Having been involved in music as a player, teacher, student and listener for most of my life, I never cease to be amazed by the positive power of music. I have experienced some of my greatest moments, met wonderful people, made a living, and learned much about life, all through this great privilege. I have chosen to concentrate on jazz because it affords me the opportunity for constant variation. Improvisation is what drew me in. The creating of music at the same time it is being heard makes it necessary for me to look beneath the surface, and be honest in my expression. Nothing thrills me more than the development of ideas in the context of improvising.
I look upon this as playing note to note. That is, one note brings about another note, and that note another, and so on. In an ensemble setting this is compounded. I will play differently depending on whom I am sharing the bandstand with. The time, feel, and sensitivity of the drummer to the soloist will greatly affect my playing, as will the choice of notes, time feel, and sound of the bassist. If I am playing with chordal accompaniment the voicings, substitutions and rhythmic placements will greatly influence how I play. Like all dialogue, improvising is reactive. Having played hundreds of gigs, often with musicians I've never played with before, I can personally attest to the fact that given the proper setting, i.e. knowledgeable players, common tunes, and most importantly, the commitment to listening to one another, great music can be made without rehearsal, without arrangements...through improvising.
In the context of jazz, improvisation has come to signify spontaneous composition, most specifically, soloing. This is a narrow definition that does not take into account the essence of jazz-group improvisation. I feel that it is important to bring to light that in a jazz group, each member is/should be improvising at all times. The drummer may be keeping time, but also reacts to, and elicits reaction from the soloist and the rest of the rhythm section. The pianist and/or guitarist may be playing the accepted chord changes, yet there is much room for improvisation via chord voicing, chord substitution, and rhythmic variation. The bass player may be ‘walking’ a quarter note bass line derived from the chord changes, but this by no means is a set entity. The bassist is always improvising a ‘line’, and also may break up the time by playing ‘figures’- rhythmic motifs that serve as commentary and stimulus to the soloist. One should always listen; to themselves and those with whom they are playing.
In my formative years, I practiced many hours in the pursuit of becoming a jazz musician. Throughout this period, I always felt connected to the music in a deep way. Much time was spent singing the solos of jazz masters, among them Lester Young, Charlie Parker, Charlie Christian, Billie Holiday, Sonny Rollins, Lennie Tristano, Lee Konitz, Jimmy Raney, Wes Montgomery, and many others. There were many benefits to this endeavor, as the music exists inside oneself-first heard-then sung-then transferred to the instrument. A major plus was being in the musical company of such great creative spirits. In my college years I spent most of my time practicing, sitting in, and gigging at local clubs. I also drove ninety miles each week to study improvising with jazz pianist Sal Mosca. What I remember most is the feeling of that particular time. I felt an urgency to soak it all up, to be part of the music, and to interact with other musicians and listeners.
The musicians that move me all possess the in the moment qualities of playing note to note. I find it equally thrilling listening to Bach’s “Goldberg Variations” as played by Glen Gould, as I do listening to “Live at the Village Vanguard Again”, by John Coltrane; George Van Eps playing “Once in a While”, or Chet Atkins playing “Freight Train”; Tal Farlow playing “Cherokee”, or Eric Clapton playing “Crossroads”. All these musicians play with the essential elements; mastery of their instrument, and a level of feeling and expression that involves both the player and listener in every note and every silence. As such, I’d like to share with you some of my most treasured jazz moments.
To begin with I’ll mention "The Complete Quartets with Sonny Clark", by Grant Green on Blue Note Records. The second track on disc one is the Gershwin classic "It Ain't Necessarily So". Grant takes this blues inflected composition and infuses it with his unique, soulful style and then proceeds to dismantle and reconstruct it from the ground up. At the 3'40" point he goes into a repeated figure that is enough to elicit screams of joy. In fact throughout the performance you can hear the other musicians shouting their approval. Pianist Sonny Clark also gives a stellar performance. At the 6'38" point, he echoes Grant's previous repeated phrase (some three minutes earlier), and at the 7'35" point he skillfully works a quote from Dave Brubeck's "In Your Own Sweet Way" into his improvisation. Of course, this is all facilitated by the stellar support of the sensitive rhythm section. Next I’ll mention two tracks from the discography of guitarist Jim Hall. The first is his 1962 performance of "My Funny Valentine" in duet with pianist Bill Evans, from the CD "Undercurrent", on Bluenote Records. Jim's solo begins with short terse phrases that sketch out an outline of what is to follow. The phrases gradually increase in length, complexity, and intensity, peaking at the 2'07" mark with a series of ‘sweep picked’ descending arpeggios that overflow with emotion. Interestingly, his comping takes the same developmental approach. He begins with sparse, punctuating chords, and at the 3'08" point takes off on a walking bass/chordal accompaniment that swings like the Count Basie Orchestra. The second Jim Hall gem is a solo guitar reading of the standard "I Should Care", from the 1971 recording "Where Would I Be", on the Milestone label. As always, Jim Hall takes the road less traveled in his approach to chord melody playing. He fearlessly begins with a bold dissonant chord and a sustained pedal tone, and is able to imply accompaniment without resorting to guitaristics. The performance is replete with single note phrases, strummed chords, harmonics, trills, and above all drama. Jim plays a part of the melody and then slips in a bass note or two, places a chord in just the right spot, giving the illusion of a group performance. When the next track kicks in, the transition from solo to group is so smooth that it becomes apparent that one has just experienced a total jazz performance. I will wind up with some thoughts about perhaps my favorite studio recorded jazz track of all time, Charlie Parker's mind numbing improvisation on Gershwin's "Embraceable You" recorded in 1947 for the Dial label.
I say improvisation on this song because he never states the melody. Rather if it is possible, he creates a melodic line that is superior to the original theme. Parker's line seems to float freely over the pulse, yet he always plays in time. In fact his time is one of the beauties of this performance. Melodically this solo is a stunning example of theme and variation. Just when you think that "Bird" has played everything there is to play, he pulls yet another brilliant line from the depths of his soul and points us in the direction of the song's conclusion, and at this moment we realize that this is only a one chorus improvisation, yet it seems like a lifetime. Fortunately these are but a few of the classic jazz performances available to us. To be able to immerse oneself in a musical journey, and experience the beauty of another human being's soul is truly a gift.
I’ll conclude with a musical credo that I try to live by: listen, feel, react, & play.
And most of all enjoy! Feel free to contact me with any comments or questions @
joe@joegiglio.com .
Jazz
Some Thoughts on Jazz Improvisation…
Thoughts on "Jazz" and "Jazz Guitar"
Why the distinction between "Jazz" and "Jazz Guitar?" More so than with other instruments, the Jazz guitar seems to attract a (thankfully) devoted audience, with rather specific tastes. I myself have, at various times, listened to little else but Jazz guitar music, read guitar publications, and basically obsessed about this seductive instrument. The guitar is magical. Here lies, of course, the dreaded "catch."
If you believe in magic (The Lovin Spoonful, 1966?), you must be savvy enough to realize it can never be controlled, only appreciated. The message in the bottle (The Police, late 70's) states, "Music first." I flash back (no pun intended) to the 1960s, when as a child I was first introduced to Jazz music. A saxophonist cousin of mine sat me down (I was about 11 or 12) and played "Ascension" by John Coltrane for me. I was at once mesmerized and hopelessly hooked on Jazz music.
Admittedly, this is a rather severe intro to this art form. I have since experienced the depth and breadth of Jazz music from the traditional to the "avante garde," and loved it all. Early experiences do persist, though. On that day of indoctrination I asked my cousin for the name of a great Jazz guitarist. He answered, "Jim Hall," whose playing had a profound effect on my musical direction. That day he opened for me two very valuable doors. John Coltrane showed me the limitlessness of Jazz, and Jim Hall the limitlessness of Jazz guitar. The diversity of my listening experience has been most valuable and has helped me to appreciate all of "Jazz," and great music in general.
My particular approach to improvisation varies with the context in which I am performing and with my feeling at that moment. This I treasure most dearly, as it makes every improvising experience open and new. The concept of improvisation is an endless thread that links all true Jazz music. It is what is absent from "generic" or "elevator Jazz." It is what is most misunderstood about Jazz. It can range from Louis Armstrong's "West End Blues" (19020s), to Albert Ayler's "Vibrations." It can be the Lennie Tristano Sextet waxing a free improv piece "Intuition" in 1949(!), to the Miles Davis Quintet playing nothing but the melody of "Neffertiti" in the late 1960s. What brings it all back home is the "feeling."
More thoughts next month, see you then.
- Joe Giglio
If you believe in magic (The Lovin Spoonful, 1966?), you must be savvy enough to realize it can never be controlled, only appreciated. The message in the bottle (The Police, late 70's) states, "Music first." I flash back (no pun intended) to the 1960s, when as a child I was first introduced to Jazz music. A saxophonist cousin of mine sat me down (I was about 11 or 12) and played "Ascension" by John Coltrane for me. I was at once mesmerized and hopelessly hooked on Jazz music.
Admittedly, this is a rather severe intro to this art form. I have since experienced the depth and breadth of Jazz music from the traditional to the "avante garde," and loved it all. Early experiences do persist, though. On that day of indoctrination I asked my cousin for the name of a great Jazz guitarist. He answered, "Jim Hall," whose playing had a profound effect on my musical direction. That day he opened for me two very valuable doors. John Coltrane showed me the limitlessness of Jazz, and Jim Hall the limitlessness of Jazz guitar. The diversity of my listening experience has been most valuable and has helped me to appreciate all of "Jazz," and great music in general.
My particular approach to improvisation varies with the context in which I am performing and with my feeling at that moment. This I treasure most dearly, as it makes every improvising experience open and new. The concept of improvisation is an endless thread that links all true Jazz music. It is what is absent from "generic" or "elevator Jazz." It is what is most misunderstood about Jazz. It can range from Louis Armstrong's "West End Blues" (19020s), to Albert Ayler's "Vibrations." It can be the Lennie Tristano Sextet waxing a free improv piece "Intuition" in 1949(!), to the Miles Davis Quintet playing nothing but the melody of "Neffertiti" in the late 1960s. What brings it all back home is the "feeling."
More thoughts next month, see you then.
- Joe Giglio
Lester Young: An Essay
The emergence of Lester Young as star soloist with the Count Basie Orchestra in the late 1930s marks a break with the past, and a path to the future in the evolution of jazz. More than anyone before or since, Lester Young embodies the true meaning and purpose of jazz music: To express feeling and emotion in the form of spontaneous musical composition, or more simply put: improvisation.
Lester Young was an original, and originality, along with "swing," were the driving forces in his music. The product of two extremely fertile music "scenes": New Orleans in his youth, and Kansas City in his salad days, Lester Young, or "Pres" as he was re-named by Billie Holiday, is the "gatemaster" at the crossroads of jazz history. Through his music we can look backwards to the New Orleans tradition, as evidenced in the collective improvisational spirit of the "Kansas City Six" recordings; the light airy melodicism of Frankie Trumbauer; the lyrical almost compositional music of Bix Beiderbeck; the rhythmic incisiveness and superb melodic phrasing of Louis Armstrong; and of course, the "Blues," which links all jazz, then and now.
A forward look through the music of Lester Young would include the many musicians, influential in their own right, whose musical conceptions owe their genesis to his innovations. The Lester Young family tree would include: Billie Holiday, who attributed much of her style to Lester Young, and thus, all those whom she influenced; Charlie Christian, who modeled his playing after that of "Pres" as a result of their early encounters and thus, all electric guitarists henceforth, as Christian is the acknowledged "father of the electric guitar"; Charlie Parker, who so blatantly copied the solos of Lester Young in his efforts to learn to play jazz, and thus the entire development of jazz after 1945, as Charlie Parker so changed the shape of jazz to come, making it "modern"; and finally, John Coltrane and Orvette Coleman, the two most important figures in "avante garde" or "new thinking" jazz, in that the melodic invention and freedom so inherent in the improvisations of Lester Young, were taken to logical conclusion in their "free improvisations," where harmony was largely eschewed and melodic invention was truly "note to note."
Culturally, Lester Young was a true bohemian. Called a "beatnick before there were beatnicks," Lester Young flouted society's conventions such as marriage (he was married several times, but never divorced), domesticity (he preferred living in a hotel in Manhattan, though he owned a home in Queens), formal education, and most of all, conformity. Lester Young could not be bought, and despite the pressure placed on recording artists to sell records, he never sold out. In a decade such as the 1950s, when conformity was a national obsession, Lester Young dressed differently, spoke his own variation of the English language and basically lived as a free spirit -- something he wore as a badge of honor since his early youth.
Young was both an outspoken opponent and victim of racial prejudice. Despite his persecution at the hands of racist officers during his military service, which included extreme physical and verbal abuse, he believed in the goodness of humankind and was hurt by its darker side. In studying the life of Lester Young, we can learn much about the history of jazz, the times in which he lived and much about ourselves. Most important, though, we can listen to his music and experience the beauty he so freely and eloquently expressed.
- Joe Giglio
Lester Young was an original, and originality, along with "swing," were the driving forces in his music. The product of two extremely fertile music "scenes": New Orleans in his youth, and Kansas City in his salad days, Lester Young, or "Pres" as he was re-named by Billie Holiday, is the "gatemaster" at the crossroads of jazz history. Through his music we can look backwards to the New Orleans tradition, as evidenced in the collective improvisational spirit of the "Kansas City Six" recordings; the light airy melodicism of Frankie Trumbauer; the lyrical almost compositional music of Bix Beiderbeck; the rhythmic incisiveness and superb melodic phrasing of Louis Armstrong; and of course, the "Blues," which links all jazz, then and now.
A forward look through the music of Lester Young would include the many musicians, influential in their own right, whose musical conceptions owe their genesis to his innovations. The Lester Young family tree would include: Billie Holiday, who attributed much of her style to Lester Young, and thus, all those whom she influenced; Charlie Christian, who modeled his playing after that of "Pres" as a result of their early encounters and thus, all electric guitarists henceforth, as Christian is the acknowledged "father of the electric guitar"; Charlie Parker, who so blatantly copied the solos of Lester Young in his efforts to learn to play jazz, and thus the entire development of jazz after 1945, as Charlie Parker so changed the shape of jazz to come, making it "modern"; and finally, John Coltrane and Orvette Coleman, the two most important figures in "avante garde" or "new thinking" jazz, in that the melodic invention and freedom so inherent in the improvisations of Lester Young, were taken to logical conclusion in their "free improvisations," where harmony was largely eschewed and melodic invention was truly "note to note."
Culturally, Lester Young was a true bohemian. Called a "beatnick before there were beatnicks," Lester Young flouted society's conventions such as marriage (he was married several times, but never divorced), domesticity (he preferred living in a hotel in Manhattan, though he owned a home in Queens), formal education, and most of all, conformity. Lester Young could not be bought, and despite the pressure placed on recording artists to sell records, he never sold out. In a decade such as the 1950s, when conformity was a national obsession, Lester Young dressed differently, spoke his own variation of the English language and basically lived as a free spirit -- something he wore as a badge of honor since his early youth.
Young was both an outspoken opponent and victim of racial prejudice. Despite his persecution at the hands of racist officers during his military service, which included extreme physical and verbal abuse, he believed in the goodness of humankind and was hurt by its darker side. In studying the life of Lester Young, we can learn much about the history of jazz, the times in which he lived and much about ourselves. Most important, though, we can listen to his music and experience the beauty he so freely and eloquently expressed.
- Joe Giglio
John Coltrane: An Essay
John Coltrane was, and is, a multitude-musician, jazz improviser, saxophonist - multi-instrumentalist, composer, teacher - student, spiritual guide, innovator, rule maker - rule breaker - man.
Although he died in 1967, his influence decades later is stronger and more pervasive than ever. His music is taught and analyzed in music schools with that of Bach and Stravinsky. His recordings sell more copies posthumously than during his life time, with new releases and re-issues abounding.
Upon listening to any of Coltrane's recordings an improviser might legitimately ask, "What is left to play?" I can assure you, never having spoken with him, that conveying this message was not Coltrane's intent, nor his belief. In approximately ten years from his spiritual re-birth in 1957 (the year he gave up drugs and alcohol) until his death July 17, 1967 Coltrane progressed at a super-human pace. He seemingly packed fifty years worth of musical development and stylistic evolution into a decade. Perhaps he was making up for lost time; perhaps he knew his time was limited.
Coltrane's significant musical chronology begins in 1955 when he joined the Miles Davis Quintet. This was followed by a legendary association with Thelonious Monk, a return to the Miles Davis group, and thereafter as leader of his own group. His stylistic development during this period includes the development of his "Sheets of Sound" multi-chordal approach to soloing, his "Giant Steps" period, modal improvising, and ultimately "Free" playing which dominated the last few years of his life. There are clear delineation's documented on record of these stylistic changes, but as can be expected, his playing was always the sum-total of his musical life, and thus musical "cross pollination" is present throughout.
If I were to pick one aspect of Coltrane's life to focus on, it would have to be this: The search for truth. Truth in music and in one's self. As great a musician as he was, his great playing and composition were the result of endless practice. He was a genius, but one who had to toil, and dig deep down to realize his greatness. His search was inter-disciplinary, and he probably read as much as he practiced. John Coltrane's life and music are instructional and inspirational. Listen to the music, it is all there.
- Joe Giglio
Although he died in 1967, his influence decades later is stronger and more pervasive than ever. His music is taught and analyzed in music schools with that of Bach and Stravinsky. His recordings sell more copies posthumously than during his life time, with new releases and re-issues abounding.
Upon listening to any of Coltrane's recordings an improviser might legitimately ask, "What is left to play?" I can assure you, never having spoken with him, that conveying this message was not Coltrane's intent, nor his belief. In approximately ten years from his spiritual re-birth in 1957 (the year he gave up drugs and alcohol) until his death July 17, 1967 Coltrane progressed at a super-human pace. He seemingly packed fifty years worth of musical development and stylistic evolution into a decade. Perhaps he was making up for lost time; perhaps he knew his time was limited.
Coltrane's significant musical chronology begins in 1955 when he joined the Miles Davis Quintet. This was followed by a legendary association with Thelonious Monk, a return to the Miles Davis group, and thereafter as leader of his own group. His stylistic development during this period includes the development of his "Sheets of Sound" multi-chordal approach to soloing, his "Giant Steps" period, modal improvising, and ultimately "Free" playing which dominated the last few years of his life. There are clear delineation's documented on record of these stylistic changes, but as can be expected, his playing was always the sum-total of his musical life, and thus musical "cross pollination" is present throughout.
If I were to pick one aspect of Coltrane's life to focus on, it would have to be this: The search for truth. Truth in music and in one's self. As great a musician as he was, his great playing and composition were the result of endless practice. He was a genius, but one who had to toil, and dig deep down to realize his greatness. His search was inter-disciplinary, and he probably read as much as he practiced. John Coltrane's life and music are instructional and inspirational. Listen to the music, it is all there.
- Joe Giglio
Note to Note
When I am playing my best, when I'm in the zone, it all comes down to this. The great Jazz pianist/composer/teacher; Lennie Tristano stressed this as a primary goal in his playing and in that of his students. A posthumously released album of Tristano's bears this title. I was fortunate to study with the incomparable Sal Mosca, the true torchbearer of the ideals set forth by Tristano. Studying with Sal was like finally meeting someone who recognized the mysteries of Jazz but was not afraid to demystify it. Sal, as truly advanced as he is, sees the beauty in the fundamentals and makes sure his students are thoroughly grounded in them. Charlie Parker said "...first master your instrument then forget all that s... and play". What he meant by this is, that in order to create spontaneously one must have at his/her fingertips all the materials necessary to improvise "Jazz Music", (my former teacher, Lou Stein always referred to Jazz as "Jazz Music"), and then with this ability one can direct his/her attention towards creating, not managing, the "changes".
The concept of "note to note" is inherent in the phrase. One note gives you another and that one, the next. In the truest sense of dialogue, improvising is truly reactive. Having played hundreds of "gigs", often with musicians I've never played with before, I can personally attest to the fact that given the proper setting, i.e. knowledgeable players, common tunes, and most importantly, the commitment to listening to one another, great music can be made without rehearsal, without arrangements...through improvising! If one peruses the discographies of Charlie Parker, John Coltrane, Bill Evans, Lee Konitz, Lennie Tristano and many other great improvising Jazz musicians, the same songs appear with great frequency. Why?
It is as simple as this: when an improviser really knows a tune, he/she can approach it on an equal basis. Just as viewing a painting from different sides, different vantage points will give different perspectives, one must, when improvising, look at the song from all angles...from the inside out. This is why listening to John Coltrane play "My Favorite Things" over a span of six years (1960, 1st recording, to 1966, "Live at the Village Vanguard Again" ) is such a fruitful and enlightening venture. Same song, same musician, totally different experience, save for the Joy always present in Coltrane's playing.
I started this month's column with no topic in mind. I trusted that it would take shape like a good Jazz solo. It did, and it drives home a feeling that pervades my thinking. That is ,that we all want things instantly, but we don't necessarily want to do the preparation that will bring about these "instant" results. Jazz is spontaneous composition, but it is only possible after years of very deliberate practice. It seems as if we are always looking for the next "new thing" in Jazz. While I value innovation, I look forward to the opportunity to develop over time, what I have worked so hard to achieve, and to enjoy listening to the developing "voices" of the many great musicians playing Jazz Music today! Who among us isn't curious about the music that Charlie Christian, Charlie Parker, John Coltrane and too many other Jazz greats would have made had they been able to develop their playing over the course of a natural life span?
More on Jazz and the like, next month. See you then . By the way, my new CD entitled; "Inside out", will be released on Zinnia Records in mid to late August. Look for it in the stores and via the Internet.
- Joe Giglio
The concept of "note to note" is inherent in the phrase. One note gives you another and that one, the next. In the truest sense of dialogue, improvising is truly reactive. Having played hundreds of "gigs", often with musicians I've never played with before, I can personally attest to the fact that given the proper setting, i.e. knowledgeable players, common tunes, and most importantly, the commitment to listening to one another, great music can be made without rehearsal, without arrangements...through improvising! If one peruses the discographies of Charlie Parker, John Coltrane, Bill Evans, Lee Konitz, Lennie Tristano and many other great improvising Jazz musicians, the same songs appear with great frequency. Why?
It is as simple as this: when an improviser really knows a tune, he/she can approach it on an equal basis. Just as viewing a painting from different sides, different vantage points will give different perspectives, one must, when improvising, look at the song from all angles...from the inside out. This is why listening to John Coltrane play "My Favorite Things" over a span of six years (1960, 1st recording, to 1966, "Live at the Village Vanguard Again" ) is such a fruitful and enlightening venture. Same song, same musician, totally different experience, save for the Joy always present in Coltrane's playing.
I started this month's column with no topic in mind. I trusted that it would take shape like a good Jazz solo. It did, and it drives home a feeling that pervades my thinking. That is ,that we all want things instantly, but we don't necessarily want to do the preparation that will bring about these "instant" results. Jazz is spontaneous composition, but it is only possible after years of very deliberate practice. It seems as if we are always looking for the next "new thing" in Jazz. While I value innovation, I look forward to the opportunity to develop over time, what I have worked so hard to achieve, and to enjoy listening to the developing "voices" of the many great musicians playing Jazz Music today! Who among us isn't curious about the music that Charlie Christian, Charlie Parker, John Coltrane and too many other Jazz greats would have made had they been able to develop their playing over the course of a natural life span?
More on Jazz and the like, next month. See you then . By the way, my new CD entitled; "Inside out", will be released on Zinnia Records in mid to late August. Look for it in the stores and via the Internet.
- Joe Giglio