The ensemble was conceived in a doctoral recital of mine at the University of Miami. The opening track "Fair Weather" was performed at that recital (10 years ago!!) but all other arrangements and originals are from the last 4 or 5 years, most from fairly recently though.

The album is largely a "standards" record, with 13 of the 17 tracks being arrangements of old tunes. The Album title though has more to do with the original tunes on it, as they all deal with direction and perspective (Indirect Ingress, Circumambulate, Catty Corner, Throughline). There is at least a little significance to the name of each original in relation to their musical content.

My hope has been that listeners will get a sense that a unique and highly specified approach to arranging was taken with many of the tracks on "Perspective". The trumpet/guitar/bass sonic combination is one that has not been explored thoroughly (Payton, McBride, Whitfield album "Fingerpainting" is a huge inspiration of course), and the approach to writing was meant to be accessible, but full of points of intrigue for the initiated. I wanted to use the instrumentation to it's full potential, almost approaching the writing as I might for a big band arrangement.

Perhaps there are some who may find this interesting, but largely as an exercise for my myself and for my own record keeping I'm going to discuss each track from the album at least a bit.

Benny Golson's "Fair Weather" has spoken to me since I heard Art Farmer's recording on "Modern Art". As mentioned it is the oldest arrangement on the album, but also one that I'm happy with. A lot of it is lifted from Farmer's version actually, with the guitar acting as Golson's sax. A "shout section" is what sets this version apart from Farmers the most, along with moments in the tune where the bass plays in rhythmic unison with the trumpet and guitar as opposed to "walking". These are moments when "passing" chords can be added as melody notes approach strong beats.

The original chords are shown on top of the trumpet part here, but the added passing chords are listed beneath the bass. Notice the movement of the two guitar notes as well, often moving in contrary motion, with a distance largely between a 3rd and a 6th, which are not particularly difficult on guitar (though even something like this that may look simple to a pianist can be tricky to work out on guitar). The final M7 interval in guitar is striking at the end of the phrase.

I feel the "shout" section is effective because of it's use of various textures that shift quickly throughout. The instruments oscillate between unison, 2-part harmony with bass, 3-part harmony, 4-part harmony, as well as top part with rhythmic notation.

I was not familiar with the (now antiquated) term "circumambulate" until coming across it in "Moby- Dick". The word simply means "to walk around the perimeter of" something. I was reading (or attempting to read...again) the novel as I was writing this tune and the term stuck with me and seemed to fit what's happening with the melody and chords. The chords travel ever downwards in the "A" sections, with a melody that "moves around" the stubborn progression, finding a fairly melodic line despite the odd descending harmonies. One upward half step movement of the root leads back to the tonic. I find it amusing how "normal" the tune sounds despite the non-functional progression, largely due to a simple melody line. Here's a "lead sheet" look at the "A" section.

Below the "A" melody is shown again, but now with the specific 2 or 3-note guitar voicings under the trumpet melody.

The bridge consists of a bit more traditional series of "ii-V" progressions, but punctuated with references to material from the intro and A sections in the gtr/bass.

There's probably no better example of how passionate I've been about voicings for this project than the tpt/gtr backgrounds during a brief 8 bar bass solo over the bridge section. It's a very fleeting moment, behind a solo, but I went through great pains to create an interesting chordal element in the other instruments. It's often these kind of easy-to-miss details that make the difference for me when listening. The trumpet is the top pitch in the following sample, and the notation was raised an octave for ease of reading.

I decided to include two tracks that featured just one of my cohorts and myself. Cole Porter's "ICOY" is a duet between myself and Ben. It's also the first vocal tune on the album . The bass triplet motif slyly moves around to get through the harmony initially, leading to some odd double stop pairings near the end of the "A" sections. The bass outlines a slightly unusual 3-6-2-5 turnaround (in Eb) of Eb/G-F#7-Db/F - E7.

I enjoyed "trading 4's" with Ben in the blowing section, and got the somewhat unique opportunity as a trumpet player to "support" the bass solos.

Stay tuned for some insight on a few more tracks in the next post!

In June of 2019 the Scott Dickinson Trio had the delight of performing at WUCF's new TV production studio. I've been told I was the first trumpeter (and perhaps male vocalist?) to be featured on their TV program!

Our performance aired on their radio program later the day of the recording, and has since been featured multiple times on their "Live from Studio A" evening programs.

The neatest aspect of all of this of course has been he television airing that occurred this month. Our 1 hour show was condensed to a 30 minute program that aired twice in January 2020. Viewing the broadcast really changed my whole perspective of local television (Ha!). Seriously it was a very high quality production, and something I hope I get to do as often as possible.

Check out one of the tracks that was cut from the 30 minute production, our mini Chet tribute of the show.

I was blessed to partake in an exciting opportunity over New Year’s Eve in 2015 that has ended up becoming a rather bittersweet memory. I was asked to join pioneering guitarist Larry Coryell for a performance in Naples. The horn section was filled out by fellow Orlando resident Danny Jordan, and the rest of the band was comprised of Larry’s sons Julian and Maurali as well as some other internationally renowned jazz artists. The bassist was Ralphe Armstrong, who among many other impressive credits was a member of John McLaughlins Mahavishnu Orchestra. Larry’s long-time collaborator and inaugural Weather Report member Alphonse Mouzon was on drums.

I was subbing for Randy Brecker, which is a baffling thought first of all. I joked that I was subbing for a man who once was part of a judges panel that placed me third of three jazz trumpet contestants! This is a true statement. Despite the disparity in stature between myself and Mr. Brecker, Larry practically treated me as a peer throughout the experience, and was often quite complimentary, particularly regarding my reading and ability to learn material by rote rather quickly. Getting a nod of approval from an older giant like Larry was an affirming experience that is a source of confidence even now.

I was on something of a "music high" for a time following our performance. I knew I had come into close contact with "giants" from a golden age. The reality of our generational gap came suddenly when news of Alphonse' passing made the rounds, just shy of a year after our meeting. That was truly a shock. The news of elder jazz musicians passing has practically become a weekly ritual, but this was the first time the deceased was someone I had shared the bandstand with in a professional setting. He had seemed so vibrant a year prior, and a titan of a personality, not to mention powerful on the drum set.

It was only two months later, in February of 2017 that Larry Coryell himself passed. I had seen Larry just a few months earlier at a benefit being held for him at the Blue Bamboo Center for the Arts in Orlando. Larry had just recovered from complications due to a surgical "mishap" that had almost taken his life earlier that year. Larry played at the end of the show, a gorgeous solo performance. I remember that when we spoke afterwards he seemed legitimately bummed that he didn't know I was going to be there, and missed the opportunity for us to play together again. I felt certain we'd get a chance to play together again.

In just over two years I had the opportunity to play with two musicians with stature beyond most others I had performed with in my career, only to see them leave this world suddenly. I'm grateful to have been in their "sphere" if only briefly. I like to believe that I've learned to greater cherish those who've given so much for so long to this music. Thank you Larry and Alphonse!

I've had the pleasure over the past several months of playing with a new, exciting central Florida band. The band is "ISM" to be pronounced like the "ism" in "pluralism" or "embolism" (there's been some talk of changing the branding to include a hyphen before a lower case "-ism" in order to dissuade some from calling the band "I. S. M."). As esoteric as the name may seem it's actually derived from the initials of the vibraphonist/band founder/leader Ian (S-name ?) Mcleod.

ISM is a funk/fusion/etc band that does a little bit of everything, like a lot of instrumental bands out there in the post Snarky Puppy universe, though probably a bit more strongly rooted in funk than SP. Much of the bands material comes straight from the pen of Mr. Mcleod, but we have a penchant for covering some good tune-age from time to time, ISM has tackled compositions from Soul Live, The Gap Band, Nas, John Scofield, and some traditional latin tunes. I didn't compose for the band (besides a bit of horn arranging) until recently.

On June 29 (2014) we had the pleasure of performing at the Orlando White House, aka the personal home turned concert venue of Orlando Cirque Du Soleil music director Benoit Glazier. The show was a collaboration between the band and the Central Florida Composers Forum (CF2). It was primarily an opportunity for CF2 members (most of whom are contemporary classical composers) to compose for a funk/fusion band that has the capability to realize their creations at a high level. As a member of the band and CF2 I was all but obligated to compose for the concert. I wrote a piece titled "Mind Grapes" which is a nod to mine and Ian's mutual love of Tina Fey's 30 Rock (you'll get the reference if you're a "true" 30-rocker).

I had a blast writing for the band and playing the tune, not to mention pieces by other talented composers from ISM and CF2.

Click here to view a preview of all songs from the show:

 It's rare that a composers 1st attempt at composing within a particular genre results in a piece being performed and recorded by world class musicians in a packed venue. I was fortunate enough to have these series' of events happen to me last month. It's not that my piece was  particularly awesome, actually the performers committed to playing it before they saw it, and without knowing who I am. These are just some of the perks of being a member of the Central Florida Composers Forum (CF2).

I happen to work closely with the president of CF2, Dr. Tim Stulman, a fantastic composer who's had pieces premiered by multiple ensembles and orchestras at venues across the globe, including Carnegie Hall! 

CF2 provides incredible composition opportunities for Orlando composers. One such opportunity came this past November (2013) when the Heisler/Yeh Duo was invited to Orlando to perform a concert of premieres by CF2 composers. The Heisler/Yeh Duo consists of saxophonist Jeff Heisler, and pianist I-Chen Yeh, both professors at Oakland University. It was my first opportunity to compose for a CF2 event, and I was anxious to do so.

I was mildly conflicted when I sat own to compose for this event. The majority of CF2 composers stylistically fall within the "contemporary classical" area generally speaking. I consider myself a jazz performer/composer, so I experienced a sort of internal struggle over how I would approach the piece. This struggle ultimately became the inspiration for the piece. My goal for the piece became to a make it sound, well...like something composed by someone conflicted about whether they were going to write something firmly rooted in jazz, or closer to contemporary classical sensibilities. The title, "Conformation" comes from the idea of "conforming" (though I didn't really feel I was conforming!) stylistically to fit into the predominantly contemporary classical CF2 "vibe". Also the title is very similar to that of a prominent Charlie Parker composition (though it has nothing to do with "Confirmation").

An extra note is often added to the set to tie in the "jazz sound" through the use of an outlined diminished Major 7 chord, which is a friend to all jazz composers and/or chordal instrument players. The final note is often expressed in it's original octave in relationship to the other pitches, or in the next higher octave, outlining the mentioned chord in root position.

The piece arguably has an "A B A C A" form, with the A sections largely derived from the above motifs. In the four bar introduction the piano is alternating between the two shapes/sets ( with  rampant octave displacement) while the saxophone plays only key notes. The chords in the piano are at times a result of the bass voice following the shape of the motifs, but often have no unifying theoretical basis. The first several bars demonstrate the intent of the A sections. You can follow along with the score and check out a live recording of the piece below.

The latest Orlando Jazz Orchestra (OJO) album "Chloe" was released this month (11/13) and I had the pleasure of joining the band for the recording session in June. I've yet to perform with the group, but I got in where it counts, similarly to Whit Sidener and KC, though not quite as lucrative I'm sure.

Anyway, the album is terrific, and sounds quite pristine especially considering the traditional recording method. This is certainly not a "frankensteined" recording, like so many that I've been a part of in the past. 

The aesthetic of the band fits somewhere between Basie, Herman, maybe Buddy Rich, etc. Definitely some more "modern" elements but generally a very traditional big band style.  Eight of the thirteen tracks were either composed, arranged, or transcribed by members of the band, and a couple more by local composers.

I'm briefly featured on "The Eagles Have Left The Building" which is the middle track in Matt McCarthy's  "Serious Business Suite", which contains heavy traces of what I may call "mobster jazz". Very "film noir", sounds like it could be an alternate soundtrack to the Dick Tracy movie, or maybe Kung Fu Hustle. Matt can also be heard on a few trumpet solos throughout, as well as sharing the lead book a bit. Definitely a monster musician.

My favorite track without a doubt is Dave MacKenzie's "Hooloovoo" which is at times hauntingly beautiful, and others quite bluesy and raucous. It features Rex Wertz on the tenor throughout. Rex is one of those players that consistently crafts really compelling solos, even in the big band setting. We recorded a few takes of Hooloovoo, and each of Rex' solos/cadenzas was equally as musical as any other.

I was honored to be included in this fantastic album and only hope that my relationship with the OJO will continue to flourish! If you'd like more info on the album or if you'd be interested in purchasing, please follow this link to the AppleJazz Record Store.

In late 2012 I was part of a recording at Full Sail for an album funded by the Tim Tebow foundation. Thanks to my buddy Dave Champagne for including me in that awesome experience! 

As a result of that session I was asked to put together a horn section and create some charts for an event that was part of Full Sail's annual "Hall Of Fame" week in February 2013. The headlining artist was self described "bayou-soul" artist Marc Broussard. I wasn't familiar with Marc or his music at the time, but he's an extremely talented performer/song-writer. Laura and I continue to put his music on in the house from time to time. Ansley will gladly dance to it with no less vigor than any other of her favorite artists' music.

The concert was produced at a very high level, and ultimately became an album and DVD/bluray.  Both are available at Marc's website, but you can also check out the album on Spotify (the horns can be heard on "Mardi Gras", "Come in From The Cold", and "Shine") or check out a couple cuts from the DVD on Youtube (unfortunately no horns on the 2 DVD samples).

So now I teach commercial arranging techniques, orchestration, and sequencing orchestral instruments (as well as music theory and aural theory topics) to eager students across the globe! Quite literally across the globe, because I'm working in Full Sail's online music production department. I would have never guessed I'd be teaching music online, but it's been a welcome challenge and an experience that has informed my pedagogical approach in many ways.

I'm actually quite honored to be part of such an impressive department.  My co-workers represent just about every facet of the professional music community. Collectively they've produced major recording artists, scored major TV series', and had their music played on major televised sporting events. They're professional sound engineers and certified specialists in most modern audio software. They're composers for film and games. They've had orchestral works played at Carnegie Hall, and created ground-breaking performance art pieces. They're music theorists on the forefront of pop/rock/commercial music theory. They're songwriters, instrumentalists, and vocalists in every major genre. I can honestly say that I'm not aware of another program in which the faculty work so tirelessly to insure that the material they're presenting is effective as possible.

Some neat things have happened in the past year since moving to Orlando. I'll be detailing the high points in upcoming posts.