Hello all,
It's been quite awhile since I last posted here. Maybe for some, not long enough....
I'm a retired composer/musician ( I no longer write or play) and I would like to convey
a bit of advice for those who are uncertain in how to approach jazz music, specifically improvisation
in particular, being that a lot of newcomers to the instrument contibute here. Nip it in the bud, as they say?
The jazz genre focuses on improvisation as it's main stay into that particular artform.
I applaud the artform for this accessiblility, but unfortunately, predominately, the continuing cliente are sheepishly trying to accomplish nothing. Nothing as in a non-imaginative approach to what improvisation implies.
Jazz improvisation is a huge misnomer. Is that who you are inherently? Is it what you must do to receive
public acclaim so others think you're badass when you can't think for yourself? If it is then you've relegated yourself in becoming a minstrel entertainer! 'I'll walk a million miles for one of your smiles'......My Mammy'
How do you know what's in you if you become distorted and altered by how another musician thinks? They are not you and the insistence to learn from others in order to speak a particular language of jazz is not learning the essence of what jazz implies. This is why the genre evolves so slowly to the point of complete stagnation. Coincidentally, this applies to almost any type of music that employs improvisation.
Everyone that aspires to learn jazz stays too close to home. Tradition cries out for those vulnerable in trying to become accepted. Keep it alive and all that!
The sax forums are full of those teaching types only wanting your money in teaching what THEY feel you need to know. Don't get bamboozled by these types who need to find ways to pay their mortgage. Oops! Hours up! See ya next week!
If it's money you need to earn, then fill out an application for some convenience store. At least you could become spontaneously original in how you handle the customers.
In the true sense there is no such thing as jazz improvisation. Sure, a note here or there may be spontaneous, but the whole, or the essence, is in highly need of servicing if anyone is to take this level
of self, or personal expression to levels that do not imply profound stagnation. I'll go out on a limb and say 99 1/10 of our jazz inclined species aspires to have others think for them and the end result is that it's a fraudulent original way of self exploration. Is it we want to try and show off how we interpret the other composer's piece?
Why? Rid yourself of these shackles and go at it your own way with your own chords, structure, etc. It belongs to you! Don't succumb to ridiculous peer pressure. Do it your OWN way and face the consequences with pride and dignity! The reality is the consequences shouldn't matter good or bad because it's all you!
Just because you can play Donna Lee, does that makes you a great musician? I'm afraid the term 'great' musician is awfully distorted. Sure, if one aspires to learn a certain way and they have passion for that way, they're going to become proficient through the years. What we must see, or hear, through that proficiency is something that could elevate the music. It usually does not because the individual stayed too close to home in order, to make money and survive, which I do understand, and/or to indicate that they do indeed know how to speak jazz, rock, or polka, etc.
Jazz is a dead end volition. The 50's were over 60 yeras ago! Being that it's a dead end volition then why not try and develop something totally new according to how you think? I'm afraid too many people care they will be shunned because in all actuality, it takes courage to go in a new direction. Even if it fails, the integrity in trying something new, one should feel profoundly proud of that knowing they were part of the impetus to help accentuate musical evolution! Trial and error has been a fruitful way to approach any learning situation. Trial and error doesn't exist in jazz music in the true sense. The only error is, is that you can't learn how to play a riff that someones has played and through trial you keep trying until you know how to play it!
Now who doesn't like to hear Autumn Leaves played while we show off at our family get togethers?
Is jazz dead? No, but it's been comatose almost as long as the polka has!
It's been quite awhile since I last posted here. Maybe for some, not long enough....
I'm a retired composer/musician ( I no longer write or play) and I would like to convey
a bit of advice for those who are uncertain in how to approach jazz music, specifically improvisation
in particular, being that a lot of newcomers to the instrument contibute here. Nip it in the bud, as they say?
The jazz genre focuses on improvisation as it's main stay into that particular artform.
I applaud the artform for this accessiblility, but unfortunately, predominately, the continuing cliente are sheepishly trying to accomplish nothing. Nothing as in a non-imaginative approach to what improvisation implies.
Jazz improvisation is a huge misnomer. Is that who you are inherently? Is it what you must do to receive
public acclaim so others think you're badass when you can't think for yourself? If it is then you've relegated yourself in becoming a minstrel entertainer! 'I'll walk a million miles for one of your smiles'......My Mammy'
How do you know what's in you if you become distorted and altered by how another musician thinks? They are not you and the insistence to learn from others in order to speak a particular language of jazz is not learning the essence of what jazz implies. This is why the genre evolves so slowly to the point of complete stagnation. Coincidentally, this applies to almost any type of music that employs improvisation.
Everyone that aspires to learn jazz stays too close to home. Tradition cries out for those vulnerable in trying to become accepted. Keep it alive and all that!
The sax forums are full of those teaching types only wanting your money in teaching what THEY feel you need to know. Don't get bamboozled by these types who need to find ways to pay their mortgage. Oops! Hours up! See ya next week!
If it's money you need to earn, then fill out an application for some convenience store. At least you could become spontaneously original in how you handle the customers.
In the true sense there is no such thing as jazz improvisation. Sure, a note here or there may be spontaneous, but the whole, or the essence, is in highly need of servicing if anyone is to take this level
of self, or personal expression to levels that do not imply profound stagnation. I'll go out on a limb and say 99 1/10 of our jazz inclined species aspires to have others think for them and the end result is that it's a fraudulent original way of self exploration. Is it we want to try and show off how we interpret the other composer's piece?
Why? Rid yourself of these shackles and go at it your own way with your own chords, structure, etc. It belongs to you! Don't succumb to ridiculous peer pressure. Do it your OWN way and face the consequences with pride and dignity! The reality is the consequences shouldn't matter good or bad because it's all you!
Just because you can play Donna Lee, does that makes you a great musician? I'm afraid the term 'great' musician is awfully distorted. Sure, if one aspires to learn a certain way and they have passion for that way, they're going to become proficient through the years. What we must see, or hear, through that proficiency is something that could elevate the music. It usually does not because the individual stayed too close to home in order, to make money and survive, which I do understand, and/or to indicate that they do indeed know how to speak jazz, rock, or polka, etc.
Jazz is a dead end volition. The 50's were over 60 yeras ago! Being that it's a dead end volition then why not try and develop something totally new according to how you think? I'm afraid too many people care they will be shunned because in all actuality, it takes courage to go in a new direction. Even if it fails, the integrity in trying something new, one should feel profoundly proud of that knowing they were part of the impetus to help accentuate musical evolution! Trial and error has been a fruitful way to approach any learning situation. Trial and error doesn't exist in jazz music in the true sense. The only error is, is that you can't learn how to play a riff that someones has played and through trial you keep trying until you know how to play it!
Now who doesn't like to hear Autumn Leaves played while we show off at our family get togethers?
Is jazz dead? No, but it's been comatose almost as long as the polka has!