[Dixielandjazz] Note count

[LARRY'S Signs and Large Format Printing]

Everything you said was absolutely true.  My problem comes when a player is
trying to impress the other musicians in the band  and or is just doing
musical gymnastics or truly doesn't know what he is doing.

An excellent example of a musician that puts lots of notes down and every
one has a point is Kim Park of KC Mo (Kenton band).  But then again Kim is a
musical genius of the first rank.  I literally can't keep my mind on the
charts when he plays.

I'm sure we all know players like Kim but the guy that is just blowing notes
because of some misguided idea that lots of notes equals good is tiresome.

I guess that I am more in the minimalist camp and believe that there are
five factors in a solo:
1. does it go somewhere?
2. does it have form, are the ideas developed?
3. does it sound good?
4. is it in the style?
5. finally did I enjoy it?

A soloist should:
1. play within his capabilities (KISS -keep it simple stupid)
2. not try to impress his peers or conversely not be afraid to develop a
solo in front of better musicians.
3. always remember the audience and their musical capabilities and what they
want.  Example: playing extended Bebop solos at a nursing home. Conversely
playing pap to a Jazz audience.
4. Always sound good: I.e. tone, intonation etc.

Without these things there is no groove

----- Original Message ----- 
From: "Gary Kiser" <gary at kiser.org>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Sent: Monday, April 04, 2005 7:38 PM
Subject: [Dixielandjazz] Note count


> Hi,
>
> I can't see how one can rate someone's chorus by counting notes.  For
> me, it is what he/she does with those notes that count.  Is there a
> story?  Is there development?  Yes, I have heard many fantastic
> technicians play wild and crazy choruses that didn't do anything for
> me.  Yet, I have heard so many minimalist choruses that were ... well
> ... minimalist.  A musician's style, technique and musical vocabulary
> will influence what he/she is comfortable playing.  If the muso sounds
> comfortable and in his/her 'groove,' I generally enjoy what he/she does
> whether minimalist or notes a plenty.
>
> On this same sort of idea, I am bothered by musos that take multiple
> choruses just to take a longer solo.  I appreciate someone that can
> develop an idea and build on it throughout her/his solo.
>
> I play a half dozen times a year with a monster of the alto sax, Daniel
> Huck.  He is the only musician with whom I play that has really mastered
> the extended solo.  He will do a feature each set and it isn't uncommon
> for him to take 5 or 6 forms on the tune.  But, I swear, it doesn't feel
> like 6 forms.  He develops a couple of small ideas and then plays them
> off of each other and the energy just goes up and up.  I don't know how
> many times I've played with Daniel where at some point in his solo, I
> think to myself; "ok, here comes the end because he can't go any
> higher."  But, then he does.  If you have never heard Daniel Huck, put
> him on your wish list.
>
> This started as an addition to the 'many note' thread and has finished a
> plug for Daniel Huck.  Anyway, he would love to play the States even
> though it is clear he wouldn't get paid what he gets over here.  He is
> more a 'jazz party' class of musician with over 200 gigs a year.
> Nonetheless, he would love to play an American jazz festival once.  So,
> if there are any interested festival directors . . .
>
> All the best, Gary
>
> Gary Kiser
> www.sacapulses.com
> www.mojobrassband.com
>
>
>
>
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