[Dixielandjazz] Rehearsal Issues

Wed Jun 15 18:11:54 PDT 2011

Big band is a different set of issues.  One of the problems as you stated is the random nature of rehearsals and gigs.  Many bands don't really rehearse.

One of the big bands here rehearses each week and pays a guy to rehearse them.  They do a good job for the most part.

Another rehearses every week but because the leader is a musical moron it really doesn't do a lot of good.  This band has some good musicians but bad rehearsal techniques bore them to death such as always starting at the beginning of the tune when the part that needs rehearsing is in the coda.  Rehearsing a girl singer over and over on the same tune is also moronic.  This band once spent an entire hour and a half on one tune (Minnie the Moocher) for the female vocalist, over and over and over. I wanted to scream. 

By the way that was the night I committed gigacide when I suggested making a tape and having her rehearse it at home then come to rehearsal knowing the tune.  What a novel idea!!!  That didn't go over well because she was the current girlfriend who had no sense of style or timing.

I play with a big band that gets a paid rehearsal.  The leader starts the tunes and rehearses the start - tempo etc. and if there are any issues such as a complicated soli.  We rarely run a tune all the way through.  We rehearse endings if there are issues.  Each tune goes pretty fast and the easier things are sight read on the concert.  The difference is that this band has the best pro musicians in the area, capable of sight reading on a high level.  I might point out that this band makes more than three times what the other bands pay their guys.

Another difference is that these guys sit down, shut up and listen to the leader.  No one practices and everyone comes tuned.  I have never seen any of these guys pull out a tuner.  That annoys me to no end.  Guys trying to use tuners and then play out of tune!!!  It is so neat to play with guys that listen to what they are doing and have a clue.

The whole thing boils down to how good the players are and what you have to do.  I think hiring a musical director is a good idea for the average hobby band.
Larry
StL

  ----- Original Message ----- 
  From: Rick Campbell 
  To: Larry Walton Entertainment 
  Sent: Wednesday, June 15, 2011 3:39 PM
  Subject: Re: [Dixielandjazz] Starting Improv

  Rick wrote:

  Yes, agree. Also saw the comment on list.

  But you are really starting some new threads here: "A. Rehearsal issues" and "B. Fear of improv from classically trained players."

  A. Example: Some local "kicks" big bands out here just meet once a week, run through their book in a random fashion, and never polish anything. It is just amateur fun. 

  A. Example: A professional rehearsal usually presumes: 1. a preliminary study of the material (from charts, lead sheets, or recordings); 2. a rehearsal in which members are all adults, and willing to take suggestions and criticisms, and 3. a rehearsal in which everyone is willing to refine and polish until it feels right. Of course, the better bands have always been able to do this. 

  B. Example: Some (not all) of the finest classically trained musical directors I know are very good at reading a score and interpreting it. But they are not very good at jazz improvisation. They disdain OKOM. So this issue goes back to how music is taught at the conservatory and college level.

  B: I recommend the book Free Play by Stephen Nachmanovitch. 

  On Jun 15, 2011, at 11:18 AM, Larry Walton Entertainment wrote:

    Sounds like a good plan too.  The hardest thing seems to be tearing them away from the paper.  BIAB has a lot of progressions that are great to practice to.  There are many unfortunately that just can't seem to do it or maybe worse play gobbldy gook or very wooden solos.

    I think that the answer is encouragement in the beginning from other musicians.  Encouragement is a two edged sword.  I play with a band occasionally that no matter what manner of crap is played there is always a pat on the back.  I'm not sure that helps in the long run.  The best encouragement that a player can get is his own when he knows he did good and wants more.
    Larry
    StL
    ----- Original Message ----- From: "Rick Campbell" <ricksax at comcast.net>
    To: "Larry Walton" <larrys.bands at charter.net>
    Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
    Sent: Tuesday, June 14, 2011 1:13 PM
    Subject: Re: [Dixielandjazz] Starting Improv

      Another effective way to start improvising has been taught by  saxophonist Lee Konitz. He calls it "Ten Steps to an Act of Pure  Inspiration."

      It involves having the student play the melody at a slow pace ten  times, adding variations each time.

      The first time is absolutely as written.

      The second time, vary the melody and perhaps add ornamentation.

      The third, more variation.

      And so on, until the tenth time is "pure inspiration" and may have  become chordal arpeggiations (Hawkins Body and Soul), or an entirely  new melody (Moonglow/Picnic).

      The charm of this method is that it is a gradual process, and the  student builds on each successive variation, rather than leaping  suddenly into unfamiliar territory. I suppose you could call it  learning through transformation.

      In the process, the player also gains a deeper understanding of the  song, both melodically and chordally.

      As previously mentioned, a program like Band In A Box provides an easy way to build a music chord bed for practice.

      Mel Martin has written a more detailed description in Jazz Times:

      http://jazztimes.com/articles/26567-inside-out-part-one

      (It is not aimed at dixieland improv per se, but it speaks to our  topic.)

      Rick Campbell

      Milneburg Social and Pleasure Society Jazz Band

      Portland, Oregon USA

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