Thinking Outside the Box Necessarily Leads One Back Into the Box

Thinking Outside the Box Necessarily Leads One Back Into the Box

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Studying Jazz Guitar: Thinking Outside the Box Necessarily Leads One Back Into the Box

Putting some thoughts together on jazz guitar pedagogy---So, to begin, some basic principles: (1) You only play what you truly know; (2) all music is aural, we are always playing exactly what we hear. Per Hal Galper, if our playing is not fluid, vivid or sufficiently alive, it only means that our ears are not sufficiently vivid,developed, or alive; (3) Play what you can sing and sing what you can play. The two aspects form a unitary whole--singing and playing are innately related. Playing without singing is the *Yellow Pages* approach to music--we are victim to our fingers, who seem do all the walking; (4) we build from what we know--a sufficiently complex musical problem can be broken down into the simplest and most discrete elements.

Therefore---to those who say that practicing of building blocks and patterns --scales, diatonic aprpeggi, and chords of whatever quality (triads, 7ths, 7ths with extensions and color tones) leads to lack of creativity in one's playing, a conformity in one's musical lines, I humbly respond: nonsense. I would note the exact opposite: the mastering of scales, licks, diatonic arpeggi, and chords is the very necessary sin qua non of more advanced, more creative, more improvisational, more explicitly MUSICAL paths. There is no thinking outside of the box without addressing the box itself.

Let us examine certain aspects of two outstanding and excellent internet video instructors, both highly recommended, useful and valued, both of whom are also experts of finger-style jazz guitar--Tim Lerch and Martin Taylor. Mr. Talor's approach eschews the tried and true visual patterns of chord-playing and attempts to underpin and/or build his musical architecture with more flexible fingerings based upon (i) the root note on either the 6th/5th/4th string; (ii) diatonic 10ths; (iii) and adding to these two building blocks, the fluid concept of the moving 7th, to generate moving inner voices, even as the root and 10ths remain stationary (essentially, this means either a M7/m7/M6/m6 are your available note choices). With regard to this architecture Mr. Taylor describes it (particularly the idea of the moving 7ths) nothing less than "a return to Bach". But what exactly is this underlying architecture but none other than a modified version the old drop 3, open voiced 7th chord with the following voice dispersion: 1-7-3-5? The only difference is he chooses to omit the 5th, and has a flexible fingering left-hand fingering system in which the index finger can be freed up to play the aforementioned movable 7th.

That is to say, Mr. Taylor's excellent concept of playing builds on fundamental patterns we already know. "Innovation" only builds on "fundamentals".

The same holds true with Mr. Lerch's excellent comping video on playing 3 note voicings using the guide-tones to create modified "George Shearing stripped down type of block chords" . The ideas can be expressed vis-a-vis the overall key center, or otherwise measured on a chord-by-chord basis. But the same freedom of expression and improvisation is build on a thorough knowledge of guide-tones, the 3rds or 7ths of each applicable chord, and the consequential idea that these guide tones form either P4 or P5 patterns from Minor 7th or Major 7th chords, or tritones with dominant 7th type of chords. There is no getting around really coming to terms with patterns and mastering them all over the fingerboard.

There is no substitute for mastering the fundamentals; there is "no making an end run around the box". Music is music. I think true creativity emerges from mastering the box while simultaneously developing the critical skills of singing one's lines and making more vivid and alive our aural mastery of music, hearing intervals, chord qualities, color tones, et al.

GroundUp Theatre’s “Murder of Crows”: ”You Can’t Tell the Weather Without a Weatherman", Particularly when “Outside It’s America….”

Not generally familiar with theatre and theatrical productions, I must confess, nonetheless, that I saw a wonderful play tonight that made me contemplate both (1) the muckety-muck of the world as it is and has been, or perhaps, the world as a has-been; and, (2) more importantly from a personal perspective and, quite frankly, more strangely, some of the wonderful reasons why I love jazz music. The play, GroundUp Theatre’s interpretation of “A Murder of Crows”, certainly does not explicitly deal with the complexities and mannerisms of the greatest music the world has seen and heard. Indeed, it is not a piece about jazz in any shape or form. But let us contemplate for a moment the questions in particular as they were theatrically-raised by “Murder”: to begin, how does one raise serious issues via the inclusion of humor and subversion and sans the obvious need to proselytize (true art, of course, follows the peculiar why’s and wherefores of its own muse). In addition: how generous, malleable and elastic is the narrative form without itself rupturing into the bottomless abyss of the avant-‘tard, the strange point of no return where meaning is lost and sympathy, empathy and the very idea of relating to others in a humane way is thrown under the bus and then, for good measure, shipwrecked on the murky rocks of narcissism and cynicism? Finally: at what point does the interpretation of performance border the contours of improvisation, even when it is itself grounded by the well-heeled parameters of scripted storyline and thought-out and planned dialogue? The nexus between these two seemingly disparate and contradictory formats? Why, the smiles of satisfaction that consequently follow when one encounters the sounds and sights of surprise, particularly when such surprises are cloaked in humorous absurdity!


“A Murder of Crows” is most certainly eloquently and creatively presented by GroundUp Theatre Company. Poignant and thoughtful in the breadth and scope of its exposition and presentation, but eschewing the obviousness of a sledgehammer while remaining proudly “in your face”, GroundUp’s efforts collectively and director Don Johnson’s overall individual vision do a great job in bringing flowing coherence and logic to a storyline that is itself more “high wire act” than the conventional recipe of plotline and characterization. Indeed, in its own way and on its own terms, “Murder” raises a surreal mirror up to contemporary American society, akin to a modern day Jonathan Swift modestly proposing, so-to-speak.


And how does it subvert form and narrative while, nonetheless, coherently and valiantly telling a worthwhile and needed story? For some strange reason, a specific era Miles comes to mind as a tenuous and provisional analogy. More precisely, this play made me think of Miles Davis’ second great quintet, (the one with Wayne Shorter, Tony Williams, Herbie Hancock and Ron Carter), the mid-sixties outfit that attempted to respond to the avant-garde/ free jazz oracles of that day by retaining form, harmony, rhythm and pulse while abandoning the formulaic straightjackets of the Great American Songbook, and its constituent AABA and 12 bar coattails.

Perhaps this analogy is overstated. Nonetheless, “Murder” remains a wonderful, thought-provoking and creatively executed endeavor. Will it find an audience? I most certainly hope so. But given the times we are living in that the play itself so eloquently critiques, who can really say? On a related subject, what is the proper motivation for someone who is artistically-inclined to tangibly follow through with such inclinations?

The final word on this final subject belongs to the greatest living musician of our time and one of the greatest of all time, Mr. Sonny Rollins, who answered thusly to aspiring jazz musicians attempting to find an audience, if not having the outright audacity to make a living from the elusive qualities of their art. Perhaps his sage advice goes without saying for those who attempt to do art, literature, and theatre worthy of merit and motivated by its own needs and serving its own ends.

“Well, to conclude, what advice or guidance do you have for aspiring young jazz musicians?"

SR: What you have to confront if you’re a young gifted musician is what some people call the “real world.” But your music, which is the real real world, that comes first. The world of making a living, putting bread on the table, you meet a girl and get married, support a family. But music takes a lot of time and dedication. You run up against the so-called “real world,” so that’s a big wall between your aspirations and what you are actually able to accomplish. If you love music and think you have some aptitude, then I would just say, “Do it to the greatest level you can, feel privileged that you have that gift, and as for the rest, who can say?”
Being a musician and raising a family are often two antithetical things. But as far as the music, if you have the aptitude, the talent, and you love it, consider yourself blessed that you have that understanding and love of music in this life. That in itself is a great blessing. But as far as earning a living, there’s not much one can say. We live in a world that’s all about making money and having things—big cars, big homes—and you’re running into a conflict. But if you love music, there’s nothing like it. If you’re gifted and you can play it, I wish you well, and just continue doing it. But don’t expect anything, because in the world in which we live, people who are artists, painters, musicians, writers, we can’t expect anything in this world. The way the world is set up, it’s not for us. But it’s not a negative thing. It’s still a wonderful thing anyway. (emphasis original)

Joe Zawinul: 1932-2007

The composer, pianist, arranger and all-around musical visionary Joe Zawinul passed away today in his native Vienna from an apparently rare form of skin cancer. Arriving as an immigrant to these shores in 1959, Joe immediately hooked up with Cannonball and Nat Adderley, proceeding to stay with them as pianist, composer and, ultimately, "musical director" for the next eleven years.

Towards the end of this time period, he also collaborated with Miles; whereas tthe brooding trumpeter par excellance and all-around Prince of Darkness served as the face of the "fusion" movement, Joe initially saw his role underneath the musical surface. Indeed, as the composer of the beautiful "in a Silent Way", Joe deserves more credit than he has always failed to recieve for his innovactions (in point of fact, some of the early fusion records are actually quite worthwhile and emminately tuneful: to name just a few: Herbie Hancock's initial "Fat Albert" offerings; Tony Williams seminal group "Lifetime"; John McLaughlin's initial forrays with his Mahavishnu Orchestra, particularly the initial "The Inner Mounting Flame")

Joining up with Wayne Shoter and Miroslav Vitous, Joe formed the fusion outfit "Weather Report", which he and Shoter kept afloat for better or for worse, for the next 15 years. Along the way, personnel came and went, including the mercurial Jaco Pastorious, and, truth be told, Weather Report, along with the genre in which it was contextualized, became more and more commercialized and consequently less and less interesting. Indeed, the increasing lack of quality of "fusion" in general gave rise to "new" musical quantities--to wit, the twin horrors of "instrumental pop" and "smooth jazz".

This history should not in any shape and form take away from the fact that the early fusion records were often quite compelling and adventous affairs. And musicans such as Joe Zawinul should be given due credit for being what they were: pioneers.

I think I'll listen to the entirety of "In a Silent Way" and perhaps some "Mercy Mercy Mercy" tonight. Joe Zawinul deserves nothing less, to be sure, then to be remembered for such invigorativve and innovative music.

Comments From the British Peanut Gallery: Men Are Universal

Some blurbs and shoutouts from various online commentators of the 7th and deciding cricket match in the ODI series between England and India, on the same day England is also playing Israel in an important Euro 2008 qualifier and England is also beginning its defense of the Rugby World Cup championship by playing its innagrial match in the 2007 Rugby Union World Cup against those minnows from across the pond, the USA.


"I've got my TV from the bedroom down to the lounge next to my other TV ready for the footy and rugby ko at 5, laptop at the ready for the cricket. You might think I'm all sorted but after a potentially great day for English sport I want to go out and celebrate with the lads, and ideas how I can get rid of the missus for the evening?"
Named withheld to protect the poor bloke from a pasting from his missus

"Be interesting to see the birth-rate statistics for nine months time should England manage to win the cricket, rugby and football all in one day..."
Andrew, Khartoum


"My wife's gone out for the afternoon and left me at home with our eight-week old daughter with strict instructions to feed her at 5, then bath her at 6. Do I have reasonable grounds for divorce?
Jim, Birmingham


"Given that 90% of British males will be relegated by the missus to the spare room or the sofa tonight, I expect the global population will experience a much need downward trend in nine months time. However the ozone layer may be terminally injured by noxious emissions from both ends of aforementioned British males later on, it's a double-edged ecological conundrum."
Terry, Cardiff

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Results?

Joker....Joker....aaand it's a triple for the pot-pie and french fry munchers! Time for them to, ahem, get the beers in.

Cricket: England 188-3 India 187 all out (47.3 overs): England win match by 7 wickets--England win ODI series 4-3.

Association Football: England 3 Israel 0
Rugby Football: England 28 USA 10

Maria Schnieder's New Big Band Record: some Initial Overall Thoughts and Reactions

Maria Schneider seems to do the impossible, at least as the 21st century is concerned--she's continually lead, maintained and recorded several outstanding albums with big band, an actual large scale jazz orchestra. Who knew this was possible in this day and age??

"Sky Blue", her new 2007 offering, seems to be the strongest effort yet: at once lush, impressively scored and voiced, buoyant and substantive, sufficiently satiated with, if not an in-the-pocket Basie-like groove, then at least rythmically perculating in her own way. And, less we forget, enough room for the soloists, which in the spirit of Ellington, Maria seems to base the compositions on the actual merits and strengths of her musicians.

In short, it's her prettiest and most intriguing record to date.


In the Gil Evans tradition, she's awlays walked a tight-rope, musically. Schooled in the European classical music raison-d'etre as well as the jazz traditons, her musical choices have veered towards the gently-swaying, pastel colored hues typical of pastorally-inclined music. And yet, possessing suffient weight and substance such that the note choice combinations do not float meagerly, aimlessly, listlessly and, ultimately, ineffectually into the ether, never to be seen or heard from again, like many an ECM record.

Perhaps she is the modern personification of what Gunther Schuller, John Lewis and the rest were getting at when they originated the "Third Stream" all those decades ago....

The Holiday Blues: Remembering the Bird

The Holiday Blues: Remembering the Bird
Category: Music

Charlie Parker, had he not been eternally frozen in time as a perpetually young man who looked 30 years his senior, would be 86, if he didnot succumb to his various vices, five plus decades ago. 86. Eight-ee-six!! Imagine the sheer magnitude of music he would have composed, played, and improvised in the last 51 years. Would he have gone in the same "reproduce the already innovated and maintain the traditon so far" dirction as Diz?? Gone Off the deep end, say sayonara forever to the ether and musically hurled himself face first into the cosmos, a la Trane? Cynically discover L.Ron Hubbard's side bet at a sci fi convention and consequently make the "artistic" decisons to subserviently accompany a Fender Rhodes, fuzz guitar, Marshall stacks, and a minimoog, all within the constraints of a basketball stadia, amidst scantily clad groupies eagerly awaiting backstage access?

In all seriousness: could such a "artistic" direction such as the final option be even remotely possible for someone who, despite acquainted with the aforementioned personal tragedies of life, nonetheless was on a first name basis with the essense of the bookended twins of beauty and joy; a musican without and beyond comparison who once said "first you master your instrument; then you master the music; finally, you forget the 1st two steps and just play"--to what extent would he need to modify this equation?? Indeed, he would have to forego the first two steps en masse and at once, forcibly sever and decapicate them piece by piece, limb by limb, and dehardwire them from his soul. Where would that leave him? Then the Bird would not have been the Bird. Rather, he would become directly comparable and easily categorizable, able to readily make do in the vast barren wilderness of commerce, product and commodities.

What indeed wold the Bird make of these days, as 2006 gives way???

Remembering: Forever Trane

John Coltrane, the gentle, reserved, rarified and dignified, soul with the fiery angry tone. The emminance and grace, the power and the glory. Sounds, sheets and all, gutteral, bluesy, flowing, mystified, some played at beyond breakneck speed but yet still coherent and compelling. And how can we think of Trane without Elvin??? The Sound encouters its Fury, completing the whole, so to speak.

Trane could play every which way, fast and loose. And majestically and regally. Note, for example, "Naima" and "Alabama". In stark contrast, "Chasin the Trane", which pleads, wails, screams, sears simmers, gesticulates, full of fire and brimstone. And "Out of This World", a renditon worthy of the very cosmos, themselves!!! "You're clear out of this world, when I'm looking at you..." No smokey Chris Connor iteration, this, me thinks. Neither the Mulligan Concert Band's sinewy, polyphonic stew, either. No, Trane's "Out of this World" is indeed just that.

I was thinking thusly the other day: what if "Blue Trane" was not an anomaly?? What if Trane had indeed signed with Blue Note and not Prestige? At first glance: we would, of course, be robbed of the Prestige sides, and what a terrible loss that! But, in the alternative: Trane plying his trade for the best label in the business, with Messers. Wolf and Lion, two of the few Record Company Big Wigs who actually treated their musicians as actual human beings? Trane working with Horace Silver, Hank Mobley, Lou Donaldson, Billy Higgins, Lee Morgan?? Not just in blowing session after blowing session?

What a wonderment of riches we have from someone who died so young!!! The Prestiges, the Atlantics, the Impulses. And the beauty, fire in the belly, flowing consequently therefrom.

Unfortunately, I find myself having less and less use for the post "Ascension" period. But what a strange, apolyptic momment, though, "Live in Seattle '66" generated ten years ago, the CD blaring in my car during an all-night road trip through the heart of Nebraska in the midst of a driving, thunderous rain storm!

Where would Trane have ventured if his health had not fatally failed him?? Where could one go after stepping one foot into the abyss, mind still on fire, alight with imagination and the sense of experimentation??