[Dixielandjazz] Chords v. Melody

[Stephen Barbone]

Coleman Hawkins, with whom I gigged a few times in the 1950s, NYC, did it
all. He was a melodic improviser, and then a chordal improviser as "jazz"
changed. Interesting analysis would be to get everyone's opinion on whether
is famous "Body and Soul" was chordal. and/or melodic. What do DJMLers think?

Many folks believe chordal improvisation took off with the beboppers. That
their solos became noted for "running the changes" rather than embellishing
the melody. Lots of discussion there. For many of us hear melody in some of
the most complex solos imaginable. Again, there is no defined line where one
becomes the other.

Cheers,
Steve

"Goggin, Brian (Dublin)" wrote:

> I thought Coleman Hawkins was one of the most respected and early chordal
> improvisers?
>
> > -----Original Message-----
> > From: Stephen Barbone [SMTP:barbonestreet at earthlink.net]
> > Sent: Tuesday, January 21, 2003 6:09 PM
> > To:   Dixieland Jazz Mailing List
> > Subject:      [Dixielandjazz] Chords v. Melody
> >
> > Not sure who originally posted this (polite snip)
> >
> > "I used to know a reed guy that actually "read" the chords as they
> > passed through his head.  He had one of those curious minds that can
> > actually "see" things, and he would scroll through a song, literally.
> > Became
> > particularly funny if he somehow got distracted and jumped a beat or a
> > measure.  There was no way for him to stop scrolling, so he would
> > happily play out the rest of his solo one beat or one bar behind or
> > ahead, depending on the jump he had made.  No sort of honking or yelling
> > from those around could bring him back on beat as he was "reading", and
> > played what he read."
> >
> > List mates:
> >
> > That experience can be a trip. I've worked in two bands that used banjo
> > players that need the chord charts in order to play. Even for Bill
> > Bailey, or Saints. Take them away and they get lost.
> >
> > Relating to the above post, both of these bands play verse and chorus of
> > somewhat obscure tunes. Mixing up the times when either verse of chorus
> > is played. The leaders yell out "verse", or "chorus" about one measure
> > before you are at the beginning of either one.
> >
> > Both banjo players are concentrating so hard on reading the chords,
> > counting measures, etc. they sometimes miss the leader's direction. And
> > then we get a band playing verse and the banjo playing chorus. It has
> > become my job in these bands to get the banjo back on track by looking
> > at his chord chart and yelling "VERSE, BAR 17 (the number of the next
> > measure coming up) so that the banjo can get back in sync. My job as the
> > reed player in these bands becomes more than just noodling around the
> > chords
> >
> > In that regard, many bands define the reed man's job as playing the 3rd
> > above the trumpet line in the melody ensembles so I always ask the
> > leader when playing in a "new" band as a reed sideman how he/she wants
> > me to play. Most are pretty laid back about it and say whatever you
> > want, but some are very specific. Just about all have slightly different
> > ideas about what my job is. I view it as 1) please the leader, 2) please
> > the audience.
> >
> > Regarding bop or modern jazz much of that improv is a new melody line on
> > the existing chord structure of an original tune. Eg. Koko, Hot House,
> > Donna Lee, Hackensack, Evidence etc.., etc., etc. So IMO it is
> > impossible to try and categorize exactly what happens in, what Louis, or
> > Eddie Condon, or Charlie Parker called, music.
> >
> > Want to hear great Melody Improv? Listen to Louis ot Sidney Bechet. Want
> > to hear some great chordal improv? Listen to Benny Goodman and all his
> > various clones. Want to hear "far out" improvisation? No need to get hip
> > with Joe Lovano, or Keith Jarrett, listen to Bix or Pee Wee Russell.
> >
> > Cheers,
> > Steve Barbone
> >
> >
> >
> >
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