Jazz School News, Thoughts and Events.

One problem you may be noticing during live performances is a lack of respect for the show. Each tune should be considered a chapter in a suspense novel, not a series of short stories with no cohesiveness. With my 40+ years of intensely studying the greatest jazz performers of the last century, I've discovered core values and practices that make the live experience of jazz infinitely more interesting and exciting for the audience.

Escaping Yourself to Be You (Part 3)

A few specific ideas for musicians as well as civilians to help you escape both the outside and inside negative forces are as follows: For musicians, I have found that a good way to work on escaping preconceived notions, and occupying the present is to play the first two bars of the melody of a ballad twenty times, each phrasing the melody differently, but in a way that is sincere and expressive. They rhythm can be changed, the melody can be broken up differently with different length rests and dramatic dynamics can be used. But do not change the actual pitches; once you change the pitches and the rhythm it is no longer the tune that is was to begin with.

Escaping Yourself to Be You (Part 1)

We live in a culture where people go to the Caymans, play Nintendo, watch TV, take drugs, booze and engage in a host of other activities in order to escape negative aspects of their life. "Getting away" is a mantra that we hear regularly from fed-up folks, who can't stand their boss, mate, relatives or whatever. When they go on vacation they feel they are being released from prison. Some people who aren't just escaping from external things, but also from bewilderment, alienation, depression and low self-esteem, think that if they change their immediate state of mind or environment they will feel better. Escaping away from something dark and debilitating can never compare with moving towards something positive. In other words, the absence of a negative force is not a positive one; it's neutral.

Jazz musicians need to escape many of the same problems, but also encounter some different ones. They have to escape from the clutches of conformity and self-consciousness, which is mandatory in jazz. It is very easy for jazz players and civilians (non-musicians) to be wooed by the allure, the promise and scale of manipulative media in order to feel like they are more sexy, more powerful, rebellious, and not left outside. But losing or attenuating one's birthright because of the external influence is not part of the jazz personality.

Great jazz players know that all they have is themselves: pure, undiluted and uncorrupted. Doing what everyone else is doing is not an option in their world. They have never made any Faustian agreements about their music and treat their talents with great respect. The average jazz player's main focus is to conform to and imitate what great jazz musicians have played. They think that if they play Coltrane's ideas then maybe they will become hip or famous too. In the jazz community you don't get significant points for merely copying Coltrane's solo. Entry into the pantheon of great jazz is strictly reserved for those who play "who they are," not for those who second-guess what they think the audience wants to hear. The jazz masters all know that individuality can't be mass-produced.

Many years ago people would ask me "How do you teach jazz?" I would tell them that it is complicated.  Although there are many components -- such as chords, licks, technique, stylistic considerations etc. -- the one critical component of jazz is that it must be played spontaneously.

Over the past few weeks we have put our heads down and charged ahead with creating a better online experience for those interested in the Bloom School. To mark this unveiling we have also added some new classes that may interest you.