[Dixielandjazz] Identifying a "good" solo

[Ken Gates]

Reading books by Sudhalter and others who have the ability to transcribe and
analyze solos as played by the greats makes for very interesting reading.  Since
I have neither the ears or the technical knowledge to hear solos in this fashion, the
sounds, I think, cause various emotional reactions that may be either positive or
 negative---but maybe mostly neutral.

But anyone who spends  time listening to the music at festivals, concerts, taverns,
and recordings can and do have opinions as to when they have heard a particular
solo that attracted their attention in a positive way.  What are the criteria of a
musically unsophisticated listener, though experienced enough to have some value
attached to his/her appraisal?  We are, of course, limiting this discussion to OKOM.

My attempt to answer the question is to how to identify a "good" solo is---
...I expect that prior to the solo in question, there has been an opening presentation 
   of the melody either by ensemble or solo with only limited embellishment.  We are
   limiting this to OKOM, after all.  So, I want to hear some variation of the melody.
...I expect to hear good tone and intonation, as best my ear can hear it.
...I want to hear frequent references to the melody, yet occasionally hear a note or
   sequence of notes  that is different than the obvious choice that any journeyman
   improviser would choose.
...I want to hear phrasing that attracts my attention---a slightly different emphasis
   of syncopation or whatever it is that phrasing entails.  This is just as important,
   I think, as finding that "good" note.

That's about the best I can do.  Wouldn't pass muster at Julliard, I'm sure.  I would
like to hear what some other folks would be looking for.

Ken Gates