[Dixielandjazz] Note count

[Gary Kiser]

Larry et tout le monde,

It seems to me that we aren't really discussing strictly definable
entities here.  We all have our own impressions and reflections when we
watch or play a concert.  So, a phrase like "a player that plays a lot
of notes" passes our eyes and ears, but everyone thinks of something
different.  Personally, I think of good things.  Images of the first
time I saw the Australian James Morrison at the Munster Jazz Festival
(we played the opening act) still knock me out.  (I don't care for a lot
of his recordings, but in Munster, he was right on)  And, there are a
lot of recordings of lottanote solos that I put in the stereo when I
want to listen to a good hard jam.

Alas, it seems some others on this list have more unpleasant images when
they see that same little phrase.  True, I too would be shaken by those
8 words for a week after a really bad concert where one or many of the
musos just jerked off with their horns.  At that same concert though,
there will be many others that will talk about how great the show was.


LARRY'S Signs and Large Format Printing wrote:

>[...snip...]
>
>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?
>  
>
But, everyone wants to go someplace else.

>2. does it have form, are the ideas developed?
>3. does it sound good?
>4. is it in the style?
>  
>
I weight 1-4 quite low

>5. finally did I enjoy it?
>  
>
For me, this is the bottom line.  When I see/play a concert, I don't
analyze in real-time.  I absorb the performance(s) then either like or
dislike what I am taking in.  I don't get my checklist out and verify
that I should be enjoying something.  It either works, doesn't work or
something in between.  I can use the list to understand why it works,
doesn't work or something in between. (I speak vaguely as I would say
the same for theatre, dance, film, art, architecture, literature, beer,
etc...)

>A soloist should:
>1. play within his capabilities
>  
>
Sure, no one should do what (s)he can't do in concert.  A pro would work
his ax in the practice room.

>2. not try to impress his peers or conversely not be afraid to develop a
>solo in front of better musicians.
>  
>
I know what you want to say, but for me, there are too many great
memories from Jazz en Tete (www.jazzentete.com) where I saw grand class
musos (McCoy Tyner, Donald Brown, Kenny Garrett, Roy Hargrove, etc.) go
to battle.  Oh, what a time.  Sure, they were out to better each other,
but in a respectful, constructive manner.  The ensemble results were
some of the best jazz I have ever seen.  What Sean Jones, Donald Brown,
Ali Jackson, Marcus Strickland and Essiet Essiet did in the hotel lobby
at 4:30am last October was perhaps one of the greatest creative
constructions I have ever seen.  And, it all started with a "yeah, but
you can't do..." laughfest minutes earlier.

>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.
>  
>
Taste is playing differently in a bar, dance hall, concert hall, school,
hospital, brothel, car wash, etc...

>4. Always sound good: I.e. tone, intonation etc.
>  
>
With the exception, of course, the occasional effect.

>Without these things there is no groove
>  
>
It grooves when my rump won't keep still.

All the best, Gary

Gary Kiser
www.sacapulses.com
www.mojobrassband.com