The Third Video “Advanced Concepts” In
Mike Longo’s “The Rhythmic Nature of Jazz” Series Is Available Containing An Incredible Revelation From Dizzy Gillespie’s Rhythmic Concept That Will Produce The Most Astonishing Breakthrough You Will Ever Encounter! ….Guaranteed!!!!!
As you may or may not know, it has been two years since Mike Longo released DVD #2 “Fundamentals” in his 4 DVD series “The Rhythmic Nature of Jazz.” Because of the pirate sites making illegal copies and offering them to people, the production and release of the 3rd DVD in this series “Advanced Concepts”, has been delayed
Now, however, we have discovered a way to combat this situation through a company called Leaping Brain, and we are able to release video #3 in a manner that can’t be stolen. This is proving not only to be beneficial to us but has many benefits for you when you purchase. Here’s why it has never been easier to acquire this information.
Unlike the videos you purchased in the past, because of our new digital technology there is: No waiting for deliveries. No shipping and handling charges. Never out of stock. No lost or damaged shipments. You can order and start watching in just minutes.
Ordering has become effortless, and you will be incorporating these powerful techniques into your playing almost immediately causing, your fellow musicians to be astonished at the sudden improvement in your playing. This can be so dramatic that your services will be more in demand than ever before. This could possibly add up to a huge increase in your income regardless of the manner in which you presently earn money as a musician.
You will be amazed at how comfortable these techniques will make you feel as you play with this new sense of freedom like you have never experienced before.
As more and more musicians become aware of your prowess resulting from mastering these techniques your popularity will increase accordingly. This can add up to a dramatic increase in your earning power as a musician as well.
Not only will you enjoy playing more than ever, it will become infectious to your listeners as they find themselves being filled with joy and happiness when they listen to you play. This in turn leads to an increase in popularity for you and your music.
At the present time, this unique aspect of Dizzy’s concept is virtually unknown to anyone in the jazz field including musicians and educators. This will be revealed to you in the video, and once you incorporate it into your playing it will prove to be magical in nature.
No matter in whatever manner you are playing presently, this unique technique, with its accompanying exercises, will put you in touch with the very latest developments in terms of rhythm and time concept.
One can learn all the hip scales and licks that musicians are presently occupied with, but there has always been that gap that separates the greats like Cannonball, Coltrane, Diz, Miles and others on their level from everyone else. Once you incorporate the principles conveyed in this video you will gain an understanding that sends you in the direction of that same level for yourself, guaranteed!
The truth is that one could practice until they are blue in the face and never come up with the level of playing that results from knowing these principles. They literally remove the hardships that most musicians endure when trying to advance their playing to this higher level.
Most musicians who do not display these qualities in their playing presently are always subject to criticism from other players as well as themselves. These techniques will go a long way in eliminating this from your life.
The good news is that these principles eliminate the need to learn licks and regurgitate them as is predominant in today’s culture. On the contrary. You will display your own unique individuality when you approach playing from this perspective.
Musicians go through three distinct levels of development. These may be described as;
The Imitative stage is a talent stage. Everyone starts out at this level. This is where you emulate your favorite players from listening to their recordings, copying licks, etc. Obviously it takes talent to do this, however, in today’s jazz world it seems that many players are stuck at that level and can’t seem to find their way past it. This is very prevalent with the “jazz in the classroom” element that has admittedly produced some very exceptionally talented individuals. There is something beyond this however, and that unknown element is what will be necessary to win back the jazz audience that has abandoned this music in droves. We have all heard some of today’s young players who display phenomenal technique and speed but as many people have said…”something is missing.”
Those of you who have experienced the first two DVDs in this series know that they caused a change in your playing that resulted in you “realizing” things you didn't understand before. The improvement in your music that you encountered was your step up to the “Realized” stage from the “Imitative” stage of playing. By now this has become something you all recognize from doing that work. The importance of recognizing the difference between “experiential knowledge” and “intellectual knowledge” has been mentioned in the previous DVDs and is elaborated even more strongly in this third installment.
Although the jazz education field has made some magnificent contributions to young musicians trying to develop into jazz players, there is one important element that has been missing in this endeavor. Most of the focus has been on “what” to play; the “how” to play has all but been totally neglected or ignored. The reason is this. Players in the past learned through an “experience”, and this “experience” occurred on the bandstand by playing with players who had “it.” What we are allowing you to do with this DVD series is to provide you with an opportunity to learn through something you experience rather than something you have been approaching intellectually.
It is amazing how so many of today's musicians do not grasp this idea due to the indoctrination they have been exposed to. This is true of many of the educators as well.
To give you an example of this phenomenon I will share some comments from various people who have encountered the first two DVDs.
As you may or may not know, it is quite popular these days to become involved in various chat groups about jazz on the Internet. There are some that are composed of people who play jazz on a certain instrument like bass players, guitar players, etc. Since the first two DVDs have shown up in discussions on these sites I will quote some of the comments made about them to demonstrate the lack of understanding about “intellectual" vs. "experiential" knowledge.
While the majority of the comments have all been positive with musicians raving about how this work has helped them and improved their playing, there have been a few negative ones as well, which will demonstrate the lack of understanding of “experiential knowledge" caused by their orientation in the academic field of jazz.
Here is one such comment from a chap on a chat site:
“I just watched the first DVD, and I have to say, I didn't find anything new in it. The main idea seemed to be ‘feel all the subdivisions,’ which is what every one of my teachers has always told me about rhythm. Longo is certainly a fantastic musician, and I don't mean any disrespect. He tells some interesting stories about his career. I just didn't feel like I learned anything new about rhythm by watching this DVD.”
You will notice that his words state "I just watched the first DVD, and I have to say, I didn't find anything new in it.” This is an example of someone who “watched the 1st DVD" and didn't do the work presented in the 2nd one. Therefore he missed the “experiential” knowledge he was supposed to get from the course. Let's just focus on the 1st DVD itself. The statement that “The main idea seemed to be ‘feel all the subdivisions” is interesting from the standpoint that this “idea” is mentioned nowhere in the course and in fact is an intellectual exercise in itself having more to do with math than anything this course is about. One could “subdivide” until they are blue in the face, but if they are doing so in a monometric as opposed to the polymetric time conception taught in this DVD, they are simply wasting their time in terms of the music we call jazz. “Subdividing” is something you do within a particular meter and has nothing to do with several meters coinciding simultaneously, producing a special kind of time feel. The “main idea” of what this course is about is to provide you with experiences from which you can learn something. He goes on further to say, I just didn't feel like I learned anything new about rhythm by watching this DVD.”
At the end of that DVD there is a demonstration on the piano where the pianist's left hand is playing in one meter while the right hand is playing in a different one simultaneously, at a different tempo. Both hands are mixing together perfectly from a rhythmic and melodic standpoint as well. Now, being able to witness something and comprehend it intellectually as opposed to you being able to do it and experience it are two different things entirely. It is the difference between “intellectual knowledge” and “experiential knowledge.”
Apparently this well-meaning individual is unaware that he is saying something that is typical of the academic mentality when it comes to jazz. Can you imagine someone purchasing an exercise program on DVD that is designed to help someone loose weight and saying, “I've watched this thing over and over and so far I haven't lost one pound.”
Now here is a quote posted by someone on the exact same chat site as the fellow from above: “I am feeling a change within me after using this program for the last few months and my instructors are astounded by some of the things I am doing. I'm going to keep it up for a couple more decades and see what happens. I can tell you that I feel time in a totally different way and it has made the difference. I don't feel I need to prove myself to anyone, I just want people to know that this can help them!”
Here we have an individual who did the work and gained the “experiential knowledge” the course was designed to impart.
Now here is another quote sent to us via a Youtube comment.
“These DVDs have helped my musicianship immensely! I'm a jazz guitarist and I have a trio that's been playing for a while now. After a year of using the concepts taught by Mr. Longo, we are swinging harder and playing funkier with no doubt. I am really excited about Volume 3! Thank you Captain Longo!” - Bryan Farris
Now what we have here is a message from the Bandstand from a group that is performing in a professional situation rather than coming from an academic approach. These guys apparently got the “experiential” message.
Finally I will share an E-mail message from someone who was approaching it wrong and then made the transformation to the right approach. Please notice the sincerity of his comments.
"I dont know whether Mike reads this or not, but please tell him that although I have owned and watched his DVDs since they came out, it is only recently I have had the confidence to get into them and practice the drum and playing with the CD. 2 weeks? Something like that. I can feel and hear the difference. And I am beginning to see that not only is my playing opening up, but also my heart and mind. What fun. The half note triplet rules. Anyway. . . SO much thanks and respect and appreciation to Mike and especially Dizzy." - Chris Kroger
One never knows, in this business, when an opportunity
might pop up that could really advance your career. One of the best ways to meet this challenge would be to digest the materials this course has to offer.
In the words of the late great James Moody who made this comment after viewing the first DVD before he passed away in 2010. “If you don’t have this GET IT NOW!”
As an added bonus, when you order you get: a booklet containing all of the notated examples that appear on the screen, and suggestions that guide you on how to play the drum routines
There are also written exercises that activate the behaviors associated with the new drum techniques. These are also included in the free booklet and are notated in the keys for Bb, Eb and concert instruments such as piano, bass and guitar.
Ordering has never been easier. Simply go to www.jazzbeat.com and click on the link at the top of the page where it says “New Release.” Simply follow the on screen instructions and you will be working on it within a matter of a few minutes.
It should be mentioned here that the material covered in DVD I and II must be digested by you in order to do the work in Video # 3. Unfortunately the digital technology we are using in #3 was not available to us back when these were made and are only available in hard copy DVDs.
If you don’t have these you can get them as a combo at a discounted price. Go to www.jazzbeat.com. Click on “Woodshed.” You will see pictures of these two DVDs. Click on either and a new screen will come up. On the far left of that screen you will see a column that says “Categories.” Click on “Educational DVDs” and a screen will show different choices for combos at discounted prices. Some come in combo with the book “How To Sight Read Jazz and Other Syncopated Type Rhythms.” This is the book that has been highly recommended by the great jazz pianist and educator Hal Galper.
Good luck and God Bless!
To be removed from our list please send a message to firstname.lastname@example.org from the E-Mail address that you received this notice and write REMOVE in the subject line.