I”m still in search of the perfect note.
Last Sunday I played a big band gig with the Grand River Big Band, where it was my privilege to sit next to tenor man Hugh DeWitt. In the middle of a killer R&B tune, Hugh slid up effortlessly into his altissimo range to nail a beautifully placed note–a long, screaming tone that couldn”t have more clearly declared itself to be the emotional high point of the tune if it had hung a sign around its neck that said so.
There was a perfect note if ever I heard one.
I’ve spent years developing my technique on the sax. I won’t say I’ve mastered bebop, but I’ve got a good foundation in it, and when I”m in peak form, I can really get around my horn. I can play fast.
nBut these days, my goal is to slow down and let fewer notes say more, with greater creativity and conviction. It’s a challenge. Certain tunes and styles are so energetic that I naturally gravitate to a flurry of chops. It takes discipline to slow down, un-busy myself, and see what I can do with fewer notes.
I”m getting there. More and more, my internal editor is informing my playing, guiding me toward the union of technique with melodic taste and harmonic sensibility to create musical statements I’m genuinely pleased with. Sometimes I could even swear I’ve hit the perfect note.
Musicality is what it’s all about. The point really isn’t to play slow any more than it is to play fast. The point is to play musically, to make technique serve beauty and taste at any speed. That’s my goal. I’m not where I want to be yet–but I”m a lot closer than I was five years ago.
Bob! The site looks great!! Excellent point on musicality over technique — I often struggle myself with not being too busy as a bass player. Everyone has a role in an ensemble and I love my job as a support instrument. There’s just something really special about setting up a pocket with the drummer and then hearing the lead player take off with renewed inspiration! Thanks for sharing such a meaningful insight. – Don
Glad you like the site, Don. I”m really pleased with the job Mitch and Karina did for me.
Understanding one”s role in a combo is key to musicality. Every role offers its particular brand of satisfaction. And of course, the role shifts from time to time. For you, I”d imagine the payoff is hitting that sweet zone with the drummer that drives the band. But you still get a chance to shine as a soloist every now and then, no doubt more often in some settings than others. That’s what I love about small combos: the flexibility and spontaneity.