Play What Your Hear - Three Individuals
We all learn this music by listening to what music is already out there, what has already been done, and we look for a way to fit into the present musical landscape. Some of us try to create a sound like someone we admire, or that other musicians will be impressed with, or that fits into what is happening in our local scene (all the better to get hired, my dear).
I feel it's more important to be honest in your music: play what you hear, not what you think others want to hear from you- be it the group of players you want respect from, record labels, promoters, even audiences at jazz clubs or festivals. Play what you hear.
If you are studying your chosen instrument, if you are studying the music and its history and development, if you are learning the songs, you will feel a stylistic concept evolve, and you will hear your sound as you play.
Three of the most influential jazz masters of all time were told they had no business playing jazz.
Lester Young was told his sound wasn't muscular enough, because Coleman Hawkins had what was thought to be the perfect jazz tenor sax sound. Bandleaders actually sat Young down and played Hawkins' records, saying "that's what you're supposed to be doing!" Count Basie, however, enjoyed the contrast of having this sweet, smooth sound coming out of his roaring, stomping, blues-based band. As he recorded under his own name, his melodic lines that emphasized the color tones- 6ths, major 7ths, 9ths- offered an alternative approach to tenor sax, and opened the door for the birth of the cool.
Ironically, Thelonious Monk was not considered to be a prime time musician until Coleman Hawkins hired him. People thought Hawkins had lost his mind, because Monk didn't play like other pianists played; in fact, many people thought he couldn't play at all- what was Hawk thinking?
Of the four primary elements of (jazz) music- melody, harmony, rhythm and form- Monk's playing and writing was essential to the development of a modern (post-big band swing) jazz vocabulary in all of them, even though his piano style was firmly rooted in stride. Players nowadays are still challenged by his writing, and very few pianists can play like him without sounding clumsy.
Bill Evans was also denigrated- in his case, for being too studied, too classical in his approach. He didn't come through the blues; he saw a piano trio as a chamber group, a collective of equal partners, not the star-and-sidemen style of most other small groups. His introspective ballads, deceptively simple voicings, and use of 'inner melodies', reflecting his love and understanding of classical and romantic compositional forms, changed jazz piano accompaniment dramatically.
There are so many other examples, but these guys stuck with who they were, committed to what they heard. Fame, respect, these things came late for them, but their legacy is heard in countless jazz players who came after them.
Play what you hear...
I feel it's more important to be honest in your music: play what you hear, not what you think others want to hear from you- be it the group of players you want respect from, record labels, promoters, even audiences at jazz clubs or festivals. Play what you hear.
If you are studying your chosen instrument, if you are studying the music and its history and development, if you are learning the songs, you will feel a stylistic concept evolve, and you will hear your sound as you play.
Three of the most influential jazz masters of all time were told they had no business playing jazz.
Lester Young was told his sound wasn't muscular enough, because Coleman Hawkins had what was thought to be the perfect jazz tenor sax sound. Bandleaders actually sat Young down and played Hawkins' records, saying "that's what you're supposed to be doing!" Count Basie, however, enjoyed the contrast of having this sweet, smooth sound coming out of his roaring, stomping, blues-based band. As he recorded under his own name, his melodic lines that emphasized the color tones- 6ths, major 7ths, 9ths- offered an alternative approach to tenor sax, and opened the door for the birth of the cool.
Ironically, Thelonious Monk was not considered to be a prime time musician until Coleman Hawkins hired him. People thought Hawkins had lost his mind, because Monk didn't play like other pianists played; in fact, many people thought he couldn't play at all- what was Hawk thinking?
Of the four primary elements of (jazz) music- melody, harmony, rhythm and form- Monk's playing and writing was essential to the development of a modern (post-big band swing) jazz vocabulary in all of them, even though his piano style was firmly rooted in stride. Players nowadays are still challenged by his writing, and very few pianists can play like him without sounding clumsy.
Bill Evans was also denigrated- in his case, for being too studied, too classical in his approach. He didn't come through the blues; he saw a piano trio as a chamber group, a collective of equal partners, not the star-and-sidemen style of most other small groups. His introspective ballads, deceptively simple voicings, and use of 'inner melodies', reflecting his love and understanding of classical and romantic compositional forms, changed jazz piano accompaniment dramatically.
There are so many other examples, but these guys stuck with who they were, committed to what they heard. Fame, respect, these things came late for them, but their legacy is heard in countless jazz players who came after them.
Play what you hear...
Tags: Evans, Monk, Scotty, Wright, Young, education, individualism, jazz
Replies to This Discussion
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Permalink Reply by Ms J on -
I agree with what was stated above it is very true. If you go against the grain too much often times the audiences ears are more aware of it than artist may think. As long as you play from within your soul the audiences will feel it and respond. There's always going to be critics regardless to what you do. But that just helps a true artist that is dedicated to his craft all the more better. All the best to everyone dedicated to the art of Jazz.
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Permalink Reply by Lionel Haas on -
Those were very interesting examples.
THis reminds me of a piano lesson I had at a jazz clinic years ago. The pianist I studied with told me that my style of playing wasn't "modern enough". I guess he meant that my licks were too traditional, too caught up within harmonies and clichee melodies, too much within the blues idium and not breaking out, as modern players like Chick Korea for example. Looking back, although he had some very good points about how to improve my playing, I think his judgement was more based on his personal taste. I think that's the wrong teaching approach.
Over the years I hope that I have found some balance between playing what I hear on one hand and on the other hand, respecting the style you are currently playing (For example, I wouldn't play sharp eleventh or bebop lines in a blues band like I would in a hard bop formation). And I agree, no matter what style you're playing, play what you believe in, from your heart and soul.
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Permalink Reply by Scotty Wright on -
Thanks for sharing that. You're probably right- too often, player/teachers have a favored style or approach that they tend to push on students, making it more difficult for developing players to find their own sound- the one true measure of success as a jazz improvisor.
In the wonderful film "The Universal Mind of Bill Evans", Bill laments the fact that so few educators learn how to teach jazz without teaching specific styles. He also says that one of the mistakes developing players make is trying to approximate complex devices played by their idols, instead of playing what they can both execute and understand. Without understanding, there is no foundation upon which to improve one's skills.
What you were playing at that clinic long ago may have seemed not modern enough, but if you could understand and execute your ideas, that's the place to start from. More study, varied playing environments and comparative listening would have brought you different ideas and approaches in time.
A jazz musician never wants to ignore what is happening in the music though, because it's not until we really experiment with a harmonic device or rhythmic concept that we can decide whether our relationship with the music would benefit from such additions.
It's the same way our spoken vocabulary grows: hearing different words and phrases, understanding appropriate contexts, then assimilating them into our own word banks...
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Permalink Reply by Lionel Haas on
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Well, the studying , different gig environments, learning different styles and comparative listening, that's what I've been doing and still do.
I guess what teachers should do is to provide the tools for technique, ideas but leave it to the student to develop his/her own style. I teach, too sometimes and I find that students want me to give them a formular or recepy on how to become a jazz musician and wanting to imitate. But I guess you know that from your own experience.
Do you think I might find some clis on youtube from the film"The Universal Mind of Bill Evans" that you mentioned? I'll check that out.
By the way, I really enjoyed your video, that's brilliant singing and playing.
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Permalink Reply by Scotty Wright on
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Permalink Reply by Scotty Wright on
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yes, Lionel, it has been posted, in part, on YouTube:
http://www.youtube.com/watch?v=Ihw6K7jiAS4
enjoy!
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Permalink Reply by Lionel Haas on
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Yep I had already found it. Thanks
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Permalink Reply by Scotty Wright on
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good to know; it's very insightful- especially interesting to watch how his brother Howard tries so hard to justify not being at the same level as his younger brother. still, the information Bill shares is golden- even today- especially today.
by the way, thank you for your kind comments about my video; I'm happy you enjoyed it- happy it's being heard...
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Permalink Reply by Lionel Haas on
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Well I think Bill's brother still handles that fact with a lot of dignity and humility.
Bill's harmonic concept is just uncomparable.
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Permalink Reply by Scotty Wright on
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I agree, and his statement of 'most of us overplay- we have to' is so indicative of the mindset of many musicians- 'if I add more notes, maybe people won't notice there's no melody'.
But the real revelation was hearing Bill's versions of 'How About You'. His first solo, in his own voice; his second, 'simple' approach, and then his third, 'unfocused' rendition- and all three head and shoulders above what we hear from most pianists, then and now.
A true master, and a wonderful educator. -
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Permalink Reply by Lionel Haas on
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Well, speaking of "not overplaying", or "less is more", I find that the best way to keep those things in mind while playing is to really focus on rhythm. Let the melody fit the groove - don't drop an entire blanket of dense notes on the tune. PLay riffs of melodies, that'S how space is created.
I may be stating the obvious to some, but I imagine that other aspiring musicians might find that approach useful.
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Permalink Reply by Scotty Wright on
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yes, this is what I always would tell students: scales and arpeggios are great tools, but they are not melodies. there must be punctuation, sentences, paragraphs so that our statements make sense.
another device I suggest to pianists who tend to overplay is to play what they can sing- not sing along to their playing, but the other way around. let your voice dictate what is to be played, and when you run out of air, your musical sentence should be complete. if not, you must fashion your melody to fit with your air supply.
it's a way to ensure that the mind runs the show, that it's not just fingers being exercised. -
The Jazz Network is exactly what the title suggests, a place where you get to mix and mingle with those who have not only an appreciation for Jazz but a forum to hear new up and coming artists as well. I've hooked up with so many of my old friends that I've lost contact with over the years here and it's been a great place to meet folk, appreciate good music and Musicianship. What an incredible idea!!
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