[Tradjazz] IMPROVISING

[Bruce McNichols]

IMPROVISING
When I first started paying attention to our music, on records etc., I didn't analyze why I liked some bands, and some soloists, better than others. Only when I started playing in improvisational situations, did I come to understand how hard it is. Over many years, I studied the songs I liked, and found out the chord changes (mostly by tapping the minds of guys who had the ability to hear the changes). 

I tried to form my solos, around the chords. It worked, sort of. My solos (and ensemble playing too), were rather stilted. Just a bunch of notes. Simply "not playing wrong notes" isn't really good enough. I had to memorize the chords, for each song. I had zero ears. 

Then came a revelation of sorts. I had always liked banjo/tuba music, but had neither in my band. A lady friend of the owner of the scene of my first steady gig, mentioned that she had an old banjo, in her attic. She gave it to me and I went at it. Because I had a knowledge, albeit a small knowledge, of playing guitar, I chose to use guitar-tuning on the bj. Joe Klee was forever chiding me for that. In an "Only in the World of Joe Klee" manner, Joe himself, played banjo with guitar-tuning.! 

  A young fellow who played piano with us at that time, was one of those perfect-pitch guys, so I tapped him for not only the chord names, but also for the fingerings of the chords. Since he was not a guitarist, he figured out the fingerings using his musical knowledge. That surely accounts for why, to this day, guitarists sometimes ask me about the fingerings I use. I guess that they've never seen such things before. 
After playing banjo for a while, things seemed to fall into place. It was only a matter of time before I realized a number of profound (to me) things, i.e.: ** Five Foot Two and Please Don't Talk About Me have the exact same changes.

** The Five Foot Two bridge, is the same as the bridge on other tunes (such as Mobile). 

** G7 usually follows a D7 (and all the rest of that circle of fifths business). That led to an understanding of playing in different keys. The relationship is all the same (remember now, before that, I didn't know nuttin'). I started to be able to hear chord changes and be able to predict what the next chord would be.

Just when I thought I had arrived, I came to realize that I had a long way to go (and, of course, I'm still "goin'"). Little by little I became aware of the fact that the guys who played a lot of notes, were not my favorites. For a while, we used Bill Watrous (phenomenal trombonist). He sure could play fast and high, but who needs (or wants) it in old-time Jazz band? 

Although I readily accepted that less is more, I am still striving to apply that to my sop sax playing. One time, Lynne and I went to Zinno (a jazz joint in New York City) to hear Howard Alden (guitar), Michael Moore (bass) and Ken Peplowski (reeds). They had no sooner played 8 bars, when Lynne said "They're not gonna play like this all night, are they?" I had to break the news to her that they often display their technical virtuosity That wouldn't concern me if they were hack players, but these guys are among the very best players in the world!. 

Of course, I have a helluva nerve complaining. After all, I should be able to play half as well as those guys do.

~~~~~~~~~~

As a sidebar, I just reminded myself of an incident that relates to the subject of various style of Jazz. Lynne and I used to go to see Anita O'Day when she performed often around NYC (in the late 1960's). I told ya that I like many kinds of music.

One day, Lynne called me and said "Anita's gonna be at Two Guitars (a jazz club on Manhattan's West Side) tonight." I countered with, yeah, but you're not gonna like it. The Lee Konitz group is with her and they're too modern for you.

"No no, I love them," she replied (having never heard of them). I made a deal with her. I said we'll sit at the bar and listen and if you like them, we'll get a table and stay. Sold!

Shortly after we walked in the door, I said "OK, let's go." She said "No, wait, they're gonna play 'On Green Dolphin Street' and I love that song" I had to break the news to her. "They're not gonna play 'Green Dolphin Street,' they are playing 'Green Dolphin Street!'"

Lynne had honestly thought that the band was tuning up  - you know, when each musician is playing something different. She said "Let's get outta here!"

This is not to say that the band was bad. Indeed, they were established, famous, accomplished musicians. It simply goes back to the old adage "They ain't talkin' to me."

~~~~~~~~~~

I once played for Herb Gardner, a recording of a Ricky Nelson bone solo, on "Wabash Blues." He did a whole solo of sub-tones. I asked Herb if he could play like that. In typical Herb fashion, his response was brilliant. He said "It's not so much a question of 'Can' I play like that,' as it is 'Would I choose to' play like that."  Touché, Herb. 

  Speaking of Herb, I feel privileged to have played alongside that guy, for all these years. I know why he likes playing with my bands. It's because I build my bands from the rhythm section, up. Although we don't use drums very often, I'm still more likely to select "another rhythm section guy," than "another horn."
I once lamented to Herb that I simply do not know the melodies, for most of the tunes we play. I was referring to my ability to improvise a solo. What Herb said was another revelation. He said "It's not so much that you play THE melody, as it is that you play A melody - not just a bunch of notes. So simple, yet so evasive. Ya gotta create a melody. That tends to bring coherence to a solo. 

  I read that whenever Turk Murphy introduced a new number into the band's repertoire, he would insist that everyone learn the melody and they'd all play it a bunch of times. That way, of course, each guy was aware of the main structure of the tune and that was reflected in their playing.
So, here I am, all these years later, still trying to learn how to play. I am very aware of my musical limitations. I could hire mediocre players and be the best guy in the band, but that's no fun. I strive to hire the best players I can get. That makes the band sound better, gets us more gigs, and last but not least, gives me more pleasure. 

  I used to love the way the late Jay Brackett played bone. He drank like a fish, so I didn't use him all that often. I was well aware of his limitations, and his good points. He understood the music, knew the melodies, played good lead and good solos. He was a helluva singer too.
The musicians would often fault me for using George French on banjo and to lead bands. "He plays the same 20 songs every night!" they would cry. They never got it when I said "Yes, but he plays the right 20 tunes!" That guy had a good feel, and he knew how to please the crowd. 

I always try to do songs that the musicians like, but I pay very close attention to the audience. I love the old-time pop tunes and have no qualms about playing them. If the songs relate to the audience, then I'm all the more happy. If I have to wear a striped vest and play The Saints, so be it. I wouldn't want to have to get a real job. 

McN 





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