Re: [Harp-L] Questing For a Basic Competency in Jazz

[joe leone <3n037@xxxxxxxxxxx>]

On Feb 5, 2011, at 12:45 PM, Elizabeth Hess wrote:
>  The question that sums it up is, "What does a decent jazz player  
> do when a song is called that he/she doesn't know?"  What SHOULD he  
> or she do?
>
> Thanks in advance,
> Elizabeth (aka "Chrome Lizzie"?)
In progressive jazz (at least), the usual structure is for the entire  
group to do a 'clean' (no embellishments) Head section (which we will  
call A). Then the bridge (which we can call B). Then individual  
soloists do their improv (embellished) sections on the A, and if  
there is time also the B. Sometimes, if the group is large, the A and  
B are split between 2 soloists. After this the band comes back in  
with a finalie, which is usually another clean A section.

So, here's the deal. You don't actually HAVE to know the tune. All  
you need to do is key into the chord changes. Then work YOUR solo ON  
these. This is called 'turning the chords'. Now on parts where the  
instruments are playing harmony, you may want to sit out. But if you  
think you can add background (and NOT detract for the overall sound),  
you may be able to add things. Even if they are long held humming  
chords. Remember, strive to never DEtract from the overall sound.  
Trad (or dixieland) sometimes has places where too many of the  
instruments are playing all at the same time. But THAT style came  
about (initially) by people who would literally kill to play, and is  
not what you want. Modern follows no rules, and not what 'I' want, so  
I don't do it.

smokey joe