- From: Paul <noone@xxxxxxxxxxx>
- Date: Tue, 28 Aug 2007 15:47:19 GMT
On 8/28/07 9:47 AM, in article AvidnUhTUN32uknbnZ2dnUVZ_ramnZ2d@xxxxxxxxxxx,
"charles robinson" <robinsonchazz@xxxxxxxxxxx> wrote:
"because you know your own licks and patterns and so hear it
in a different frame of reference than we do"
This is a point that I often think about. Assuming this is more or less true
for most jazz improvisers, it might take the shine off of a "great solo" a
bit. But it also makes it hard to get an idea of how good one is: How can
your playing not sound stale if only the stuff you really have woodshedded
a lot works?
I suppose the point also reinforces the idea that ensemble playing is a
critical element to a good jazz performance: the interaction on a recording
with a play-along only goes one direction. I suppose though even
interaction can be predictable to the members of a group that play a lot
together (Dave Liebman even said this once in a clinic I attended; "the
stuff we do might sound fresh to you, but to the guys in the band it might
be the same thing we've done the last 5 nights..")
I guess I should have left the because out... that's what happens when you
don't think things through:)
There is yet another path taken by some on which only feeling matters.
"charles robinson" <robinsonchazz@xxxxxxxxxxx> wrote in message
There has always been two different schools of thought on the thinking
while soloing issue. The first one feels as you do at times that you have
to put more thought into the overall construction of the solo. As you have
noted though the thinking things through method doesn't always sound
relaxed. The second views practice as a time when ideas are programmed
into the sub-conscious so that they can flow naturally rather than be
impeded by conscious thought about every detail during the solo. As far as
your Soundclick solo, because you know your own licks and patterns and so
hear it in a different frame of reference than we do. Also,the absence of
a live rhythm section can make just about anyone's playing sound aimless
"Paul" <noone@xxxxxxxxxxx> wrote in message
On 8/28/07 8:30 AM, in article
1188304242.952847.49470@xxxxxxxxxxxxxxxxxxxxxxxxxxxx, "Kevin Collins"
On Aug 27, 11:05 pm, Paul <p...@xxxxxxxx> wrote:
I've uploaded a tune to soundclick
It's mostly me wanking, but this begs the question: what is is wanking?
Mostly someone else's derogatory view of anyone's playing, I think.
Maybe you're right. But certainly most jazz (and rock, and blues, etc)
musicians can improvise
without putting a lot of thought into what they are doing, "going through
the motions" so to speak, which is what I'd call wanking. But I suppose
only they know, he listeners can't really get inside their head.
Since thinking too much doesnt work so well when improvising, and
unthinkingly doesn't either, how does one get to those special moments
things flow? I guess this is one part of the answer:
That's a damn good question! A lot of improvisors talk about composing
on-the-fly, and maybe the idea is that rather than composing ideas on
the fly what we're doing is composing chains of ideas on the fly.
Thinking bigger than a few bars at a time, for starters?
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