Karen started this second day out with slightly more advanced stretches, including some sitting hip openers.  She also led some partner work, which is common in the practice of Hatha Yoga.  As usual, this was one of the more popular clinics of the weekend among those who attended, as the practice so directly enhances one's physical approach to playing.  Even for those who did not play during the clinic, the practice of learning how to stand more efficiently, loosen up tight muscles and breathe easier is always a good thing!

Jerry Webster gave a great clinic on music making, with a special emphasis on sound concept and especially intonation.  He demonstrated doppler effect as a function of timbre, and gave several wonderful demonstrations on how to tune using resultant tones.  One of the more entertaining demonstrations of the weekend was when Jerry and John Aley played a special duet that Jerry had written.  When listening to the two play, the piece seemed like nonsense - but when listening to the resultant tones produced by the duet, the audience could clearly hear the song "Far, Far Away" as a resultant tone "buzz" on the eardrums!  This provided a great comic way for many people not familiar with this phenomenon to learn a new tuning technique in a way they will never forget.

Cal Price has played just about every type of music possible with many of the best performers in their fields - from symphonic playing in the Philadelphia Orchestra and San Diego Symphony to commercial work with Barbra Streisand and Celine Dion to studio recording work on top film and television soundtracks.  Cal gave a masterful clinic on what it takes to make it in the LA studios, and how his classical training has been a huge advantage on the commercial recording music scene.  He also talked about the politics of studio work, and the pressures of "red light" performance.

Cal gave us an insiders view of studio work by talking about specific soundtracks and various commercial and classical solo artists he has played with and recorded for.  His insights into the business gave us all a new respect for the music we hear in recordings, on TV and at the movies.  He also had some good Philadelphia Orchestra stories about his mentor, former Philly principal trumpet Frank Kaderabek.

Urban wowed us all again, this time by coaching several players in masterclass format.  Urban had Ben McDonald loosen up on the Jolivet by "playing like Miles Davis would," which not only freed up the performance but brought the audience to thunderous cheering applause!  After Ben got the hang of a slightly looser approach to this classical piece, Urban ran back and used the drum set on stage, leftover from the small group jazz session, to play background and "fills" for Ben as he played the faster sections of the piece.  Yes, Urban can play drums too!  How many times have we ever heard the Jolivet played to a rock beat?  Urban's unconventional but totally musical approach gave us all a new perspective on an familiar piece, and helped us to accept  a less uptight approach as a way to enhance performance.

Wynton gave us a wonderful, honest and intense look at the world of music performance from his eyes.  He talked about the business of recording companies, the trials of being on the road, and he talked a bit about his compositions as well.  Wynton was assisted by his trumpet section, and all four played both by themselves and together with the rhythm section.  Wynton answered questions for almost half an hour, and then it was off to the sound check for that night's performance in downtown Portland to finish up our weekend.