[Dixielandjazz] chords vs melody

[David W. Littlefield]

At 06:48 AM 1/21/2003 -0600, Jim Kash wrote
>It is curious that mail has been coming in accusing reed players in
>general for playing off the chords, and normally ignoring the melody
>line.  That has been my experience, also. 

Over the years, I've played with a goodly number of excellant reed cats
with widely varying styles. I just can't object to their soloing on the
chords, because usually they are doing something besides just playing
scales, even if they are exploiting their technical abilities. Now when a
reed person calls a tempo that exceeds the melodic nature of the tune, I do
object, because then more often than not it becomes mostly a finger exercise.

>I go along with what someone
>else said about the reed's "job" in the front line is to run in & out of
>things, thereby creating this necessity. 

I offered that as an explanation of a tendency. And in my own mind, it
offers some legitimation, because it produces a different approach to
improvising. Generally, I prefer the melodic approach, but really that
depends on the player, and jazz being what it is, it's a variation that
doesn't bother me at all.

> However, I still think the
>melody line in the back of the head is super important.  You get the
>full example of the reedman playing his chords when you listen to most
>modern jazz sax players.  Listening to someone playing their scales can
>be such a bore!
>
>The above example is NOT what I would call improvising, or being a jazz
>player.  Improvising requires an understanding and hint of the melody
>line, an understanding & following of the chords, and as I mentioned
>earlier....a hint of the words, altogether will help bring out the full
>art in the song.
>Jim

Since you're a t-bone player, do you find any validity in my suggestion
that one's role in the ensembles influences how one solos? I offered the
idea re the lead horn (usually trumpet) and reeds (particularly clarinet),
but couldn't apply it to  the trombone. 

--Sheik