The blues idiom offered early twentieth century musicians a new way to share deep emotional feelings vigorously and honestly.
A hundred thirty years earlier, Mozart had reveled in the fresh, airy lightness of the major tonality which superseded stolid Renaissance modal forms around 1600.
Periodic innovations like these keep music vibrant and invigorating. Unfortunately, too many of today’s musicians bloat their playing with endless, unimaginative, repetitive blues licks. Sure, blues licks can add a funky edge, but overuse of these clichés leads to tiresome monotony.
Are you struggling to develop a personal improvisatory style or to find your unique compositional voice? Well, you’re not alone! Many musicians grapple with these dilemmas.
Perhaps my own story will help you unearth your path to musical originality.
I started playing because I love the way music sounds, the way playing the horn feels, the exhilaration of working with a great band of like-minded musicians. A couple years later, I began writing songs, just so we’d have originals for gigs and recordings. I didn’t think twice about trying to be original. On the contrary, emulating the masters was satisfying. It seemed to legitimize and validate my work.
However, about 10 years into my career, I suddenly faced an existential crisis, when nagging questions like these began keeping me awake at night:
“Is this composition any good? Is it too long? Which sections are valid and which need to be scrapped? Should that note be a Bb or an F#? Do my solos stink? What right do I even have to compose music or play the horn, when there are so many musicians out there who are way better?”
Ever feel totally drained after a big gig with no steam left to practice, like a malnourished Cro-Magnon? That’s how I felt this morning, after last night’s intense concert backing up my friend presenting 14 of his complex original compositions.
What’s a person to do? Well, “one foot in front of the other,” as the old saying goes. Just start blowing long tones; dig the sound of the horn, experience the feeling of wind on reed, fingers on pearls.
Here’s what emerged after an hour or so; a little chromatic meander that caught my imagination. As harmonized in this sketch, it forms a Dorian setting reminiscent of “So What,” “Little Sunflower,” “Jeanine,” or “Invitation.” It could also have been harmonized as a ii-V progression in C major modulating to D minor.
Click on “continue reading” below to see a chart and hear the recording in all 12 keys.
Let’s face it, we all want monster chops. There are some great books out there to help develop technique. I work constantly on mastering lix in all 12 keys, but I never play those lix on the gig. That’s not their purpose. The reason for practicing lix is to enhance your facility on the horn and expand your musical vocabulary.
But some of those lix get so obscure, I can’t even tell if I’ve made a mistake in transposing the lick to a new key. That’s when I know the lick is too obscure!
I just got a killer deal on a great classic clarinet mouthpiece. That inspired me to do some long overdue clarinet shedding. I was trying to come up with a lick that felt melodic, one that would swing and sound lyrical, as opposed to clinical.
Let me know what you think of this one.
To see the chart for this lick in all 12 keys, press the “Continue Reading” button.
The vast recorded legacy of legendary tenor saxophonist Stan Getz still astounds the jazz community. Here it is in words and music. From his earliest days with Jack Teagarden, Stan Kenton, Benny Goodman, and Woody Herman to the phenomenal smash hits “Desafinado” and “The Girl From Ipanema” (which sparked the 1960’s bossa nova craze), to his sublime later work with pianist Kenny Barron, Stan Getz continued to galvanize the musical world with his unparalleled technique, unmistakably unique sound, and gorgeous lyricism. Take a tour with us of this amazing 40-year jazz odyssey.
Many, many thanks to everyone who volunteered for The Chord Committee. Numerous excellent solutions have been proposed. In order to avoid discord, I have combined all of your suggestions into one beautiful, majestic chord. In hopes you will find the solution acceptable, the chart and recording are presented here for your approval. (Click on “continue reading” to view the complete chart.)
Jimmy Heath is another master with whom I hope to become more familiar.
Driving into a glorious autumn dawn on the way to church Sunday, I was listening to “Picture of Heath” and was particularly struck by the third chorus of Jimmy’s soprano solo on “All Members.”
I don’t usually go to the trouble of formally transcribing solos, since there are so many fine transcriptions available on-line. But Jimmy’s third chorus really knocked me out, and i felt compelled to examine the strategy, structure, and logic of this amazing 12-bar chorus. Continue reading “Dig Jimmy Heath!”→
It’s definitely impressive to hear jazz musicians improvise at incredibly fast tempos. What is, however, far more inspiring is hearing how the great masters are able to create beautifully crafted, swinging melodic lines, regardless of tempo. Continue reading “RIPPING RIFFS OR MEMORABLE MELODIES?”→
Some saxophone & clarinet students have difficulty with jazz articulation, because they have not learned to tongue properly. They begin each note with a constriction in the throat, which sounds as if the student were humming into the mouthpiece. The beginning of the note is fuzzy and indistinct. Continue reading “Jazz Articulation, Accents, and Proper Tonguing”→