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Tom Hall is a saxophonist and educator who teaches free improvisation. His album "Session III" features an improvised trio performance with Hall on saxophone, Marty Ballou on bass, and Jeff Galindo on trombone. The album consists entirely of improvised performances, with the exception of two renditions of the song "Smile". Hall believes that improvisation is a fundamental creative process that applies to all musical styles and artistic disciplines. He has taught improvisation workshops internationally and authored the book "Free Improvisation: A Practical Guide".
Tom Hall is a saxophonist and educator who teaches free improvisation. His album "Session III" features an improvised trio performance with Hall on saxophone, Marty Ballou on bass, and Jeff Galindo on trombone. The album consists entirely of improvised performances, with the exception of two renditions of the song "Smile". Hall believes that improvisation is a fundamental creative process that applies to all musical styles and artistic disciplines. He has taught improvisation workshops internationally and authored the book "Free Improvisation: A Practical Guide".
Tom Hall is a saxophonist and educator who teaches free improvisation. His album "Session III" features an improvised trio performance with Hall on saxophone, Marty Ballou on bass, and Jeff Galindo on trombone. The album consists entirely of improvised performances, with the exception of two renditions of the song "Smile". Hall believes that improvisation is a fundamental creative process that applies to all musical styles and artistic disciplines. He has taught improvisation workshops internationally and authored the book "Free Improvisation: A Practical Guide".
incredible magic and a pedestrian exercise of a basic human faculty. From the most creative artistic endeavor to the most mundane action, that mysterious process we call improvising is part of everything we do. Yet no matter what activity we are engaged in or what we are creating, the process of improvisation remains the same, as does the joy and satis- faction of spontaneous expressive action. Tom Halls free improvisation work- shops and classes provide practical tools for exploring the joys and mysteries of musical improvisation. The value of this exploration reaches far beyond the musical skills gained. A competent and aware improviser nds it much easier to create a joyful, successful, and fullling life! Biography Tom Hall, a graduate of New England Conserva- tory, is an improvising saxophonist, music teacher and the author of Free Improvisation: A Practical Guide. He has been teaching free improvisation ensembles at Brandeis University since 1997 and has con- ducted improvisation classes at New England Conservatory, Wellesley Col- lege, the Royal Conservatory, and the Rotterdam Conservatory. Hall has played saxophone profes- sionally since he was 17, performing and recording in a wide variety of mu- sical styles jazz, blues, rap, rock, folk, funk, meringue and more. What always fascinated him most was not the differences between musical styles, but what they all have in com- mon the process of improvisation. It was this fascination that led to the de- velopment of his theory of improvisa- tion as a universal process that applies equally to all creative endeavors. He designed and led Session I, a workshop for professional improvisers, culminating in a series of concerts in New England, and has served as cura- tor for the Cultural Construction Music Series. In addition to his ongoing teaching and group performances, Hall is currently directing The Sessions, a series of workshops and concerts that focus on bringing musicians from all genres to- gether to perform in a free improvisa- tional setting. For more information: Tom Hall 617.510.9168 tomhall@freeimprovisation.com www.freeimprovisation.com Free Improvisation Tom Hall Life is one big improvisation. Benets of Free Improvisation By combining free improvisations with the creative use of improvisational exercises, students will: strengthen awareness of their improvisational impulses and expand their knowledge of how to express them examine fundamental aspects of music and improvisation create individual and group awareness of improvisational and musical possibilities develop a common musical and verbal language learn the skills necessary to use all of the above in the spontaneous creation of music This method is non-stylistic, accommodates any instrumentation, and is suitable for anyone, regardless of musical background or skill. The only requirements are a desire to learn more about improvisation and music, and an interest in having fun playing music in a group. Brief Syllabus Tom Halls approach to teaching is an improvisational approach. There are certain basic concepts that will always be explored, but each indi- vidual class is improvised based on the needs of the group and the lessons that spontaneously occur. A) Solo Improvisation Exercises in solo improvisation focus on awareness of individual musical inspiration and the direct expression of it. B) Duets The duet is a microcosm of the improvisatory experience. The simplic- ity of two voices makes it easier to hear and understand many concepts.
These concepts include beginning and ending, form and motivic develop- ment, and skills such as ear training and musical memory. Duets are an excellent way to explore the complexities of a relationship. from musical relationships like melody and accompaniment to the many complex ways that people relate emotionally and socially. C) Trios, quartets and larger groups Work with larger groups begins with introductory exercises focused on getting comfortable with basic improvi- sational and musical skills, proceed to exercises which help students learn how improvise with multiple parts, and culminate in more complex struc- tures that combine two or more of the exercises that have been previously studied. This work includes: improvising grooves as a group improvising melodies, harmony and counterpoint soloing improvising larger forms
using silence improvising accompaniment exploration of musical parameters (rhythm, dynamics, textural improvisation, articulation, harmony)
conducted improvisations improvisation from non-musical sources (words, visual cues, emotions, movement) Apri l Hal l Free Improvisation: A Practical Guide The Book: Improvisation is a big part of our daily lives, essential to the things we love to do and the music we love to hear. Improvising together seems natural when were playing a game or having a conversation, yet improvising music together is often viewed as mysterious and forbidding. Free Improvisation: A Practical Guide provides a practical way for any group of people, no matter what their style of music or level of musicianship, to learn about improvising together. With over 100 improvisational exercises and invaluable instructional tips, this book is an essential tool for every musician, teacher, or music lover. The Author: Tom Hall, a graduate of New England Conservatory, is an improvising saxophonist and music teacher. He has been teaching free improvisation ensembles at Brandeis University since 1997 and has conducted improvisation classes at New England Conservatory, Wellesley College, the Royal Conservatory, and the Rotterdam Conservatory. Arthur: Tom Hall Title: Free Improvisation: A Practical Guide File Under: Music Education, Jazz Education Publisher: Bee Boy Press Format: Spiral Bound ISBN: 978-0-615-32862-1 Suggested Retail: $25.00 Catalog Number: BP-0900 Pages: 123 Publicity: Kristine Walker, Walker Productions Publicity Contact: kwalkerproductions@gmail.com Website: www.freeimprovisation.com Press Website: www.beeboyrecords.com Available: freeimprovisation.com and amazon.com Press Contact: B e e B o y P r e s s 117 Roslindale Ave. Boston, MA 02131 tomhal l @f r eei mpr ovi sat i on. com w w w . b e e b o y r e c o r d s . c o m w w w. f r e e i mp r o v i s a t i o n . c o m Table of Contents: ! One: What is Improvisation? ! Two: Setting the Stage ! Three: Practicing Free Improvisation ! Four: Beginning Exercises ! Five: Duets: The Art of Relationship ! Six: Advanced Groove Exercises ! Seven: Textures ! Eight: Creating SpacePlaying Silence ! Nine: Groups Within the Group ! Ten: Melody and Accompaniment ! Eleven: Musical Parameters ! Twelve: Tasting Shapes ! Thirteen: Combining Exercises ! Fourteen: Warm-ups ! Fifteen: Solo Exercises ! Index of Exercises Apri l Hal l T o m H a l l S e s s i o n I I I Track Time 1.First Meeting 3:19 2. Smile 4:12 3. Holler 6:14 4. Bumps 5:31 5. Smile II 4:19 6.Loosey 3:28 7. Bare 5:23 8. Last Call 8:48 Label Contact: Be e Bo y Re c o r d s 117 Roslindale Ave. Boston, MA 02131 617.817.0007 t o m h a l l @f r e e i m p r o v i s a t i o n . c o m w w w . f r e e i m p r o v i s a t i o n . c o m The CD: The idea behind Session III is simple - bring three exceptional musicians into the studio and record them improvising. Although Tom, Marty and Jeff have played together in various groups over the years, the improvisation on this CD titled "First Meeting" was the trio's rst free improvisation. All the music on this CD is completely improvised, with the exception of two freely rendered versions of Charlie Chaplin's "Smile. Personnel: Tom Hall, Tenor & Bari Sax; Marty Ballou, Bass; Jeff Galindo, Trombone. About Tom: Tom Hall, a graduate of New England Conservatory, is an improvising saxophonist, educator and author of Free Improvisation: A Practical Guide. He has been teaching free improvisation ensembles at Brandeis University since 1997 and has conducted improvisation classes at New England Conservatory, Wellesley College, the Royal Conservatory, and the Rotterdam Conservatory. Tom Hall has spent his life improvising all kinds of music, in groups such as Your Neighborhood Sax Quartet, Bob Nieske's Wolf Soup, Bruce Katz Band, Club dElf, and with people such as John Medeski, D.J. Logic, Jon Damian, Matt Maneri, Tim Ray, Duke Levine, Curt Newton, Dave Bryant, and Dave Tronzo, and has performed and recorded throughout the world in a wide variety of musical styles. Whether hes playing Jazz, Blues, Rap, Rock, Folk, Funk, Latin, or R&B, what has always fascinated Tom most is not the differences between musical styles, but what they all have in common - the process of improvisation. Performing and studying with actors, dancers, and visual artists has shown Tom that improvisation is a creative process common not only to all music, but to all creative endeavors. In addition to teaching and performing, Tom has served as curator for Cultural Constructions, a concert series which creates the opportunity for musicians from different cultures to improvise, compose, and perform together. Currently, Tom produces The Sessions, an improvised music series that brings together great improvisers from all styles of music and sets them loose in a free improvisatory setting. Artist: Tom Hall Title: Session III File Under: Free Improvisation Avant Garde Jazz Label: Bee Boy Records Format: CD UPC Code: 884501233859 Release Date: January 7, 2009 Catalog Number: BB-0903 Website: www.freeimprovisation.com Youtube: www.youtube.com/tomhallfreeimprov Available at: iTunes, CD Baby, amazon.com and freeimprovisation.com T o m H a l l f r eei mpr ovi s at i on. com T o m H a l l freei mprovi sati on.com
Kenneth Dean Austin v. Howard Ray, Warden, Jackie Brannon Correctional Center and Attorney General of The State of Oklahoma, 124 F.3d 216, 10th Cir. (1997)