How’s your practice routine feeling lately? Are you practicing joy? If you practice joy, your audience will hear joy in your performance, and that lively winsomeness in your playing will win you way more fans than all the chops in the world.
Students ask what I mean by “practice joy.” Of course, it goes without saying that you need to develop your technique. But music is way more than just chops.
It may help to think of your practice session like a lavish banquet. …(we didn’t have many of those in 2020!) Think of it in 3 parts.
| Your banquet | Your practice session |
| 1. Introductions, greetings, catching up, small talk, hors d’oeuvres, drinks | 1. Your warm-up, settling in, loosening up, getting in the groove |
| 2. The main course | 2. Working intentionally through an idea or challenge |
| 3. Coffee, dessert, farewells, hugs or hand shakes | 3. Reward yourself with a fun little jam! |
Doesn’t that approach sound more doable, more inviting, more intriguing than staring forlornly at a closed horn case, wondering how to drum up energy to open that case and start playing boring scales?
Those 3 parts of your practice session remind me of Oliver Wendell Holmes’s comment about how a simplistic idea develops into a complex struggle but then resolves into a simple but elegant design.
So how about let’s design a practice routine so enthralling — so much fun — that you just can’t wait to pick up your axe and blow! As one typical example, here’s a practice session from a couple days back which was both productive and immensely enjoyable. Every day isn’t exactly like this. Sometimes the focus is on long tones, sometimes it’s reading through transcriptions, etc. But – on this particular late evening session – I followed Sonny Rollins’ advice. Sonny said, “just start playing the horn. Listen to the sound. Feel your breath and the keys of your axe. Play a blues. Play a tune. Play any old licks that come to mind.” Rollins called them “clichés,” but he didn’t mean that as an insult. They’re the bread and butter of learning. Don’t evaluate, don’t judge, just relate to your axe and enjoy how it sounds, how it makes you feel. After I blew for awhile, this lick just popped out.
I kind of liked it, so I kept repeating it. Maybe I tweaked it as I went along, I can’t remember. After getting it smooth in one key, I ran it down in all 12 keys. Then I wrote it down in my journal, knowing full well I’d forget it otherwise. After a day or two, I looked back at the transcription and discovered an inner logic — the thing that makes a phrase seem natural and organic – that I hadn’t noticed before. Up to that point, I’d just been blowing, without a sense of compositional coherence, or any of that theoretical stuff. But there it was, the musical logic, just waiting to be discovered…
Subconscious Symmetry
Below is a recording of me playing this phrase in all 12 keys along with a chart. After that, I discuss the logic hidden within this unusual phrase.
Looking for a refreshingly novel approach to playing over a minor ii-V-i ? Here’s an idea by Stan Getz. It’s from bars 15 & 16 in the first chorus of his solo over “O Grande Amor” from “The Stockholm Concert.”
Mastering arpeggios gives you yet another tool to use (in moderation) in your improv solos.
Brazilian bossa nova’s introduction to the U.S. thanks to composers Luiz Bonfá (Samba de Orfeu and Manhã de Carnaval), Antônio Carlos Jobim (Desafinado, Girl from Ipanema, Corcovado, etc.), and instrumentalists João Gilberto and Stan Getz literally transformed the jazz landscape overnight.
Jimmy Heath is another master with whom I hope to become more familiar.
