One of the most in-tune pianists around today, Kenny Werner might be best known for his treatise on improvisation, "Effortless Mastery - Liberating the Master Musician Within"--and you might consider this 2005 recording from the NYU campus to be a teaser into the insights within the book. It's a bit of a long video, but it's worth every second:
Thanks go out to Mr. Werner, for his ever-illuminating insights, and to ArtistHouseMusic for bringing this video recording to YouTube!
Check out my website, www.ajcjazz.com, for more on myself and jazz around central Texas
Check out my other blog, "JazzScripts" for jazz guitar and bass transcriptions
Sunday, March 24, 2013
Thursday, March 7, 2013
The Road to Confident Music: Learning to Focus
As we've all experienced, one of the cornerstones of good playing is clear, consistent focus. It's much easier said than done! Although it's an ever-present and always improving effort, I thought I'd share a few tips that have helped me in this important process. With practice and an awareness of some of these ideas, you will start to see a marked improvement in the quality of your playing, and you'll feel a great deal of confidence in your music! As you read, think about how you've already worked with these ideas, and how they already affect your playing.
Have a Clear Idea!
In other words, say only what you mean to say! For most of us, that will start with simplification. We are often convinced that we need to search for complex, interesting ideas, but this usually leads to over-complexity, which clouds our original intention. Instead, play something simpler, something clear and concise. Even if it's short, and even if it seems "too simple," you'll be absolutely certain that you're playing exactly what you intended, and it will come across as much more musical. The defining characteristic of every great player is that they are never overreaching their technical ability, and never playing anything accidentally or incidentally. Every choice they make is a conscious musical decision. Of course, in our musical youth, our technical proficiency is limited, but that's what time and practice are for! Use the tools you have to be musical--don't use them to be "impressive." Make conscious, musically responsible decisions, and your playing will achieve an impressive degree of maturity.
Simple ideas often seem to lack validity: they can sound rudimentary if they're used in the wrong way. It can seem tough to validate a simple musical idea in the moment! The clearest illustration of a "musically valid" idea is a lick: that's a pre-cooked musical idea, one that many people are familiar with. Licks are "pre-cooked" because they start out with some musical validity--they came from some other tune, or some other solo, one that has already been judged to be of high quality. But pre-packaged ideas lack the substance of an idea created in the moment, for the moment. So how can we create original material and have it considered valid? The answer is as simple as repetition, or (in more musical terms) motivic development. That's the process of taking a simple idea and using it as the melodic framework for a solo. Once you have a very simple, even a seemingly skeletal idea for a lick, start adding to it, little by little. Turns, approach notes, transpositions and planing... With these tools, a simple, skeletal idea can be fleshed out into a beautifully developed solo, or even an entire composition! Moreover, it will be a solo over which you always have control, and one that you genuinely believe in--because it's uniquely yours!
Maintain Your Focus!
This is possibly the most difficult of all topics to address, and one of the most difficult to practice. An inability to focus can completely sink a solo line, a comping line, or even a familiar melody. I've heard of a variety of ways to work on this, from meditation to deliberate distraction, but neither of these really worked for me, at least not yet. For my money, the most effective method of focus is not mental isolation, but rather an acute awareness of everything. Being aware of all my surroundings--both musical and extra-musical--allows me to be in control of any potential distractions, and also allows me to react to any changes in the musical environment. Whatever your method, the idea is to be aware of as much as possible. Although I might go into greater detail in the future, I'll acknowledge three levels of musical focus: formulaic, intra-musical, and extra-musical.
First and foremost, focus on the music! This is the formulaic part: knowing exactly where you're headed, at all times. Using simple ideas will help you maintain an awareness of the form of your tune. Memorizing the chords, form, and melody (and lyrics!) of your tune will help you understand the logical placement of these ideas. Having one or two different reference recordings will give you a springboard for ideas, and guide you toward a specific sound.
After you have the formula for a tune, you'll need to work on being aware of all the music that's happening in the moment. The most unique aspect of jazz is its ability to change instantaneously. Although our generation has access to some fantastic tools--iRealb, Aebersolds, Band-in-a-Box, GarageBand--even the most advanced of these cannot react to your playing the way a real player can, nor can they make the same unusual musical decisions a real player might. Reacting appropriately to musicians in a true performance setting is an invaluable skill, but one that can only be honed in the heat of a live performance. Play with as many musicians as you can, regardless of what the ensemble ends up becoming! Duo, trio, rhythm section or no, the experience you'll gain in holding together a tune with other musicians will be of great benefit.
A side-note: this is where it can be tempting to over-think things: not all musical situations require adaptive feedback from every musician. The majority of music we listen to, and most of the popular music around today, follows a through-composed formula. In these cases, the musical necessity might actually be great simplicity, and maybe a bit of redundancy. That's okay, if it's the musically appropriate thing to do! You need to be able to adapt either way. But whether you're working with a heavily interactive jazz trio or a rock-solid funk band, you need to maintain your focus enough that you are always playing your part with intention and contributing to the groove of the music, rather than forcing the music and your fellow bandmembers to carry your weight. Everything you play as an active, confident contributor adds huge levels of depth to the music, and makes it immensely more enjoyable for your bandmates and for the audience!
Lastly, once you have the ability to focus on these "intra-musical" ideas, you'll need to begin developing an awareness of the outside world, on all levels. Remember, it's when things are most distracting--when you have a lot on your mind, when you're feeling under the weather, when an inebriated audience member decides to heckle--that you'll need to focus most intently. This doesn't mean shutting out the outside world by ignoring it: trying to blot out distractions outright actually gives those potential distractions more power, and if they break through, it will cause a larger hiccup in the music. By the same token, you don't want to have to fall back on licks you know: in most instances, this actually means you're spacing out on the music, instead of focusing in, and will often result in a meaningless gesture, one that simply eats up time instead of adding to the composition. In order to maintain control over my music, I have found that there is a fine line between ignoring distractions and actually being swayed by them--that's where we need to be! Aware of all our distractions, but mature enough to set them aside. You'll have time to deal with those things after the music has been made, but when you're in the moment, the music is all-important--everything else can wait.
How can we practice this? In the short term, it's simple: lock yourself in the practice room and stay focused on your work as you play! The next step can be as simple as moving to a new area to play through a piece, one where you're not isolated from all other distractions. Always keep your mind focused on the task at hand: the chord progression, the form, simple melodic ideas. It's a great effort, certainly, but your music will sound worlds better as you practice it. Live performance, at a jam session or sitting in on a gig, is the last phase, where you subject yourself to your nerves, the band, and the people listening. Remember, developing impenetrable focus is a years-long effort, but it gets easier and easier with time!
The Result!
Getting these two ideas together is part of a larger goal: building confidence in your playing! You need to be aware of the things that are happening around you in order to react to them appropriately, and you should always stay well within your "wheelhouse" when you're in the moment, always playing simple licks and ideas that you are certain you have a grasp of. As you practice more, you'll expand your technical ability to include more complex ideas, and you'll learn to maintain your focus longer to accommodate larger ideas, but it's perfectly okay to start simple, as long as you have constant control over yourself and your music. Build that confidence early, and it will grow with you as your technique improves!
Just getting a grasp on these two concepts is a tough task, but I'll be covering more on the process of improvisation in coming weeks. Thanks for reading, keep up the practice, and I look forward to hearing from you!
Visit www.ajcjazz.com for downloadable materials, transcriptions, and info on lessons, as well as where to see me playing around town!
Thursday, December 22, 2011
Profiles: the Midtown Jazz Sound, DVJazz, and the Front Row Joes
And we're back! It's been awhile since my last post, but I think now's a good time to get back to it. A while back, I was told that my first few posts were a bit too "musical"; that is, meant for the musician and not necessarily for the casual reader. A few recent musical events in my career have led me to the conclusion that I'm not quite ready to be analyzing from that third person perspective, at least not as much (I'll still keep it up in the woodshed). Not to mention, some highly cathartic things have happened in my life in the past few months, and I'm in an introspective mood anyway! First though, the good news: career-wise, things have been good. Abundantly good, even! The jazz scene in San Antonio and Central Texas is alive and bucking, and I've had the good fortune to play with a number of great musicians in the past few months. In this post, I'd like to take some time to give them each their due for providing me with some great opportunities and some swingin' music!
My first gig with the San Antonio-based Midtown Jazz Sound was quite a few months back, before the chaos of the Fall semester descended upon me. The Midtown quartet regularly features John Fernandez on drums, Jose De La Garza on bass and Eric Gonzales on alto sax. On more nostalgic occasions, former Midtown pianist Damian Garcia sits in with the band, when the University of North Texas is through having its way with him (much love, Damo!). This lineup is pretty consistent, with occasional visits from other San Antonio and San Marcos musicians. Midtown's set list runs the gamut of jazz from the early 1920s all the way to the present, as well as a few off-the-album charts and arrangements, and the occasional funk, pop, or seasonal tune--definitely a repertoire workout! Jazz-heads will be appreciative of their take on the Real Book and the Songbook in general, but casual diners and drink-sippers will be impressed by their synergy, their groove, and the sheer level of talent. This group is really what got the ball rolling for me, and it's been a blast playing with these guys! More than anything, I've learned the value of practice in this group. As often as we play, it's tempting to think of each gig as its own practice session; on those nights when you're playing to chairs for an hour or two, it can start to feel that way! But each of these guys brings their A-game to every gig, and it's easy to fall behind if you're not quick on the getup. Despite a few slip ups on my part, they still put up with me, and I'm truly grateful for it! If you're looking to get familiar with MJS, there are plenty of chances to do so. Midtown can be found at San Antonio's SoHo Wine and Martini Bar every Wednesday from 10:30 p.m. to 2:00 a.m., as well as every Friday from 10:00 p.m. to 2:00 a.m. Midtown can also be found at Luther's Cafe on Main Street, every Friday night from 7:00 to 9:00 p.m.
It was through Midtown that I had the chance to meet a shredding San Antonio sax man, David Villanueva. I was really knocked out the first time I heard David play--his tone and feel are pretty epic, definitely something you need to hear if you're at all interested in San Antonio's music scene. After a few MJS gigs with him, I had the pleasure of sitting in with his band, DVJazz, at Landry's Restaurant and Lounge over on the Riverwalk. Along with David on the tenor and soprano saxes are Gabriel Cortinas on drums and Carlos Alvarez on bass, and let me tell you: this group is nothing but tight! The rep includes a few straight ahead jazz tunes, as well as several bossa novas, but also strays often into pop and Top 40 numbers, all played with a feel that Dave has come to call "Urban Jazz." Jazz aficionados needn't worry about it being smooth jazz, but the average listener can still grab a seat and be blown away by the group's effusive soul feel in a matter of just a few beats. It's remarkable how cleanly these guys can straddle the line between pop and art, and it's always a fantastic challenge to match them in terms of feel and musicality. I'm definitely looking forward to playing with them more in the months to come! If you're looking to catch a DVJazz show, check out Swig Martini Bar in downtown SA on Fridays from 9:30 p.m. to 1:30 a.m., and at Landry's Restaurant and Lounge on Saturdays from 6:00 p.m. to midnight.
As a student at Texas State, I've had the pleasure of networking with a number of astonishingly talented musicians, and it's through here that every one of these opportunities can be traced. One group in particular, though, sticks out as being a hodgepodge of TSU talent. Several semesters ago, I met a fantastic graduate-level trumpet player by the name of Joseph Ledesma. Back then, he was just starting to really dig into jazz trumpet--his master's is in classical performance--and he had aspirations to start his own group. He's now the manager and primary booking agent for the Front Row Joes, a group I've had a ton of fun playing with, and whose members I've become quite close to. Myself and the drummer, Peyton Bradley, go a very long way back--back to before either of us really appreciated what jazz was, when our high school band director Bob Howard was trying desperately to steer us in that direction. Peyton took off down the path first, and it's from him and his explorations in this music that much of my jazz taste (at the very least, album-wise) can be traced. Rounding out the rhythm section is bassist Patti Perez, a young and wonderfully talented player in the realms of both jazz and classical music. Her walking lines are really where it's at, as anyone who's played alongside her will attest, and her soloing is some of the most original you'll hear from any bass player. I can handily attribute much of my recent vigorous practice regimen to her (since she was out-woodshedding me hand over fist!), and it continues to be a great thrill to watch her grow as a player. And lastly, sharing frontman duties with Joseph, is vocalist Candy DeClue. My first meeting with Candy was a guitar lesson, as were our first several meetings. I was surprised when she first mentioned that she was a jazz singer, but I was absolutely floored the first time I actually heard her sing, and I have been every time since. Her voice is one of the most powerful I've ever heard, and every note she sings or scats is infused with incredible emotion and passion. It's this impressive collection of Texas State talent that makes the Front Row Joes an act worth seeing!
Between these groups, not to mention school, my schedule can fill up a bit, but I'll always make room for San Marcos's Jazz Jam, held every Thursday evening at the Coffee Pot Bistro on the Square, from 8:30 to 11:30 p.m. There are, of course, quite a few musicians whose names didn't make it into this post, and there are often shows that we can't attend for one reason or another, but every week during the semester, the jazz musicians of Texas State find time to get together and throw down a few tunes. This past semester, the house band included myself, Peyton, and bassist Lewis McMahon, a trio known as the Roots of Rhythm, that got its start back in 2008, when I first arrived at TSU. Of all the groups I've worked with, this one is hands down the easiest to play in--every tune is one giant comfort zone! It's one of the great perks of having plenty of time in with a couple of other good musicians. In the coming semester, our schedules will be shifting a bit, but it's my hope to keep the jam going as it has been, and to see more musicians turn out to play!
These profiles of the groups I've worked with in the past few months are by no means a full digest of all the great musicians I've had the pleasure to play for, but it's a good start! If you're at all interested in the Central Texas jazz scene, the names mentioned above are ones you'll want to keep in mind--all of these players and groups have incredible potential, and I'm certain their names will be appearing in other places as time goes on! That's all I have for now, but I encourage you to check out the websites for all of these groups and venues, and I invite you to take a night off and find some good jazz in your area. Cheers!
~Art
The Front Row Joes - look for The Front Row Joes on the contact page!
Swig Martini Bar - on the Riverwalk
The Coffee Pot Bistro - at the San Marcos Square
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