I I I 6' I I My thanks to thegreat musicians on rheCD:JohnRileydrums Phil Markowitz. Ly-rical jazz players who have had a strong influence in the deielofmení of my own person- F 5Ít1e ot Pla).rng are Miles Davis, Stan Getz, Lee Konitz, Paul Desmond, Hank Mobley, and B.B. But even the most abstract and cutting-edge players have firm Íoots F -:,*jT.:t*n8, and simplicity of ideas. I realize that this is not the mosr |FularaPProach in this age of mass volurne and instant gratiÍication. In the art of jazz improvisation, you can say a lot with a few words. tude format will aiow !(o to learn the written notes easily through repeated playing, and you will be amazed hàw httle snippets of these melodies will work fcu rzy into your improvising. In a similar way, my musical vocabulary and playing improved through listening to r: :r of music and trying to emulate the musical ideas I'd hear my heroes play This transcripÍve. After a while, my vocabuliry and ability to express It-es tÀrough spoken word dramatically improved. It wasnt until I started touring with bands in the early I-\ that l began to read books wiÈ a passion (all of that down time on tour buses). This was the musical vocabulary I needed to get started. how t| PlaY iazz and blues through leaming by memory the solos ofjazz legends Lester Young, Charlie parker, John Coltrane. The focus is on melodic groove playing, which È''-als vith the lyrical side of the music: not a lot of hard stuff but rather an exampleof rnelodiesthar draw on the iaiz and Èluesáditi ltlon, ang like crazy, and ger right ro the heart of the matrer. Publications, 14 lazz ë Funh Etuàes and.i4 Blues
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