Steve Raybine:
Blog # 47:
Essential Elements in Becoming a
Successful Jazz Musician
Have command of your instrument.
Contemporary jazz musicians strive for musical excellence on their instrument(s). The musical demands placed upon today’s musicians and future musicians as well, will necessitate that one possess and demonstrate exceptional technical proficiency on their instrument(s). Remember: there is no substitute for playing your instrument well, so practice hard and practice often!
Listen to and study recordings of prominent jazz artists (past/present) that play(ed) your instrument.
In order to progress as a jazz musician, it is imperative that you thoroughly familiarize yourself with various talented jazz musicians that play or have played your instrument. A comprehensive investigation of the playing styles (transcription of jazz solos) of esteemed artists relevant to you and your instrument will provide you with a frame-of-reference that is essential to your evolution as a jazz musician. Remember: imitation leads to innovation.
Listen to and assimilate a wide variety of jazz music in multiple styles throughout the evolution of jazz.
Contemporary jazz musicians are expected to assimilate and demonstrate historically accurate playing styles on their instrument(s), which are defined by the diversity within the jazz idiom's musical repertoire. This requires that all 'serious-minded' musicians become competent playing Swing; Latin; Funk/R&B; Fusion; Third Stream; World; etc., in a variety of styles and contexts. An extensive amount of listening, study and finally, application of these musical styles is a necessity for all professional jazz musicians.
Study and apply the principles of jazz theory and harmony within an improvisational context (ensemble).
One of the primary components of jazz music is improvisation, sometimes referred to as “spontaneous composition.” Jazz improvisation is the process whereby an instrumentalist or vocalist instantaneously and creatively manipulates the elements of music such as melody, harmony and rhythm within a specific jazz musical format. In order to do this competently in contemporary times, one generally needs to first study jazz theory and harmony with an insightful jazz instructor (player/educator). Then, as the individual develops a deeper understanding of these concepts, he/she can then begin to apply these principles and begin improvising and creating their own ideas on their instrument. Learning to improvise is a compelling and demanding process that requires time, patience and thoughtfulness by the player. I recommend using instructional texts by authors such as Jamey Abersold and many others to assist you in your improvisational endeavors.
Participate in impromptu jazz “jam sessions.”
One of the most rewarding experiences any ‘jazzer’ can have is to play their instrument in a 'jam session.' Jam sessions are informal musical gatherings of jazz-inspired individuals that want to work on their improvising. These casual get-togethers afford musicians the opportunity to interact creatively with others within an ensemble setting. Learning how to play jazz music with other musicians is something that must be experienced, not just studied.
Learn how your instrument functions within jazz groups.
In order to become a valuable contributing member to a jazz band(s), you really need to understand what role(s) your instrument plays within the ensemble. For instance, if you are a pianist, how well do you understand and execute the “art of accompaniment” (a/k/a; comping) in a variety of styles within the band? If you are a bassist, how well do you create and play “walking bass lines” in jazz-swing style? If you are a drummer, how well do you "keep time" and can you authentically play grooves in multiple musical styles (Latin music represents quite a challenge by itself)? How do/should the piano, bass and drums interact with one another on any given jazz chart in a combo or big band format? In summation: instrumentalists have to develop their own skills in order to then be able to ‘communicate’ effectively and correctly with the other instruments of the jazz band.
Become knowledgeable with the jazz vocabulary.
Do you know what fills and kicks are? How about trading 4’s and 8’s? Does sax soli mean anything to you? Do you know all the jazz articulations and what they mean? How about a ‘shout’ chorus or brass punches? How about cha-cha-cha versus a bossa nova? What is a montuno and how is it designed? How many measures are there in ‘two’ choruses of the blues? What is a cadenza and stop-time rhythm? What are 'rhythm changes'? What is a ‘vamp’ and what does ‘on cue’ refer to? Have you ever heard of vocables, ‘blue’ notes, chord extensions and color tones? If any of these techniques, concepts or musical styles are unfamiliar to you, it’s time to learn more about the language of jazz music. When you make a commitment to learning how to play jazz, you need to address the many components that are utilized within the musical genre.
Sightreading skills are of critical importance to the jazz musician.
Because jazz music is so multi-faceted and challenging, possessing the requisite skill of sightreading is essential to one’s success as a performing musician. Jazz musicians are often expected to sightread and interpret numerous charts (big band or combo) during a standard rehearsal. If you are unable to sightread the music given to you by jazz band directors; music employers; band leaders’; etc., you may not be accepted into the ensemble or may not be hired as a professional musician. Competent ‘jazzers’ sightread complex rhythms and melodies with relative ease. Moreover, they interpret the sightreading material with a great deal of musical insight and intuition. Sightreading is a skill much like many other skills that takes time to develop. Therefore, work on your sightreading and broaden your scope and potential as a jazz musician.
Swing is king.
If you want to be considered a skilled jazz musician, you must be able to play big band and combo charts in Jazz-Swing style. Swing music is at the very heart-center of jazz--America’s great musical creation that revolutionized music throughout the world. As I mentioned earlier in #3, jazz musicians are expected to play a variety of musical styles on their instruments, but as it has been said before, “It don’t mean a thing, if it ain’t got that swing.” Swing music has evolved since its inception, which means that contemporary jazz musicians need to possess an historical understanding of how to play swing (Big-Band style vs. Bebop) with authenticity. Studying the evolution of Jazz-Swing style as played by its premier practitioners is important, but you must ultimately play the music in order to feel the essence of a great swing groove and to realize why Swing is....King!
Timekeeping tells all.
When all things are said and done, how well do you and the band play time? How well are you and the ensemble locked into a solid groove? Ultimately, if the music doesn’t feel good, (pertains to any style) it’s just 'not happening' as jazz players are quick to point out to the other band members. Jazz musicians have a responsibility to themselves and to their bandmates to establish and maintain a steady time feel within the band. Practice with a metronome and remember that although the rhythm section (piano; bass; drums; guitar; vibes and percussion) is expected to shoulder the primary timekeeping duties, everyone in the band needs to be accountable for keeping the time solid, steady and groovin’.
Copyright 2004 Steve Raybine
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