“Will I Ever Become a Good Jazz Improviser?”

What does it take to become proficient at improvising jazz? Will I ever become a decent player?

Have such thoughts ever nagged at you? Perhaps you’re at the stage where you’ve acquired a decent technique, but you’re uncertain how turn it into flowing, musically cohesive improvisations. Will you ever be able to make the leap between mere good chops and great jazz solos?

Or maybe you’ve been playing the sax for a while and you think you’re making strides. Then you come across a YouTube video of some young firebrand who’s blowing circles around anything you ever dreamed of playing, and your heart sags. At that point, you think one of two things: What am I wasting my time for? or I can be that good too if I work at it.

Depression or determination. I’ve felt both emotions at different times. When I was 26 years old, I took a year of music at Wayne State University in Detroit. During my time there, living on campus, I made arrangements to practice after hours in the music building, where I normally woodshedded from 9:00 p.m. to as late as 3:00 in the morning. I worked hard, doing scale exercises, running patterns, and memorizing solos from the famous Charlie Parker Omnibook.

One evening I walked into the building early and heard sounds of music drifting from the auditorium, where one of Detroit’s high school jazz bands was playing a concert. I listened for a bit. They sounded pretty good! But I had work to do, so I broke away and headed for one of the empty classrooms, which I preferred over the smaller practice rooms. Then I assembled my horn and began to work on one of the Omnibook transcriptions I was memorizing.

A few minutes later, several of the high school band members walked into the room. The concert had ended, and they had heard me playing down the hall and decided to get an earful. Cool. I didn’t mind if they hung out and listened. I chatted with them a bit, and then the bass player said, “Hey, we gotta get James.” The other guys agreed that James definitely needed to be gotten, and one of them left to look for him.

I continued to work on my Bird transcription. Pretty soon, in walked a fourteen-year-old kid with a tenor sax tucked under his arm. He listened to me for a minute, then said, “Oh, ‘Ornithology.'” He put his horn to his mouth and started to rip through the Parker solo from memory as flawlessly as if his genetic makeup included an ‘Ornithology’ chromosome. Then, having demonstrated his mastery of a solo that I was only beginning to get my arms around, the kid proceeded to double-tongue a chromatic scale up into his horn’s altissimo register, high enough to sterilize the flies in the room.

I wanted to slap him.

The kid went on to tell me how he planned to master not just the saxophone, but all of the woodwind instruments. Whether he has entirely fulfilled that lofty ambition in the years since, I can’t say, but I do know that today, jazz virtuoso James Carter plays a large number of the woodwind family in addition to the tenor sax.

Fellow saxophonist Tom Stansell, whose family owns and operates the celebrated Blue Lake Fine Arts Camp in Muskegon, where Carter spent a summer as a student years ago, once commented, “No one ever told the kid that it’s hard to play fast.”

As for me, I just kept plugging away at my saxophone. My journey as a musician hasn’t taken me to New York at age 21 or on international tours. Rather, it has placed me in Caledonia playing for cows in the pasture at the west edge of town and taking gigs as they come, which they seem to be doing more and more of lately.

And they should be. Because while I’m no James Carter, I’m a good sax player. I’ve been told on different occasions that I don’t realize how good I really am, and maybe that’s true. I hope so. Coming from capable musicians, compliments like that certainly encourage me, because I’ve worked hard to bring together all the technical stuff–the scales, arpeggios, patterns, solo transcriptions, and everything else I’ve labored at over many years–into something that sounds interesting, original, personal, passionate, and…well, musical.

I hadn’t initially planned to share the above anecdote, but there’s a point to it: discouragement and inspiration often come from the same source, and they’re just a matter of how you look at things. Maybe you’re not playing the way you wish you could play today. But if you stick with it, one day you’ll look back and realize how far you’ve come. The technique that you’re presently unsure what to do with will have become your servant, the building material of ideas which you spin with confidence and ease out of your horn. You may not be the next Michael Brecker–or maybe you will be–but that’s not what it’s about. Do what you do for the love of what you do, and everything else will follow in its time.

Not all of us have the same advantages. Not all of us grew up in musical families or were steeped in jazz at an early age. Not all of us have the same natural aptitude, the same educational opportunities, or the same life circumstances that permit us to practice as much as we’d like. But all of us have the ability to choose whether to persevere or give up. So…

“Will I ever become a good jazz improviser?”

If you quit, the answer is no.

If you keep at it, studying the music, listening to great players, and practicing diligently and consistently, the answer is yes.

Don’t rob yourself of the joy of playing music worth hearing. Don’t deprive the world around you of the pleasure of hearing you. And don’t belittle the talent God gave you, because into that talent is woven a purpose that is higher than you may imagine.

Stay with it. You’ll be glad you did.

August 5, 2009 by
Filed Under: Band, Entertainment, Jazz, Jazz Improvisation and Technique, Life, Music, Nature, Saxophone, Tornadoes, Weather Tagged With: , , , , , , , , , , , , , , , , , , ,

Changes Coming to Stormhorn Blog

Greetings, friends and readers of Stormhorn.com!

I want to fill you in on some changes that are in the works for this blog. They’re not here yet, but they are impending, and I anticipate that they will help take the blog, and eventually its parent Stormhorn website, to the next level.

At the moment, the most significant change in the works is a brand-new, custom theme. My lady friend, Lisa, who is absolutely brilliant at website development, online marketing, and all things computer, has been beavering away steadily at the new version. When it is done, this blog will have a new look and much greater versatility. I’m excited about what Lisa has got planned, and I can’t wait to roll it out once it’s ready, see how you like it, and get your feedback.

Concurrent with the new theme, I’ve been thinking about adding an extra element of interest by featuring guest bloggers from time to time. They will be from the worlds of both music and storm chasing. I like the idea of offering you insights and perspectives besides just my own, and I hope that doing so will provide an added value for my readers as well as a positive experience for my contributors.

About my Jazz Improvisation E-BooK: While this project has been on the back burner for a while, I do anticipate picking it back up at some point. I’ve already got several installments written; however,  because I tend to be pretty thorough, each lesson takes me considerable time to develop, and with other more pressing matters to deal with, I just haven’t had time or focus for the e-book. Stay tuned, though, because it is by no means a dead project. As this blog and website continue to develop step by step, I will at some point get the e-book back on track.

So, there you have it: changes are coming to Stormhorn.com, and the first of them is right around the corner. Meanwhile, I’ll continue to post with the existing format, which has served me well thus far. I hope you’ve enjoyed your visits here, and that you’ll enjoy them even more as this blog enters an exciting new phase.

July 28, 2009 by
Filed Under: Band, Entertainment, Jazz, Jazz Improvisation and Technique, Life, Music, Nature, Saxophone, Storm Chasing, Tornadoes, Uncategorized, Weather Tagged With: , , , , , , , ,

I Hope You Don’t Mind If I Repeat Myself

There are two broad aspects of productive practice on the saxophone, or for that matter, on any musical instrument. Those aspects are the intellectual and the physical. The intellectual side involves figuring out what you’re doing and why. The physical part is pure muscle memory, a matter of developing technique. Your goal as a musician is to gradually and increasingly knit together both of those aspects into a seamless whole. For that matter, neither of the two exists apart from other, but there are times when you will find that you’re weighting one concern more heavily than the other.

In this post, I’ll address a critical component of successfully developing the physical side. It’s really no deep, dark secret, but it eluded me for a long time, and when I finally discovered it, my technique–and consequently my playing overall–took a quantum leap forward. So, Grasshopper, I now pass on to you the chops-building key of the ages. Make the following wisdom your practice mantra:

Repeat, repeat, repeat.

I repeat: REPEAT.

Whether it’s a simple scale pattern, a complex lick, or a digital exercise that you’re striving to run seamlessly through all twelve keys, repetition is the vehicle that moves the material you’re practicing from that first phase of slowly piecing it together under your fingers, to internalizing it in a way where you own it and can produce it at a moment’s notice.

What do I mean by “repeat”? Simple. You play your material–slowly enough to play it well. Then you play it again. And again. And again. And again, and again, and again…

You increase your speed gradually as the material works its way into your fingers. Ten times, fifteen times, twenty times…what you’re doing is programming your fingers. It’s the same principle as learning to type. The more you do it, the less you have to think about what you’re doing as muscle memory takes over, converting the intellectual aspect of what you’re practicing into automatic response.

Repetition is not some strange concept. It’s the norm. It’s what you do if you want to become proficient on your axe.

It takes time. Yes, time. That’s one reason why an hour is really nothing once you become truly immersed in practicing your instrument. Two hours is more realistic–and believe me, once you discover the magic of the woodshed, you can go much longer than that, and you’ll want to.

Repetition isn’t a magic bullet, but it’ll go a long way to developing the stuff you need in order to be a great improviser.

So I hope you don’t mind if I repeat myself one more time:

Repeat, repeat, repeat.

Now…tell me what I just said.

Very good, that’s right…

Repeat.

June 2, 2009 by
Filed Under: Entertainment, Jazz, Jazz Improvisation and Technique, Music, Nature, Saxophone, Tornadoes Tagged With: , , , , , , , , , ,

Of Sax Practice and Railroad Tracks

I just returned from a nice, two-hour saxophone practice session out by the railroad tracks.

The railroad tracks?

Oh, I guess I haven’t told you about my practice habits. They have as much to do with where I practice as what I practice.

Living in an apartment, I try to be considerate of my neighbors. I like to think that they’d enjoy my music, but realistically, there’s only so much that even the most ardent jazz lovers can take of listening to the same licks, patterns, and scales repeated ad nauseum, blaring down the hallway and through the walls. So for years, my practice room has been my car. My routine has consisted of driving to the outbacks of Kent County and parking at various locations along the CSX tracks between Kentwood and Lansing, where I practice my horn and watch for the trains to roll by.

I love trains. Obviously, I also love playing my sax. It’s nice to be able to combine those two interests in a productive way. Tonight, as I do so often, I parked at one of my favorite trackside spots near a small community called, appropriately, Alto. I didn’t see any trains, but I had a most productive practice hashing out some diminished and diminished/whole tone licks, and woodshedding the Charlie Parker tune “Ornithology” in several keys.

I always return feeling good about my playing after a session like tonight’s. The time goes so fast! And that’s as it should be.

The best way to make a living is to earn money doing things we’d pay money to do. Playing the sax is one of those things. I can’t say I make a living at it, but it certainly supplements my cash flow; it’s part of the picture of my livelihood. I’ve been at it a long time now, and most of that time I’ve been practicing in my car by the tracks–or, during the warm months, often outdoors. If I ever do buy a house and gain an honest-to-goodness practice room of my own, I think I will still maintain my railroad track sessions. I’d miss them far too much not to. Habits are hard to break, and there’s no reason to break a good one in the first place.

April 3, 2009 by
Filed Under: Jazz, Jazz Improvisation and Technique, Life, Music, Saxophone Tagged With: , , , , , , , , , , ,

Using Sequence in Jazz Solos: Some Exercises

Howdy, campers. As promised, I’m back with a few exercises on sequences that you can actually wrap your fingers around.

Before you proceed further, please take a moment to read my introductory post on this topic, written a couple days ago.

And now, assuming that you’ve done as I requested and acquired a foundational grasp of what sequence is and why it’s such a handy tool for the jazz musician, here’s the first exercise. It illustrates the concept of diatonic sequence. The sequence happens to move up by thirds starting on the chord tones of a C major 7, but it could just as easily move up or down by seconds, or fourths, or up and down at random intervals.

Diatonic Sequence

You could use the same pattern over a C7 by changing the note B to a Bb. But my point isn’t to show you how to outline a chord. It’s to demonstrate how the use of diatonic sequence provides a sense of logic and cohesiveness which you can use to advantage in improvising a jazz solo.

Sequence does such a good job at “making sense” of an idea that you don’t even have to play in key to sound good. In fact, “wrong notes” can sound very cool when you play them as part of a sequence. The temporary harmonic clash creates color and interest.

Sequentially mirroring an idea exactly, interval for interval, is one way to quickly slip out of key, letting the weight of the sequence rather than harmonic agreement justify the use of individually questionable tones. In the following example, root movement descends by major thirds.

Notice that the idea resolves to a chord tone. It’s cool to take your listeners for a temporary excursion into outer space, but you generally want to bring them back to planet earth again with a healthy dose of consonance.

Exact Repetion

Again, the movement downward by major thirds is just one possibility.

You can add further interest by shifting the rhythm of a sequence. The following shows the same sequence as above, but the six-note pattern is now imposed on a 4/4 setting rather than 3/4. I’ve marked the separations between each group of notes in the sequence.

Exact Repetition with Syncopation

Note that I’ve used the sequence over a different chord, an F#+7(#9), another nice application for the augmented sound implied by the major third root movement.

Finally, here is a twelve-bar blues to illustrate the use of sequence in an actual jazz solo. The ideas may seem a bit forced, but they give you a feel for how both diatonic sequence and exact repetition might be applied in an improvisation.

sequenceblues

The above illustrations just touch on the myriad creative and highly personal ways that sequence can be used in jazz solos. To recap: sequence can help you organize musical material in a way that creates cohesiveness and momentum, and that gives “wrong notes” a powerful sense of rightness when you want to play outside the changes.

Like any other component of music, sequence needs to be used judiciously. The right amount adds spice; too much just sounds overdone and even boring. Listen to how the greats of jazz use sequence, work with it yourself, take risks, and let your ear be the judge. And need I say…have fun!

March 30, 2009 by
Filed Under: Band, Entertainment, Jazz, Jazz Improvisation and Technique, Music, Saxophone, Weather Tagged With: , , , , , , , , , ,

Using Sequence in Jazz Improvisation

Okay, campers, listen up: it’s time to talk about…

SEQUENCE.

Yes, sequence. A fundamental building block of music, and a very handy device in the improviser’s toolkit.

What is sequence? There’s nothing mysterious about it. Sequence is simply the repetition of a melodic idea beginning with different tones. Sequence can be diatonic within a key, and many scale exercises consist of scale material organized sequentially. Sequence can also be an exact, interval-for-interval repetition of a motif (or lick), which often–indeed, almost inevitably–will take you out of key.

The beauty of sequence lies in the coherency it brings to a solo. Sequence is a means of organizing melodic material in a way that the listener can immediately relate to. In the midst of a free-form flow of melody, sequence provides a sense of logic, a momentary theme for the ear to latch onto and follow through one or more permutations.

In its simple, diatonic form, sequence creates interest as you navigate your way through a single scale, chord, or ii-V7-I cadence. But sequence can also be used to take you out of key The strength of repetition has a way of making “wrong” notes sound right–a quality that becomes increasingly important when you’re playing tunes with little in the way of harmonic interest. When you’re in the midst of a two-chord jam, diatonic scales get boring pretty quickly. You’ve got to create energy. How? By using chromaticism–tones outside the key center that add color. Sequence is a great way to do so in an organized fashion.

Now, one picture is worth a thousand words, right? “Don’t tell me, show me,” is what you’re thinking. Relax. I’m not going to leave you hanging without a few examples. I’ll provide some material you can practice in an upcoming post. Right now, I just want to introduce the concept of sequence and whet your eagerness to get a few exercises under your fingers.

“But I want to start noooowwww!!!”

Patience, Grasshopper. It’s Saturday afternoon, it’s spring, and I want to get out and enjoy the day. Stay tuned, though. I’ll be back with a few goodies. Promise.

March 28, 2009 by
Filed Under: Band, Christian Music, Entertainment, Jazz, Jazz Improvisation and Technique, Music, Saxophone, Weather Tagged With: , , , , , , , , , , , , , , ,

Sax Maintenance: Happiness is a Tight Horn

After giving the matter some thought, I will admit that there are some things that are better than a freshly adjusted horn. There just aren’t many.

I got my trusty Conn 6M back from my repairman today, and I’ve fallen in love all over again with my “Lady Face.” The horn is an absolute joy to play when all the pads are sealing tightly and the horn has been properly regulated. Tomorrow night, when I play at One Trick Pony with Francesca and Friends, I’ll be getting everything out of my alto sax that it’s capable of giving–and that is a lot, beginning with a fat, round, robust tone that fills the room without any need of a mic.

This is the second time I’ve taken my alto to this present horn technician. He’s pricier than what I’ve been used to paying, but I don’t mind, because the man really knows his stuff. When I walk away from the shop with my horn playing the way it is now–that’s worth it to me. There’s something about a freshly serviced horn that makes it irresistible; pick it up and start playing it, and you can’t put it down anytime soon. At least, I can’t. I gave mine a good workout this evening, and I’d have kept going for another hour had I not had other items on my schedule to take care of.

If you’ve played your horn any length of time, you understand that periodic maintenance is as much a built-in, normal expense of playing the saxophone as purchasing new reeds. I try to get my horn in to the shop every six months or so. That’s not really so much a matter of the calendar, though. I’m just sensitive to my horn, and when it starts getting squirrelly on me–when the low notes blow hard and want to separate into overtones; when the volume becomes difficult to control; when my tone becomes raspy or strident–then I know it’s time to see the tech.

Since the issues that can crop up on a saxophone tend to do so incrementally, it can be surprising just how huge a difference a good maintenance job can make. If you’re a novice player, don’t be shy about taking your horn in to the music store and having a repair man look at it. Just make sure he’s a good one. Most techs know their job, but you may want to ask around and find out if there are one or two names that get stellar recommendations from professional players. I’m really pleased with my present technician, and it helps to know that he gigs regularly himself.

Can’t wait to see what my horn does on Francesca’s Valentine’s Day gig. It’ll be a blast. I hope to see some of you out there tomorrow night at One Trick Pony!

February 13, 2009 by
Filed Under: Jazz, Jazz Improvisation and Technique, Music, Saxophone Tagged With: , , , , ,

The Wisdom of Not Chasing Storms in February (or, Gee, I’m Glad I Practiced My Sax Instead!)

When it comes to chasing early-season severe systems, I’m getting better about reining myself in. Today was the big test. With a whopper of an H5 jet max–upwards of 120 knots–pushing through northern Kentucky into southern Indiana and Ohio, it was tempting to make the drive down to Xenia and parts thereabouts. True, the whole thing looked to be a massive straight-line wind event, but you never know, right? Particularly when you’ve been cooped up all winter with a nasty case of SDS (Supercell Deficiency Syndrome).

I’m patting myself on the back for not going. In fact, I didn’t chase squat today, not even the grunge that was drifting north from the border and offered at least the possibility of a little lightning. That would have been nice to see in February, but I just couldn’t muster the enthusiasm, and now I’m congratulating myself for my restraint.  The wind event did in fact materialize, but way to the south, down in southern Ohio, Kentucky, Tennessee, and on to the east, and not a solitary tornado report do I see in the whole batch of SPC storm reports. So I’m very glad I managed to ward off the temptation to grasp at straws. Not only am I not presently driving the long 350 miles home, wondering what on earth I was thinking that brought me down there in the first place, but I invested my time into practicing my saxophone, a much more profitable activity.

I worked with my new copy of Emile and Laura De Cosmo’s book The Diatonic Cycle, which arrived today in the mail. It’s fun to work with a practice book again. These days, I do so much of my practicing straight out of my head, and the De Cosmos‘ well-conceived, organized, and interesting approach comes as a welcome new way to work on my scales and keys. It should keep me occupied for a few months as I work my way through all twenty-four major and harmonic minor scales as presented in the book.

Opting for practicing my horn over chasing storms was a smart move today. Yesterday, on the other hand…well, if I lived 500 miles closer to Oklahoma, I’d have been all over yesterday’s severe weather. Sadly, that weather marked the year’s first tornado fatalities. It appears that the sirens weren’t working as a large, violent wedge rototilled the town of Lone Grove, Oklahoma, west of Ardmore, doing EF4 damage and taking fifteen lives. According to reports, some people were caught out in a parking lot. How awful. February is not a time when folks in the Great Plains expect such things, and I’d imagine that many people were caught off guard.

Looking ahead, the Gulf of Mexico appears to be opening up for business in Dixie Alley, but we won’t be seeing any of that moisture this far north again in the foreseeable future.  Tonight we plunge back into snowy conditions. This is, after all, February in Michigan.

February 11, 2009 by
Filed Under: Jazz, Jazz Improvisation and Technique, Music, Saxophone, Storm Chasing, Tornadoes, Weather Tagged With: , , , , , , , , , , , , , , ,

Emile De Cosmo and the Polytonal Rhythm Series

I got a most pleasant surprise today while checking my voice mail. A gentleman named Emile De Cosmo had left a message saying that he had run across my post on jazz contrafacts while researching the topic online, and inviting me to call him back. Emile mentioned that he is a jazz educator who has written twenty-six books, and wondered whether maybe I’d heard of his material.

Are you kidding? Heck yes, I’d heard of his books, and of Emile. I’ve known of Emile since back in my college jazz studies days, when I first encountered an ad in Downbeat for his Polytonal Rhythm Series and ordered one of the books from that series.  Good grief–Emile De Cosmo, calling me? What an honor!

Of course I returned Emile’s call, and we had a most enjoyable chat. Besides being a passionate and thoughtful jazz educator, Emile is a genuinely nice, warm, down-to-earth guy, easy to talk to and well worth listening to. Unfortunately, our conversation got cut short by a bad signal on my cell phone, but I look forward to reconnecting with Emile and picking up where we left off. At 84 years old, he’s still going strong, writing books and developing his didactic concepts in jazz. He may be retired from university instruction, but the educator in him doesn’t appear to have taken so much as a breather.

Having visited Emile’s site, I’m struck by how much thought and time the man has invested into perfecting his ideas about helping others develop a fluent technique and “big ears.” The Polytonal Rhythm Series was a magnum opus in itself, but Emile and his wife, Laura, have developed more material over the years. With my interest reawakened, I purchased The Diatonic Cycle and have my sights set on The Path to Jazz Improvisation. I’m also intrigued by The Tritone Cycle, but that can wait. I expect that I’ll have my hands full for a while with the first book once it arrives. The timing is perfect; I’ve been wanting something to help me expand my saxophone practice in a different direction.

Emile, if you read this post, it was great talking with you! I look forward to our next chat. Keep up the great work!

February 4, 2009 by
Filed Under: Band, Entertainment, Jazz, Jazz Improvisation and Technique, Music, Saxophone, Tornadoes, Weather Tagged With: , , , , , , , , , , , , ,

Phil Woods and Jackie McLean Play “Cherokee”

I love playing the Ray Noble tune “Cherokee.” It’s a classic bebop vehicle, and the bridge section represents a respectable knuckle-buster for even the more accomplished players. “Cherokee” is typically played anywhere from up-tempo to way, way, way up-tempo. I like to play it fast, but I’ve got my limitations. Once I hit around 300mm, I’m scrambling to stay on top of things.

Maybe one day, if I practice reeeaallly hard, I’ll be able to play it almost as well as these guys. Here are Phil Woods and Jackie McLean playing “Cherokee.” Sit back and get ready for a real bebop tour de force by two virtuoso, veteran alto sax players. Each is a distinct, mature voice in his own right, but here you can tell they’re both unabashed Bird disciples. The ideas don’t stop, and they’re dripping with classic bop vocabulary. Amazing, and a pure joy to listen to.

January 5, 2009 by
Filed Under: Jazz, Jazz Improvisation and Technique, Music, Saxophone, Video
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