Upcoming Shows

  • 06/16/17 Hora Certa in Louisville, KY at The Ton
  • 06/28/17 Hora Certa in Louisville, KY at Goodwood Tab Room
  • 07/02/17 Mike Tracy Jazz Quartet in Louisville, KY at Highland Presbyterian Church – Jazz Sunday – Mike Tracy Quartet
  • 07/02/17 - 07/07/17 Jamey Aebersold Summer Jazz Workshop in Louisville, KY at University of Louisville School of Music
  • 09/01/17 Hora Certa in Louisville, KY at World Fest


Michael Tracy is a D’Addario Arist/Endorser/Ambassador playing exclusively on D’Addario Jazz Select Reeds.

Publications

nonJAZZ PIANO VOICINGS FOR THE NON-PIANIST

Every musician should have a basic understanding of how and why pianists voice chords in certain ways. This book, designed by a horn player, addresses and explains the basics of authentic, hip sounding chord voicings in simple, non-pianistic language. You’ll be comping on your own over Standards in a short period of time. Includes written voicings over many of the most popular Aebersold play-a-long tracks, so you can comp with bass and drums backing you up! No piano skills are required to use this book effectively. Play great jazz voicings today! Purchase

pc1pc2Pocket Changes I & II

Pocket Changes I & II, widely used by musicians throughout the world, contains standard progressions (no melodies) to 421 & 381 tunes (respectively). These handy, small-formatted books contain a great deal of musical information that has proven to be very useful for both educational and professional playing situations – tunes played by all jazz musicians, professional and amateur alike in a format that will fit in any case. There are no duplications between volumes and come in concert key only.

Purchase Book 1 | Purchase Book 2

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Relationships and Open World.

 

Louisville Jazz Society Newsletter (March 2008)

As we look forward to receiving another group of Russian jazz students as part of the Open World Program, it seems appropriate to look back on our involvement with the program and highlight its success.

…view article

 

Jazz Studies in Brazil

 

Louisville Jazz Society Newsletter (March 2008)

In March 2008, seven faculty members from the University of Louisville Jamey Aebersold Jazz Studies Program traveled to Brazil to lead workshops and perform in Brasília, the capital of Brazil, and São Paulo, it’s largest city.

…view article …view sao paulo poster …view brasilia festival poster …view brasilia festival brochure

Australia, Hamilton Island, and Jazz Education

 

Mike Tracy (October 2005)

Imagine standing under a swaying palm tree, shading yourself from the blazing tropical sun; a welcome breeze off the ocean, helping to cool the 90+ degree heat; viewing some of the most spectacular land and seascapes anywhere…

…view article

Jazz In Estonia

 

Mike Tracy (September 2005)

Friends and colleagues gave me the oddest looks when I told them that I was going to Tallinn, Estonia, for ten weeks. Why? To help build a jazz education program for the Estonian Music Academy (EMA). How did it all come about?

…view article

The Polish-American Ensemble

Kentucky Music Teachers’ Association (Fall 2003)

One often hears that music is the universal language. I have been very fortunate to experience that universality many times during my professional career. At no time has the power of music been more apparent than during a recent tour in Poland. I will attempt to share in words what occurred in sound.

…view article

copyright_cover

Copyright Law – 1991 Jazz Research Papers. International Association of Jazz Educators

Copyright law is an important concern for the musician in today’s contemporary society. It affects all aspects of music in our culture. The products (sheet music, recording, videos, etc.) from all styles of music, whether classical, popular, country or jazz, are protected. Most musicians view the copyright law as having the greatest significance for composers and arrangers; however, educators and performers need to understand how copyright law can pertain to their work.

The Copyright Office, in Copyright Basics (1987), describes “copyright [as] a form of protection provided by the laws of the United States (title 17, U.S. Code) to the authors of ‘original works of authorship’” (p.3). The Copyright Act of 1976 (17 USC 102) defines works of authorship to include the following categories:   … view article

 

journal_01Jazz Educators Journal – Fall 1990

When educators consider the inevitability of declining enrollment at colleges and universities, the non-vocational disciplines, such as music, will be particularly threatened. Music schools have felt the impact of declining enrollments for years and have become aware of the need for creative ways to deal with this situation (Rees, 1983). At a recent national convention of the College Music Society, “music educators from all parts of the country related the same story, a decline in enrollments, less money, and faculty and staff reductions” (Cochran, 1982, p.74). Faced with budget cuts that have reduced faculty and staff size and that hamper recruiting and scholarship funds, music school administrators have been searching   …view article

 

pprocesses_coverProcesses, Applications, and Ethics in Qualitative Research – January, 1990

In music, when one composes, the artist creates new musical statements based on established structures and the interpretation or transformation of these structures. The artist will be affected by his or her environment and, most importantly, the need to communicate through self-expression. The desire to communicate and express one’s self is what drives the composer to create. Saxophonist David Liebman (1988), in his book Self-Portrait of a Jazz Artist, described the artist as “a person who spends his life trying to be in touch with his inner self and attempts to communicate these perceptions to the world through a chosen art form … ”  … view article

aesthetic_cover

Aesthetic Education and the Jazz Ensemble – 1989 Jazz Research Papers. International Association of Jazz Educators

During the past quarter century, public and private school music educators have experienced many challenges. School boards and administrators have lost their appreciation for music as an essential element in the educational growth of children. Decreasing enrollments, budget and program cuts have threatened the public school music curriculum and the security of the band director. Chorus and general music teachers have been asked to teach other subjects along with their music classes. In addition to his or her classroom duties, today’s music educator must be a salesperson and fundraiser. He or she must be ready to defend the educational worth and value of his program to individuals who view music as just a diversion and entertainment for school functions  … view article