me.. Cheers, Thanks Charlie, Dave

 

Date:	14-Jun-1999 19:10:35
From:	Anne Victoria (AVPiojda@hotmail.com)
	June 15th, 1999 I have been promising Dave for a few months now to connect with the Website and say a few words about lands far away, where Jazz music is merely a small voice for the public ear. My name is Anne and I have transplanted myself from the Midwest (Milwaukee, Wisconsin to be exact) to the Mid-East, Kuwait. Not permanently, like a long-term National Geographic tour. My first time in the Middle East was in 1994, back in April of 1998, and moved August of 1998. I teach Social Studies. By the grace of Allah, I was on Dave's mailing list one day and I proceeded to ask more questions about Dave and his music. Through conversation and curiosity we have established a friendship via modern technology. It was a welcomed conversation far away from Middle-Eastern means and ways of life. Kuwait, hot, dry, humid and very Islamic has little to offer in ways of Musical entertainment for the general public. Keeping in mind that the country is governed by "Islam", this has opened my eyes to a new and different culture very much unlike my own. Freedom of expression is in tight quarters and only as of recently has the general populations been given the "opportunity" to enjoy talents from "outside" sources. This past year, Kuwait has had their third annual Jazz Festival open to the public. Small in size in comparison to other events held in the states, yet I would consider it a break-through in regards to "entertainment" in this Muslim country. Typically, people are separated by gender and family status when in social situations. Men will convene in one area, single women with their families, or other female friends in a group will be in the "family" section of a public establishment. Hand clapping is allowed, but do not dare to stand up and move in a way that does not suggest you are about to walk to get yourself a Pepsi; not looked upon as "appropriate" and your listening pleasures could be interrupted by an escort out the door. (Only in mixed company, in public. What happens behind closed doors is different.) Dave has been entertaining the idea of performing for the fourth annual Jazz festival and we have been working on making the connections necessary for more details. Our closest connection is currently in Poland for the next six months; technology and communication is a little different in Poland. I would like to take this opportunity to wish him the best in this endeavor to the Middle-East. I would certainly be first in line. LIfe in the mid-east is difficult for westerners like myself. The country is full of history and deep in culture, yet exhausting when the mind and soul is limited. Best Regards! Anne

 

Date:	15-Jun-1999 12:54:05
From:	Dave Frank
	Hey, Mike, thanks for writing. My educational backround includes nine colleges for music, mostly in New York State. This was back in the 70's when "alternative education" was IN. I attended various "freeschool" programs at a number of colleges, where basically you could study a bowl of oatmeal for a semester, and if you could write an entertaining paper about it, you would get 15 credits! At the time I was studying with Lennie Tristano, and practicing 5 or 6 hours/day. So I went from one "experimental school" after another, only wanting to practice the piano - I must have got 50 college credits for studying with LT! At some point the absurdity was obvious (even to my parents, whom I managed to snow for 5 semesters), and I left college for good. I met Lennie was I was 15 (that story later), and studied with him for 6 years. Eight years later I started working with Charlie Banacos, the legendary jazz teacher in Boston. I've been with Charlie on and off for 9 years. He kicked me out at one point, and it was 2 years before he'd take me back (great story), and I recently started up again after another year of travel.. My first CD, SOLO PIANO, was released on my own label, BREEZE RECORDS, and the second, POWER OF THE PIANO, was on the JAZZHEADS label. The third, BALLADS AND BURNERS, VOL1, is in the can to be released later this year, and vol 2 of B+B is on the way. I also recorded a CD with Larry Coryell in the late 80's that is currently out of print.. I think it may be rereleased in a special package along with another out-of-print recording, JANET RENO SINGS THE BLUES. Now, in terms of your excellent question, here are some approaches: 1) Prepare for the recording thoroughly! Have your vision well-defined BEFORE YOU GO IN. You're basically going into the studio to lay down the vision you've been refining OUT of the studio. Of course you want to leave plenty of room for surprises, improvisation, and the unexpected, but you need to know basically what you're looking for before the session. 2)Keep the studio environment focused, and have people in there whom you trust and share the vision you have for the music. The control room is not really the best place to impress a girl, or hang with the homies.Party after you're done... 3)Conciously clear your mind of distractions. If a sticky thought creeps into your brain, wrap it in a towel and put it under you feet (you dig?)Concentrate on CONTROL of the overall sound and on projecting, but not overprojecting, your feeling(s). 4) Have an objective assistant producer, even a friend who can act as a musical sounding board, in the control room with you, to give you constant feedback, opinions on takes, etc. If you're lucky the engineer could serve this function, as long as you trust his/her musical sensibilty. 5) Take breaks, during which time you leave the studio environment, and clear your head with a walk or some fresh air. Then listen to the recorded takes when you return, before the next take. 6) Get a good night sleep before the session, and get some exercise the day of the recording. No sex during the session. (unless it's part of the arrangement..) 7)Try to give yourself the luxury of a few sessions to complete your work, so you can decompress a bit after recording, lay it aside for a few days or a week, THEN listen to what you did, and plan for the next one. OK, hope that helps. I'd be happy to hear your CD if you'd like to send it..You may reach me by snailmail at: PO Box 44-1341 W. Somerville MA 02144 Thanks, all, your comments, insights and experiences are greatly appreciated. Dave

 

Date:	07-Jul-1999 18:50:09
From:	peter ingram (p.ingram@cellbio.duke.edu)
	Thanks for your call Dave. Great website! Thought you'd like to know that you WILL be doing your clinic at the Raleigh Piano & Organ Distributors site - I called 'em! That means you'll be about 15 mins away from Greenshields Pub. So work up a good thirst for suds 'n jazz and I hope to meet you there! Cheerz etc Peter Ingram

 

Date:	11-Jul-1999 11:14:14
From:	Dave Frank
	I'm coming to you today from lovely Winnepeg, in Manitoba, Canada, where I'm finishing up a groovy 4 days of teaching and playing. I presented a JOY OF IMPROV SEMINAR at St.John's Music in Winnepeg, and played a solo show at the Winnepeg Jazz Festival. At the seminar, I worked with a musician named Ralph, who had an extensive piano background and who improvised a bit. He actually could play more than he thought he could; Ralph had a good sense of time, a nice musical feel, and some decent piano technique. What I had him focus on was the RHYTHM of the notes in the lines he was improvising. Rather than just doing whatever happened, I had him be conscious of the rhythmic values of the notes - intentionally creating lines using 1/8th notes(swing), then consciously adding some triplets to the 1/8 note line, then, switching to an all triplet line, finally to a 16th note line. This rhythmic consciousness gave Ralph an overall sense of control of his ideas, and a blueprint for developing his solos. He no longer felt like he was "a hacker". The sense of control and developement made him feel more like a PLAYER. Nice going, Ralphie boy.. The festival venue was pretty cool, a really nice 7' Baldwin grand on a stage in a nice club. Playing solo concerts is SUCH A TRIP- the complications are wild. See, you have to not only play a foreign piano, but you have to play the acoustics of the room! It's like having a tennis player play a tournament, except he/she doesn't know which racket he'll be using, or what the surface of the court will be...I did notice that if I can locate the MELODY in the room, then that seemed to be a major clue in how to adapt to the piano/venue. While playing, I tried to project the soundwaves of the melody into the space, and sustain the acoustical fabric of the melody in the physical space of the room. That seemed to give the overall music a clear focus, and helped get the tunes across to the audience.. The next stop on the tour bus will be Raleigh, NC, on July 17-19. See you there, I look forward to smokin', I mean burning, in Raleigh. If I see any NO SMOKING signs, I guess I'll play all ballads... Peace, Dave

 

Date:	24-Jul-1999 11:34:13
From:	Dave Frank
	Hey folks,I'm coming to you live from Raleigh, North Carolina...I'm doing a JOY OF IMPROV SEMINAR and solo concert here this weekend. My first clue that I was no longer in Boston was a monument in the middle of the downtown area, inscribed to "honor our confederate dead".. Raleigh is an widely integrated town, and you can feel the history in the vibes of the people, and in the old houses. I was told that Raleigh was once a great blues town, until a highway sliced it in half. The Reverand Gary Davis, the legendary bluesman, supposedly lived in Raleigh for awhile.. At the seminar I had the opportunity to work with a talented girl, we'll call her Nancy. She explained to me that ever since she was a little girl, she heard music constantly in her head. I picked up that she was something of a "musical clairvoyant" - she was open to a dimension of music which came from the ethers. She had something like a radio transmission from some sphere or other that she was receiving all the time! However, Nancy was frustrated because the sounds remained solely "in her head", and she hadn't had much musical training. As soon as I sat down with her, I asked her, "why aren't you taking lessons every week?" I told her that her gift would be frustrating to her unless she committed to a course of study with a qualified teacher, got a thorough grasp on the basics of music theory, etc. She also needed to commit herself to creating "finished products", ie; written original tunes, so that she would feel a sense of completion, and organize the sounds she was hearing. Nancy improvised an etheric, atonal kind of moody piece for me, and I showed that that by: 1) Establishing and maintainig a pulse,(although not neccesarily a time signiture) 2) Designating the top note of her chords as the "melody" 3) Repeating and developing melodic fragments instead of constantly generating new ideas 4)Creating "movements" in the piece/improvisation based on different musical moods she could create a piece of music that would be an organic whole. This process would short-circuit the frustration she felt, and give her a sense of direction. I also suggested that she contact all the local colleges, and write a passionate letter to all the composition teachers in the Raliegh area, asking for guidance. Nancy had this wide-eyed look on her face by the end of the lesson, and I noticed a tear on her cheek.. To be a natural musician can be confusing sometimes, there are no real blueprints to tell you what direction to take.. everyone is different, and everyone needs unique advice as to what to do next! good luck, and keep swingin! DF

 

Date:	27-Aug-1999 16:28:45
From:	Dave Frank
	Becoming a musician is a journey. Teaching is satisfying when you can help someone find their direction in music. There are alot of bumps along the path, you've gotta hone in to find your place out there. It's especially gratifying to have had a good teacher as a student, and then to be able to work with motivated people as a teacher. The degree of talent in a student is secondary! Dedication and desire are equally as important. I'll be beginning a 10 city US tour starting in mid-September 1999, playing solo concerts and working with interested students in a master class and private setting. More info later.. If you're somewhere in cyberspace and are reading this,I'd dig to hear from you! You can change your name if you want to! Cheer, Dave

 

Date:	28-Aug-1999 17:07:59
From:	rex kuhn (shirex@QuixNet.net)
	Surprise! Came across your page on all about jazz and just had to say hello and wish you continued success. I was blessed to have you as my guest on DISCOVERY and played a cut from our CD last Sunday. Keep in touch. Rex Kuhn WNCU

 

Date:	04-Sep-1999 03:14:20
From:	Curtis Gorham Jr. (babycorea@hotmail.com)
	Hey Dave, How are ya? I am a kid with a dream of being a jazz pianist one day. i have a pretty good ear, but I can't read yet. I wanted to go to school for music, but I would have had a hard time because I can't read music. I love jazz music more than anything, but I don't even know where to start to become a good jazz pianist. I would risk being broke with no money for jazz music because I love it, and I want to play it so bad. Sometimes I feel like giving up. What could I practice to start with. This is my life and heart. I am the kind of person that can listen to jazz, and play music all day(and i mean all day)!!!! I just need motivation and direction. I am 18 now, and getting older. Am I too far gone in age to be a good jazz musician?

 

Date:	04-Sep-1999 07:38:37
From:	Dave Frank
	Hello Curtis, thanks for writing! I thoroughly understand your passion for playing jazz. Ever since I've starting studying, that's pretty much ALL I've been doing! Improvisation is a lifelong, absorbing, fulfilling, addicting activity that involves the heart, mind, and body. To quote the legendary Alfred E. Neumann, IT'S A GAS!!! My man, you MUST start taking lessons with a competent teacher in your area. Even if there are no decent jazz teachers whrer you are, find someone to teach you the basics of reading, piano technique, and music theory. You can find this anywhere. It's recommended to start from day one with a jazz teacher, if you can.. Where are you located? Perhaps I can help you in person... There is a common misconception about jazz musicians - they're often thought to have come outta their mommas jamming! This is completely untrue - jazz playing is a high science, that MUST be studied. Trying to play jazz without knowing how to read music is like aspiring to be a writer without knowing the alphabet. You're DEFINATELY not too old to begin, but don't waste any more time dreaming. As it's said in the JOY OF IMPROV books, "A lifetime of creative fullfillment awaits you". Get off the couch and schedule your first lesson, OK? Best wishes to you, DF

 

Date:	15-Sep-1999 21:56:29
From:	Dave Frank
	Amongst the community of creative, dedicated people who are involved in improvising music, we're all doin' the same thing! Some of the difference between the great improvisers and the students of improvisation is in the FLUENCY of their execution, and the SOPHISTICATION, CLARITY, and MUSICALITY of their ideas. Shakespeare took the English language and created poetry and sublimity, sophisticated concepts and timelessness. Bird took the blues scale and said something valuable, meanigful and eternal. It's the same language we all use, in both cases, but for the depth, force,clarity, and conviction... One way to develop fluency is to break a tune down into 4-8 bar groups, at the natural cadence points. Over these miniature structures, practice improvising, basslines, etc. Exhaust yourself improvising new ideas over short structures, then do the same thing combining two such structures... I'll be in San Antonio, Texas this weekend (Sept.18th-19th), and Birmingham, Alabama next weekend (Sept. 25th-26), playing and presenting JOY OF IMPROV SEMINARS. If you're in the area, come on in, sit for a while..bring your harmonica, we'll jam for a few.. write in for more details.. Cheer, Dave

 

Date:	29-Sep-1999 21:52:20
From:	Dave Frank
	The highest reward in playing is the experience of directly transmuting your unique emotional core into MUSIC. The essence of your heart, your drive, your intensity, your passion, and your unique vision of life can find expression in notes, rests, chords, and melodies. It's always somewhat mysterious..remaining absorbed in the creative process is the goal of the artist, turning "spirit" (feelings, energies)into "flesh"(music). The highest reward in teaching is seeing the light of progress and the excitement of improvement dawn on your student. Watching students progress and achieve, having played a part in their developement,is the teacher's priviledge. I dig the fact that my students, by and large, go home HAPPY! Dave

 

Date:	16-Oct-1999 14:53:34
From:	dominic duval (katdom@earthlink.net)
	Hi David, On my way to Psris on Tuesday eve. Stumbled onto your chat board and rmembered our time in the room with two piano`s which fall into the junk bin! hope all is well,please e-mail your address and phone# my dog ate my phone book and havent been able to call anyone in monthes. Best to you and yours ,Dominic Duval< katdom@earthlink.n

 

Date:	21-Oct-1999 10:58:33
From:	Tom Croft
	Dear Bulletin Board Readers and Dave, Back in August of this year, I had the privilege of taking a private lesson from Dave at a piano dealership in Durham, NC. Prior to that time, I had taken perhaps eight lessons from two excellent local teachers and had worked from Mark Levine's The Jazz Piano Book for a couple of years (I took several years of classical piano lessons as a child). Although I had worked on improvisation a lot with various approaches, I seemed to have plateued and just wasn't able to execute many of the things I was hearing in my mind's ear. That 45 minutes with Dave opened up a whole new world of musical discovery and enjoyment. I'm currently on Lesson 6 of Joy of Improv and loving every minute of it. I especially enjoy the Master Solo singing exercise. My improvisation ability, thanks to Dave's practice methods and perceptual approach, is still steadily improving after a dramatic leap forward during the first couple of weeks following that private lesson. Dave and I converse regularly via e-mail, but I thought it was time that I share publicly how thrilled I am with the results of his skilled teaching. I look forward to his future visits to the Raleigh/Durham area and the opportunity for more one-on-one help from him. Sincerely, Tom Croft Cary, NC

 

Date:	21-Oct-1999 22:29:29
From:	Kenny Seidman
	Hello Dave, this is your old student, Kenny Seidman. I always wondered what became of you, and one night I'm listening to this Canadian jazz show and there you were - the opening cut of the show - 2 and 1/2 minutes of intense"fire in the belly" or however you prefer to describe it. AMAZING! It was the genuine stuff - no doubt about who this Dave Frank from the Boston area was (glad to hear you aren't slogging the New York City Jazz Scene- though that may be your next move?). Seriously, that is quite a piece of music, and I am really happy and proud for you - to see how you've developed along those lines that started way back when. The hostess of the show -Katie Malloch - really gave you a nice intro (you probably heard it) and invited inquiries. Here's some of her response to mine: "Boy, did Dave Frank ever push peoples' buttons! I've had four e-mails about that one cut I played, and everyone wants to know where they can get the CD. To contact Dave...Good luck reaching your old friend, and please tell him I'm reeling from the reaction to the disc, and he'd better send me a copy of the full CD soon!" Best of luck, Dave, keep up the great work! Your old friend, Kenny

 

Date:	23-Oct-1999 11:52:16
From:	Rob Spaulding (spindrift@cybertours.com)
	Hi fellow students/jazz devotees! I was inspired reading these latest entries. Tom Croft, you're right on! I relate to your inroads into jazz piano via your former lesson experiences in conjunction with Levine's Jazz Piano book (which is chalk full of great stuff). A road I was also traveling before I met Dave Frank. I got a kick out of your description of having the session with Dave that has totally moved your improvisation development to a new level. I am very fortunate to have been studying with Dave now for the past year- the lessons have had that same galvanizing effect. He makes jazz utterly accessible to piano students trying to gain a foothold (fingerhold) in that vast sea of improvisational creativity. His natural teaching ability in conjunction with his highly inspired playing is the perfect conduit for helping each of us tap into our own inner reservoir of creative energy. So, I'd have to say Tom, after having read your comments, its kind of like there was your pre-Dave Frank playing days and now PD (post-Dave) playing days after having had an eye-opening, ear-opening J.O.I. session with the super-charged bopmeister himself. I just have to share a comment he made yesterday at my lesson. "PLaying jazz piano is all about flowing phrases with clear ideas and swingin'!". Since I've been trying to work specifically on these concepts, I really dug that explanation. Its a great one!! (As an aside I visited Raleigh-Durham a couple of years ago and really liked that Triangle area. I only found one jazz club though. I'm a resident of Kennebunk, Maine where you don't meet many people grooving to Lester Young, Charlie Parker, or Red Garland on a regular basis. But they mix in alot of lobster and steamed clams with their creole gumbo up here.) Best of Luck with the JOI series Tom! Its fantastic!! Rob Spaulding

 

Date:	24-Oct-1999 06:55:40
From:	Dave Frank
	Working on your music goes hand in hand with working on yourself..I thought I'd share a riff from my personal life. Every square inch of the universe is filled with beauty,and what distracts me from it are patterns stemming from the child within..that about sums it up for me! Back to the piano!! Thanks to the folks who have taken the time to write in, It means alot to me.. DF

 

Date:	27-Oct-1999 16:01:19
From:	clyde glover
	i would like for you to give me the different fingerinngsgs for the dfferent fingerings also iwould like to know the price for your three other books and what is your price for your different lessons and your tapes thank you clde glover glover

 

Date:	27-Oct-1999 18:10:45
From:	dave Frank
	Hey Clyde, nice to hear from you..You're asking me for about 6 hrs of work buddy haha! Give me one solo pattern, and I'll give RH fingerings in all the keys,OK?I don't have the fingerings for the solo patterns published at the present time.. Both of my solo CD's, SOLO PIANO and POWER OF THE PIANO, are available from me for $15 each, plus $2.50 S+H. The other JOY OF IMPROV books are available from me at the moment, and will be published by Hal Leonard within 2 years.. Vol.3,4,and 5 are transpositions of the tunes in the JOY OF IMPROV series, for guitar, Bb,bass,and Eb..I will be recording a VHS/DVD video for Hal Leonard in March, which will be a continuation of the JOY OF IMPROV series, focusing on beginning blues improvisation.. Thanks for your interest, CG,I look forward to speaking with you again.. DF

 

Date:	08-Nov-1999 13:36:25
From:	Betsy Hannah (bbhannah@earthlink.net)
	Dave, I've finally gotten wired to Internet! I and several of my students are LOVING working with your books. The process is somewhat miraculous! I'd call it foolproof. If one just practices the chapters as recommended, it's impossible not to get better! thanks! Hope to have you back in NC soon. Still inspired, Betsy Hannah

 

Date:	08-Nov-1999 17:16:53
From:	Betsy Hannah (bbhannah@earthlink.net)
	Dave, I've finally hooked up to Internet! I and several of my students LOVE working with your books since you were in Raleigh. They are really foolproof! If one simply follows the recommended practice steps, it's impossible not to get better! Just working with the 1st chapter sharpens the ear and memory dramatically! And it continues. thanks. I hope we can get you back to NC soon. Swingin' along, Betsy Hannah

 

Date:	08-Nov-1999 22:00:09
From:	Dave Frank
	Hi, Betsy! Great to hear from you, and I'm really happy you're digging JOY OF IMPROV. I had a ball in Raleigh, and am being considered for a performance at the 2000 ARTSPLOSURE festival in downtown Raliegh..if you know Terry Dollar, put in a good word for me hehehe..I've been in touch with Marilyn Brown at the Raleigh Conservatory,and hope to be back in NC shortly. Thanks for your friendship and support, please feel free to write in with any questions or comments, or just to connect. Keep swinging BH, Dave

 

Date:	18-Nov-1999 15:44:17
From:	clyde glover
	dear dvae frnk iwas askinging you about your fingering about your scales and your exercises also cna ipurchse your books about 3 4 and your books keyss of fsharp allthe sharps and b natural e natural y these keys are problems

 

Date:	18-Nov-1999 17:03:03
From:	Dave Frank
	Hey, Clyde, scroll up a few entries and you'll see how to order to stuff you want..the transposition books are available in Bb and Eb only. Mail me a check , and I'll mail you the books, OK? If only all of life was so simple! Dave

 

Date:	04-Dec-1999 21:18:05
From:	Manuel Flores Jr (mflores3@elp.rr.com)
	Hi Dave, No gig tonight and it's Sat. so I have a six pack and came upon your letters. I really enjoyed reading your observations on all aspects of music. I play acoustic bass and live in El Paso Texas. A tiny jazz community exists but I have been really into Brazilian music of all sorts to the point of going to Brazil for the last two summers and doing a lot of independent study. One of my favorites is Hermeto Pascoal. Maybe you know this pianist Jovino Santos Neto. He is now in Seattle. Well thanks for the inspiration on a gigless night. Manny Flores

 

Date:	05-Dec-1999 23:31:41
From:	Dave Frank
	Hello Manny, thanks for writing in..I had the opportunity to tour Brazil a couple of years ago, what a wild, diverse country! I played in Curitiba, Rio, Recife, Brazilia, Jao de Passoa, Goiania, Salvador, and Blumenau. Bluemenau was strange to me because it was a totally German city, when we got there a German oom-pah band was playing at the airport, and we were welcomed by a fraulein with a pretzel on her head! By far the most musical place was Salvador, in the state of Bahia. Salvador is the Afro-centric center of South America, in this city the cultures of Africa and Europe (mostly Portugal) met and mixed. Man, the music, the dancing, 24 hours a day! I happened to be there during the celebration of the state of Bahia, and drumming groups from all over the city were marching in the streets day and night. The old part of the city, called the pellerinio, was utterly fantastic, everyone was partying, dancing, drumming..The people were absolutely gorgeous, almost every person a unique mix of European and African features..I also heard the best Brazilian music there, at a nighttime jazz festival..the easy Latin rhythms, mellow guitar chord changes, and romantic lyrics, great... What a ball - it's amazing I came home still sounding like Tristano on speed haha, the experience didn't change my playing at all, although it changed me as a person.. Obrigato, Manny, I'll be down in San Antonio in February, if that's near you.. Ciao, Dave Frank

 

Date:	07-Jan-2000 12:44:32
From:	Betsy Hannah (bbhannah@earthlink.net)
	Hey Dave! We're still having a great time with your books. One of my students ordered the 52 CD's and is excited about working with the batch that just arrived. She likes the focus created by playing along with the CD and gradually speeding up! Anyway, are you going to be in Raleigh for Artsplosure? If so, will you be available for lessons or a short workshop? The Raleigh Conservatory has a wonderful 9 foot Steinway--great place for a workshop. Hoping to hear from you Betsy Hannah

 

Date:	04-Mar-2000 13:44:32
From:	Dave Frank
	The way to be happy and to stay happy, it seems to me, is to devote yourself to your passion, and serve people possessed with a similar passion.

 

Date:	05-Apr-2000 09:42:01
From:	Dave Frank
	DAVE FRANK ITINERARY 2000 January – Guest artist, NEW HAMPSHIRE MUSIC FESTIVAL February– Featured artist, UNIV. OF MARY JAZZ FESTIVAL March – Solo concert, master classes, Dayton, Ohio April – Tour of Peru – solo concerts in Chiclayo, Trujillo and Cuzco Featured artist, Lima jazz Festival April - Tour of Chile – solo concerts in Santiago and Valparisso May - Solo concert, BUENOS AIRES SCHOOL OF MUSIC May - Featured artist, ARTSPLOSURE FESTIVAL, N.C. June - Featured artist, BISHKEK JAZZ FESTIVAL, Kazakhstan June - Featured artist, JAMAICA INTER. JAZZ FESTIVAL June - Solo concerts, master classes, Sao Paolo, Brazil July - Solo concerts, Santa Fe and Albuquerque, NM August - Solo concert, Chautauqua Institution August - Solo concerts, master classes, Pelion, Greece September- Solo concert, KAZAKHSTAN INT. JAZZ FESTIVAL October - Concerts, master classes- Wash. DC and Los Angeles November – Featured artist, DOM. REPUBLIC JAZZ FESTIVAL December - Solo concert, Portland, OR and Berkshire region, MA January 2001- Solo concert, BARBABOS INT. JAZZ FESTIVAL

 

Date:	01-Dec-2000 19:23:04
From:	Jack Rubinger (soli@teleport.com)
	Hey Dave - When and where are you playing in Portland, OR in December??!! I've gots to be there!! -Action Jackson 503-469-9209