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#1142529 - 07/27/06 03:52 AM Re: How to play Jazz music?
virtuosic1 Offline
500 Post Club Member

Registered: 10/28/05
Posts: 523
Loc: NY
 Quote:
Originally posted by rintincop:
 Quote:
Originally posted by virtuosic1:
 Quote:
Originally posted by Ahha Piano:
I am a very classical pianist. I try to play in a Jazz combo these days. But I found it very hard to get used to the improvisation (I have never done any improvisation before). Are there any ways or any books could help me to improve my improvisation? [/b]
Jazz is nothing more than phrasing. There are no special notes, chords, voicings, lines, etc. that have been played in "jazz" that didn't already exist in Bach, Beethoven, Chopin, Liszt, Wagner, Bartok, Ravel, Ives, and countless others who came long before "jazz". The notes themselves are of lesser importance than how you attach and attack them!

Take a simple Bach invention and push (swing) each other eight note, as though the first eight note gets the value of the first eight note of an eight note triplet and the third note of the last eight note in an eight note triplet. Take a diminished run from Liszt and do the same thing as the Bach. Or a pentatonic run from Ravel. Sound familiar? Yep. "Jazz".

The swing, the push on every other eight note is half the story. The other half is each note being given its own life, its own independence of attack, decay, sustain, and release (its envelope) from the notes than precede and follow it. It's own dynamics. Take that same Bach invention, swing the eights, and experiment with differeing dynamic patterns. Emphasize every third note, or every fourth note. Emphasize with an accent whenever you "feel" it. That's jazz. Not the notes. Not the voicings. Jazz, is a way of playing. [/b]
If that was realy true, then every classical pianist in the world could just use swing phrasing and articultion and be a great jazz player. The reality of it is far from that. [/b]
Really?? OK, Elucidate me. I studied with Lennie Tristano for 10 years. Have transcribed thousands of choruses of Lennie, Sal Mosca, Ronnie Ball, Warne Marsh, Lee Konitz, Billy Bauer, and Connie Crothers solos. Have been teaching jazz improvisation to all instrumentalists for 35+ years. I'm all ears. Teach me something about jazz and piano that I might have missed in the last 40+ years about what jazz piano "really" is and how the notes and chords of jazz are unique to only jazz. Explain to me how the intervallic cells of Bartok's Music for Percussion, Celeste, and Strings, and Ives' Central Park in the Dark are so drastically different than the voicings and runs that many, such as yourself, feel are atypical only of "jazz". I must have missed something along the way and am ready to relearn about what jazz "really" is! This ought to be good. Unfortunately, when it comes to "jazz", you're dealing with a ringer on this Forum who won't let a completely off the wall statement go unchallenged.

RinTin, while you're at it, let's hear some of your jazz improvisation. Post an MP3 or wave file. Let me hear some of what you're talking about. Let me hear what I already know about your playing by virtue of your statement. Confirm it for me.
_________________________
My version of Lennie Tristano's "Scene and Variation":

http://d.turboupload.com/d/1410287/R1_0010.MP3.html

A downloadable file with examples of my jazz improvising (Accompaniament on Fender Rhodes, lead lines on Acoustic piano):

http://d.turboupload.com/d/229801/R1_0001.MP3.html

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Piano & Music Accessories
#1142530 - 07/27/06 08:52 AM Re: How to play Jazz music?
hgiles Offline
500 Post Club Member

Registered: 01/27/05
Posts: 736
Loc: Charlottesville Virginia
Pianobuff,
You may be an 'ear' player and 'ear' learner. Maybe copying by ear is what you want to do because it's easier for you. I have always advocated putting in as much 'work' into it as 'play' and you will continue to grow. That is, do the things you don't want to do as much as doing the things you do want to do.

The reason I continue to advocate learning the theory in technical terms is because everything we learn is related to something else we already know. Increasing the volume of things we know will allow us to increase (exponentially) the things we learn. It's like an acorn. It doesn't just grow into a tall[/b] oak, but a broad[/b], and strong[/b] oak.

My point is learning is based on stuff you already know. If you don't really know anything how can you learn or retain anything new?

The problem with strictly ear players is they tend to fall into playing in a very stylized manner after a while and stop growing. I have many people say they've got a great ear and honestly most are like stone. They don't know whether they're hearing a IV chord or a V chord. If you can hear a measure of any music and intellectualize all of the DO-RE-MI-FAs, etc. then your ear is good enough. Can you do that?

Otherwise learn the theory. Then copy all the stuff you hear on records. If you just copy without knowing what you're listening to then you've got a much more difficult road to travel.
_________________________
Haywood
-------------

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#1142531 - 07/27/06 03:01 PM Re: How to play Jazz music?
pianobuff Offline
1000 Post Club Member

Registered: 04/09/06
Posts: 1580
Loc: Pacific Northwest
hgiles,
I am very fortunate to have a good ear for music. I am also fortunate to understand music theory. I do not play strictly by using my ear. Have I ever said this?? I've studied jazz with some pretty poor teachers IMO where they used theory only as a basis for playing jazz. I don't believe you need to learn theory first, and expecially in this way, before attempting to play jazz piano. I think that, if you do have a good ear, and I do feel if you are a true musician your ear should very well be developed, then I think you can learn by demonstration, the teacher then saying what he/you are playing by theoretical means. I definately think that inversions and scales, arpeggios etc should definately be taught, studied and practiced; did I ever say they shouldn't be? What I am refering to is the pedagogical side of teaching jazz. Especially it you are a classically trained musician, know theory, and have a good ear.
I personally think this type of training in jazz is good for the beginner too. Show them the 12 bar blues. Let them play by imitation and ear. Have them practice seventh chord inversions, the blues scale etc.. label them as such and take their training of jazz playing from there... ear first, labeling secondly and/or as you go. This way you will be developng a true musician, theory is applied and will make much more sense!
_________________________
Private Piano Teacher,
member MTNA and Piano Basics Foundation

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#1142532 - 07/27/06 03:10 PM Re: How to play Jazz music?
pianobuff Offline
1000 Post Club Member

Registered: 04/09/06
Posts: 1580
Loc: Pacific Northwest
HGILES WROTE:
If you can hear a measure of any music and intellectualize all of the DO-RE-MI-FAs, etc. then your ear is good enough. Can you do that?

Otherwise learn the theory. Then copy all the stuff you hear on records. If you just copy without knowing what you're listening to then you've got a much more difficult road to travel.

My response:
Yes, I can hear solfege and notes involved when I hear music. I can take it to the keyboard and play it. But that isn't the point. Copying isn't my thing. I like original music and/or variations of composed works. I do want to know theoretically what I am playing. But the playing comes first, most of the time or it can come simultaneously with the theory.
If you are trained the way I described in my last post, then yes, you will be able to pick things out by ear with no teacher and take it to the keyboard and know theoretically what you are playing.
But if you are lazy (Rintin's words) and need to learn theory first and always think analytically when playing jazz piano, then you are developing a very limited musician. IMO.
_________________________
Private Piano Teacher,
member MTNA and Piano Basics Foundation

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#1142533 - 07/27/06 03:24 PM Re: How to play Jazz music?
rintincop Offline
1000 Post Club Member

Registered: 05/11/04
Posts: 1492
Latin jazz styles and many fusion and modern styles use straight eighths.

You are the one who made an absolute statement therefore you are obligated to back it up with some evidence. Where are your examples of a classical pianist swinging their repetoire and being considered a jazz pianist?

" Take that same Bach invention, swing the eights, and experiment with differeing dynamic patterns. Emphasize every third note, or every fourth note. Emphasize with an accent whenever you "feel" it. That's jazz. Not the notes. Not the voicings. Jazz, is a way of playing. "

And what about improvisation, isn't that a lot of what "jazz" is about too? Perhaps you have become an absolutist in your opinions.
_________________________
1966 Mason & Hamlin piano.

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#1142534 - 07/27/06 04:19 PM Re: How to play Jazz music?
virtuosic1 Offline
500 Post Club Member

Registered: 10/28/05
Posts: 523
Loc: NY
 Quote:
Originally posted by rintincop:
Latin jazz styles and many fusion and modern styles use straight eighths.

You are the one who made an absolute statement therefore you are obligated to back it up with some evidence. Where are your examples of a classical pianist swinging their repetoire and being considered a jazz pianist?

" Take that same Bach invention, swing the eights, and experiment with differeing dynamic patterns. Emphasize every third note, or every fourth note. Emphasize with an accent whenever you "feel" it. That's jazz. Not the notes. Not the voicings. Jazz, is a way of playing. "

And what about improvisation, isn't that a lot of what "jazz" is about too? Perhaps you have become an absolutist in your opinions. [/b]
I have no idea as to what poitns you're trying to make just for the sake of disagreeing with me. I've played, composed, and arranged in/for jazz ensembles with artists including Roland Kirk, Buddy Rich, Phil Woods, Warne Marsh, and others, considered among the greatest jazz improvisors of all times. Spent a decade at the side of Lennie Tristano, watching, listening, and learning. Lennie introduced me to playing virtuoso pieces like the Chopin Etudes and Liszt Campanella not only in every key, but with right hand parts in the left hand at tempo, and in contrary motion. So when you start to explain to me what jazz "really" is, to me, your take, just for the sake of disagreeing with me because you heard something on my MP3 that stuck in your craw, it's extremely amusing. Why not post some of your improvisation? This is a piano forum, isn't it. Let's hear what you have to say with the music itself, instead of pontificating on subjects you have no working knowledge of, for no other reason than to just be disagreeable.

Jazz, like funk, is a state of mind. Much like the way you talk, the way you walk. Everyone has two legs, everyone locomotes. Some sashay, some trot, some limp, some stroll. It's the same with the way you approach the nuts and bolts of music. It's the same 12 notes. Everybody breathes differently. Sure, the air gets into the lungs and that's common amongst all, but some breathe very slowly, others fast, some laboriously, some very shallow. The way you breathe the notes at the piano, the breaths you take, with the same notes (air) common to every other musician dictates whether you're a jazz musician.
Listen to my MP3, if you can actually bring yourself to listen to it. The stretches are comprised of the same type of lines you'd hear in Liszt, Chopin, Debussy, Varese, Ives, Schoenberg, in essence, all music. The way I'm breathing the lines, the dynamics and envelope of each note, shaped by what comes before and after, is jazz. If you live, eat, and breathe jazz, you'll likely play jazz. If you live, eat, and breathe the music of the Classical or Romantic period, that's what will come out. The notes remain the same. The only thing that changes is the "spin" imparted on them. You can't feel what you don't hear. Sadly, this is all wasted because you won't understand any of this. You can't because you have no feel for jazz or you wouldn't have made the statements you did.
_________________________
My version of Lennie Tristano's "Scene and Variation":

http://d.turboupload.com/d/1410287/R1_0010.MP3.html

A downloadable file with examples of my jazz improvising (Accompaniament on Fender Rhodes, lead lines on Acoustic piano):

http://d.turboupload.com/d/229801/R1_0001.MP3.html

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#1142535 - 07/27/06 04:23 PM Re: How to play Jazz music?
hgiles Offline
500 Post Club Member

Registered: 01/27/05
Posts: 736
Loc: Charlottesville Virginia
Again, the goal is to hear a phrase of music and know exactly where every note is on your instrument that way when you hear something that your mind tells you to play you can get to it faster than immediately. If I suggested that you were strictly an ear player, that was not my intention.

It sounds like you got a good enough ear to just start copying the jazz language from records. You don't need a teacher for that.

Why copy? How else would you do it? Isn't that how we learned to talk? The notes are letters of the musical alphabet. Licks are the words and sentences. Jazz is a language and like any other if you scramble the letters in any random order then you may not be forming words and sentences. This is called noodling.

No matter how much we'd like to think, even the melodies we hear in our own heads are the products of things we've already heard. Even if we think we're making something up that's new, it probably isn't.

There is nothing wrong with copying. No matter how much you do it, you won't ever have to worry about sounding too much like Oscar Peterson. I promise.
_________________________
Haywood
-------------

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#1142536 - 07/27/06 04:53 PM Re: How to play Jazz music?
pianobuff Offline
1000 Post Club Member

Registered: 04/09/06
Posts: 1580
Loc: Pacific Northwest
All I would like to do is find a teacher that I can learn jazz by MOSTLY watching and listening too. Having him/her show me a bass line or LH comp, have me try it, perhaps he/she playing RH while I play LH., tell me what I'm doing OR have me discover it (since I know theory) on my own. If I was to just copy someone elses playing from a recording and me trying to imitate the notes, sure, I can maybe figure it out theoretically what is happening, but it would be much easier with a teacher, and more fun. A teacher can also give me scales, inversions, etc, to practice. He/She could give guidlines as to something to compose for for him to hear at the next lesson. This is the kind of teacher that would benefit me the most.
Sounds like virtuosic1 would do! Wish he lived in the Pacific NW.
As for playing like Oscar Peterson, why would I want to do that? I would rather play like Pianobuff!
_________________________
Private Piano Teacher,
member MTNA and Piano Basics Foundation

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#1142537 - 07/27/06 07:36 PM Re: How to play Jazz music?
rintincop Offline
1000 Post Club Member

Registered: 05/11/04
Posts: 1492
You have fast bebop chops that you dazzle with however you sound derivative. And when you aren't playing your double time runs your melodic ideas and phrasing frequently sound somewhat meandering. Maybe try working on ending phrases with some sort of resolution or creating a "punch line". More often than not the phrases just fade off... It as if you are not hearing towards the endings of your phrases. It's like listening to somebody that doesn't finish their sentances.
_________________________
1966 Mason & Hamlin piano.

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#1142538 - 07/27/06 11:14 PM Re: How to play Jazz music?
pianobuff Offline
1000 Post Club Member

Registered: 04/09/06
Posts: 1580
Loc: Pacific Northwest
Isn't this jazz? At least one style of it?
_________________________
Private Piano Teacher,
member MTNA and Piano Basics Foundation

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#1142539 - 07/28/06 01:19 AM Re: How to play Jazz music?
virtuosic1 Offline
500 Post Club Member

Registered: 10/28/05
Posts: 523
Loc: NY
 Quote:
Originally posted by pianobuff:
Isn't this jazz? At least one style of it? [/b]
Like I said, Rin Tin is applying traditional classical phrasing to analyze jazz. He doesn't have even as much as a clue about jazz piano. He's only used to listening to composed, polished, carefully analyzed and constructed music and doesn't realize that jazz improvisation doesn't take that turn unless the solos are practiced and pre-planned. Nothing I played on that MP3 was pre-planned or practiced. I'm sure that if I were to go back and listen with the intent of turning my lines into finished compositions, I would dot the i's and cross the t's. No lines would trail off if I reviewed, corrected, than re-recorded. But that's not jazz, and it's so sad and somewhat frightening that someone with enough brain power to find the right keys on a computer can't grasp that simple concept.
I don't want to review my improvisations, my stretches, perfect them from a conventional classical compostitional standpoint and then re-perform them. I want to continuously create something new as I hear it. I don't want to perfect somebody else's music. I don't want to play the finished, polished compositions of the long dead and buried. I wish to create my own sound because the sound you hear on the MP3 is the sound in me, realized aurally so others can hear it. I hear it anyway, whether I play it or not, and it always changes. That's the beauty of jazz. Unfontunately, concepts lost on RinTin.

BTW: If I really wanted to dazzle, I would have played all the solos in triple time. Or soloed with both hands in two different keys at tempos that most can't play practiced lines at let alone completely improvised lines without preconception.
What I played is what I heard during that 15 to 30 minutes, which changes as my needs change during the day. I played what I needed to hear, to express, and I can't hear it anywhere else unless I think, hear, and play it. I don't hear and I don't sound like anybody else. And I thank God for that!
_________________________
My version of Lennie Tristano's "Scene and Variation":

http://d.turboupload.com/d/1410287/R1_0010.MP3.html

A downloadable file with examples of my jazz improvising (Accompaniament on Fender Rhodes, lead lines on Acoustic piano):

http://d.turboupload.com/d/229801/R1_0001.MP3.html

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#1142540 - 07/28/06 01:20 PM Re: How to play Jazz music?
dpvjazz Offline
Full Member

Registered: 07/12/05
Posts: 287
Loc: phoenix az
I found this articule on the web and thought it was interesting and might shed a different view point and although I do not agreed with eveything it is worth reading.

http://www.wnur.org/jazz/styles/tristano.html

Tristano School
General Info
The Tristano School was one of the three mainstreams of the Cool Jazz movement in the late forties and early fifties. (The other ones were West Coast Jazz and the group around Miles Davis and Gil Evans including other former bop musicians like the MJQ.) There are two institutions which are called "Tristano School": First, the group of musicians led by pianist Lennie Tristano and including Lee Konitz (as), Warne Marsh (ts), Billy Bauer (g), Sal Mosca (p) and Arnold Fishkin (b). This group existed from 1946, when Tristano moved to New York, to 1951 when he found his "New School of Music". The latter is the second institution called "Tristano School". It was one of the first real jazz academies. His pupils were such important musicians as Bud Freeman, Art Pepper, Bob Wilber and Mary Lou Williams. The teachers were some of the musicians Tristano had played with in the earlier period,for example Konitz, Bauer and Marsh. In 1956 he dissolved the school and after that he only performed very occasionally. Now we will focus on the time from 1946 to 1951, because our main intention is to write about his music.

The music wasn't very popular (similar to the music of the Miles Davis Capitol Band), because many people found it cold, too intellectual and without any emotion. But perhaps they were the only non-bop musicians who played a really new kind of jazz during the second half of the 1940's. The soloists played long and abstract lines which were inspired by swing musicians like Lester Young, Teddy Wilson and Charlie Christian and bop musicians like Dizzy Gillespie and Charlie Parker. Tristano didn't like vital drummers like Art Blakey, Kenny Clarke or Max Roach. His drummers had just to be timekeepers, and sometimes he recorded without one. He also experimented with free improvisitation (similar to the Jazz of the 1960's) for example on "Intuition" and "Digression" and with overdubbing technology for example on "Juju", "Pastime" and "Descent into the Maelstrom".

Just wanted to share and realize there are many different styles and ways to make music. The people who listen to musicians play have a right to like or dislike someones music or approach to making the music. That is why it is so important to enjoy what your are playing or even practicing so that your own voice comes through and the audiences first responce is one of enjoyment then a connection can be made. DPVJAZZ

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#1142541 - 07/28/06 06:21 PM Re: How to play Jazz music?
virtuosic1 Offline
500 Post Club Member

Registered: 10/28/05
Posts: 523
Loc: NY
Just these two tracks alone were responsible for attracting many aspiring jazz musicians to Lennie's school of improvisation:

http://www.amazon.com/gp/product/B000003...4561568?ie=UTF8

Tracks 1 (based on All of Me) and Track 4 (based on Pennies in minor)

No other jazz pianist has ever crafted such effortless breath-like phrasing combined with inspired instant composition! That's the next step beyond inspired improvisation. Instant composition. Everything Lennie played was like that.

Lee Konitz, alto sax (one of his early students) was close in that respect:

http://www.amazon.com/gp/product/B000005...ie=UTF8&s=music

Track 5 "All the things your are"

And of course, Lee Konitz, Warne Marsh, and Lennie all together, three of the greatest improvising musicians who ever played jazz.

http://www.amazon.com/gp/product/B000005...ie=UTF8&s=music

any examples

Note: Ronnie Ball (A british Tristano "clone") plays on the first 12 tracks. Tracks 13-19 are from the Tristano sextet 1949 sessions and the last two tracks, Digression and Intuition, are the earliest recorded instances in jazz history of "free jazz".
_________________________
My version of Lennie Tristano's "Scene and Variation":

http://d.turboupload.com/d/1410287/R1_0010.MP3.html

A downloadable file with examples of my jazz improvising (Accompaniament on Fender Rhodes, lead lines on Acoustic piano):

http://d.turboupload.com/d/229801/R1_0001.MP3.html

Top
#1142542 - 07/28/06 10:42 PM Re: How to play Jazz music?
dpvjazz Offline
Full Member

Registered: 07/12/05
Posts: 287
Loc: phoenix az
Virtuosic1 thanks for the wealth of information you continue to share. For me personally the ability to create jazz with improvised lines without preconception is the goal. Since starting my lessons in June every lesson has been exciting and challenging. It is hard work but can see what this is doing for my playing and I love the new understanding and control of the piano it is giving me. The practice of playing what the right plays in the left is so much fun I never thought I would be playing through the changes of Giant Steps in all twelve keys soloing with both hands now that is something to GET EXCITED ABOUT. DPVJAZZ

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#1142543 - 07/28/06 10:52 PM Re: How to play Jazz music?
dpvjazz Offline
Full Member

Registered: 07/12/05
Posts: 287
Loc: phoenix az

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#1142544 - 07/29/06 06:07 AM Re: How to play Jazz music?
virtuosic1 Offline
500 Post Club Member

Registered: 10/28/05
Posts: 523
Loc: NY
Great examples! Youtube has some excellent videos. Here's a video of the greatest musical technician who ever strapped on a bass:

http://www.youtube.com/watch?v=CR6t47pV8Qc&search=victor%20wooten
_________________________
My version of Lennie Tristano's "Scene and Variation":

http://d.turboupload.com/d/1410287/R1_0010.MP3.html

A downloadable file with examples of my jazz improvising (Accompaniament on Fender Rhodes, lead lines on Acoustic piano):

http://d.turboupload.com/d/229801/R1_0001.MP3.html

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#1142545 - 07/31/06 11:39 AM Re: How to play Jazz music?
pianojazz Offline
Full Member

Registered: 01/10/06
Posts: 359
Loc: dearborn, mi
There seem to be a few concepts being discussed here: what makes jazz unique from other genre; how best to learn jazz; what is the essence of jazz; where does music theory fit into jazz; how much theory is really necessary to play jazz; playing by ear vs theory; how to become a better jazz player and probably some others I have overlooked. I don’t think there is any one answer to any of these – I’m wrestling with what makes jazz unique. Its easy to say improvisation – and I’m sure that’s a big part of the answer but its not the complete answer – Classical players improvise too – at least they used to. And when I play classical music, from time to time, I’ll improvise on the form. Last year I was playing Jeasu, Joy Of Man’s Desiring at an outdoor wedding ceremony when the wind blew my music away when I was about 2/3 through the piece – I remembered what I could and made up the rest, yet no one would call that “jazz”. From time to time my “jazz” trio will play Brubeck’s Blue Rondo A La Turk – but I read the chart. For me it’s not really jazz – its more like performing a classical piece note-for-note from the score but the listener thinks of it as jazz. I can take a Bach invention and play it in a swing style – but I don’t consider it jazz. But if I improvise over a Bach Minuet, that’s getting close. What I consider “jazz”, and what makes it unique IMHO is the interplay between the musicians. When we take a piece “out there” my bass player and drummer can take a rhythm figure or little musical idea and turn it around and play it back and we can go develop it, twist it and grow it right there – and that’s the most exciting thing about music I’ve ever experienced – it’s the collective spontaneity/creativity of the moment that defines jazz and makes jazz unique. Its way more gratifying than playing some classical piece flawlessly (which I rarely do). I have no idea how to teach that - I doubt its possible – you just have to take the leap and do it. So I guess jazz is, after all is said & done, a state of mind with enough musical technique so as to be able to communicate it to anyone willing to listen.
_________________________
www.myspace.com/michaelbreenpiano

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#1142546 - 07/31/06 12:48 PM Re: How to play Jazz music?
dpvjazz Offline
Full Member

Registered: 07/12/05
Posts: 287
Loc: phoenix az
Virtuosic1 thanks for the link great bass player and I plan to show to the church bass player. Check out Linley Marthe I think he is playing with Joe Zawinul another great bass player.
Pianojazz quote:
When we take a piece “out there” my bass player and drummer can take a rhythm figure or little musical idea and turn it around and play it back and we can go develop it, twist it and grow it right there – and that’s the most exciting thing about music I’ve ever experienced – it’s the collective spontaneity/creativity of the moment that defines jazz and makes jazz unique.

That pretty much sums it up and that is why you will need all the tools,tricks,riffs,and lessons to make that happen. There really are no shortcuts to playing jazz. DPVJAZZ

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#1142547 - 08/01/06 02:15 AM Re: How to play Jazz music?
virtuosic1 Offline
500 Post Club Member

Registered: 10/28/05
Posts: 523
Loc: NY
 Quote:
Originally posted by dpvjazz:
Virtuosic1 thanks for the link great bass player and I plan to show to the church bass player. Check out Linley Marthe I think he is playing with Joe Zawinul another great bass player.
Pianojazz quote:
When we take a piece “out there” my bass player and drummer can take a rhythm figure or little musical idea and turn it around and play it back and we can go develop it, twist it and grow it right there – and that’s the most exciting thing about music I’ve ever experienced – it’s the collective spontaneity/creativity of the moment that defines jazz and makes jazz unique.

That pretty much sums it up and that is why you will need all the tools,tricks,riffs,and lessons to make that happen. There really are no shortcuts to playing jazz. DPVJAZZ [/b]
Vic Wooten is definitely in a class all by himself. He took the best from bass predecessors Jaco Pastorius, Stanley Clarke, and Jamaaladeen Tacuma (Ornette Coleman's incredible bass player in the 70s and 80s); guitarists Stanley Jordan and Wah-Wah Watson; and stick player Emmett Chapman and formulated a completely integrated and unique style and sound all his own.
_________________________
My version of Lennie Tristano's "Scene and Variation":

http://d.turboupload.com/d/1410287/R1_0010.MP3.html

A downloadable file with examples of my jazz improvising (Accompaniament on Fender Rhodes, lead lines on Acoustic piano):

http://d.turboupload.com/d/229801/R1_0001.MP3.html

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