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In a recent interview with Charlie RoseYankee pitcher and nlues time World Series champion Mariano Rivera was asked how he prepares to face a particularly difficult hitter:.

For me, I just learn about the experience. Perhaps the most famous account of one great jazz player learning from another is the story of Charlie Parker at an early point in his career studying the records of Lester Young.

His Life and Music: He got a job with a little band led by a singer…they played at country resorts in the mountains. In classical music, for example people go to hear Janos Starker play Kodaly.

‘Oh, play that thing!’ – the use of transcribed solos in the jazz tradition | BirdFeed

Jazz was at one time the same way. You played your ad lib solo, you created it, and if it was worthwhile, then you played it in front of the public again…Today, things are at the other extreme. I know and hear what they are doing. But the validity remains to be seen -what comes, what is left, after you hear the melody and after you hear the solo. Reeves also mentions three ways a solo can be learned by learning it aurally, by writing it down, and by learning it from a published transcription and adds: This eminently logical view is supported by a number of recorded examples where literal performances of transcribed solos have a mechanical quality and lack the spontaneity of the original version.


However, there is also a tradition, less well documented in the literature of jazz education, of great improvisers in their prime years re-creating existing solos with an attitude of simultaneously challenging and revering the original.

The fact that Fitzgerald and Armstrong recorded these tunes fairly early in their century-spanning careers suggests that taking the revisionist approach to performing a recorded solo might be a developmental stage between literal imitation and more spontaneous originality.

The choice was not without deliberation: The small notes at the beginning of the Oliver solo are meant to show the range over which he bends the initial note through embouchure and mute. As the availability of transcribed solos proliferates, the number of questions about how they should be used increases as well. Should transcribed solos be used only as an exercise for aspiring players? Is the process of creatively adapting an existing solo by a jazz master a valuable process for improvisers at all ability levels, or is it a task at which only the most proficient players can succeed?

Is the proliferation of notated solos in books and on the internet endangering the process of learning solos by ear, as Armstrong, Fitzgerald and Stitt almost certainly did? Is it still possible to take a creative revisionary approach to performing solos by jazz masters, as Armstrong, Fitzgerald and Stitt did?

I encourage anyone reading this entry to respond in the comment section with their thoughts on these or any other related questions. Thanks for the comment. I think this preference is particularly prevalent in rock listeners, including those who follow the modern-day incarnations of long-running bands. The examples I cite of Armstrong, Fitzgerald and Stitt re-creating solos of their predecessors and contemporaries, and improving them in the process, makes me wonder whether jazz education sometimes does students a disservice by setting up a false choice between exact repetition of existing solos and completely original improvising.

I have certainly picked up the vibe from many great players that repeating a solo exactly is a disservice to those one plays with and to the player from whom one is borrowing.


The technology for mass dissemination of recordings created a necessity of repetition — so that audiences could hear the same desired thing time and time again. This preference for repetition is essentially infantile, and is one underlying reason for the gradual displacement of live music by disc jockeys. Recordings made it possible for musicians to imitate themselves and others.


Hitherto, a more select group of musicians had the kind of musical memory that would permit this. I think the view of Mingus is more adequately expressed by his tune title: Was just learning about some of this on Performance Today, their story about Keith Jarret.

Free sheet music : Oliver, Joe (King) – dixieland – Dippermouth blues (Lead sheet)

Yay for more reading in a lateral direction. Your email address will not be published. In a recent interview with Charlie RoseYankee pitcher and five time World Series champion Mariano Rivera was asked how he prepares to face a particularly difficult hitter: Tell me about studying for a hitter. How do you study a hitter? Oh, we have so much videos, so much reports… Rose: This entry was posted in Uncategorized. May 24, at 4: May 23, at 9: February bluues, at Leave a Reply Cancel reply Your email address will not be published.

Harmonic Moss, Part 1: Route 37, a voicing-based melodic line Harmonic Moss, Part 4: Miles Davis and Ray Vega a.

Charlie Parker, Barry Harris and the minor ii-V progression. Root Systems, Part 1: Give it up for the root position pattern s! Two-handed melodic conversations by J. Bach and Oscar Peterson Sonatinas and other two-sided stories. Carla Bley and Horace Silver.

Dippermouth Blues for Swingin Seven

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