![]() Just think of all the transcribing software and slow down boxes out now we have access to.īill Evans said he learned every Bud Powell lick that he could and Nat king Cole's riffs also to get the jazz "language" down. He slowed down Art Tatum riffs and runs to learn some of the language to filter into his own style. But does Roger Williams sound like Lennie Tristano or Art Tatum, I don't think so. He would drop the needle on the record over and over, probably ruined the records and needle until he figured out the notes bar by bar. I don't have the heart to call them 'lame imitator' or anything like that.Īnd pop great pianist Roger Williams used to study jazz with the late Lennie Tristano and I read he used to take Art Tatum records 33's, put them on the turntable, slow it down and learn some of Art's licks and riffs. He talked about how he felt the need to develop, and how he stayed up practicing till early in the morning. By then it would be like midnight, and most guys would either go to sleep or go drinking. They would travel on a 5-8hrs a day and play a show for 2-3 hrs. I talked to this trumpet player who used to go on tour with a famous big band. We are not 'lame imitators', we transcribe and do all these hard work because we care about the music and want to develop. People like gyro are dissing all the jazz students/pros who spend 1000's of hours perfecting their craft. But I do mind people making all these outrageous claims based on ignorance. And I do agree that there is too much theory and not enough ear in jazz education. I don't mind the ignorance because jazz is not marketed very well, and its hard to find out about all the new players. They usually rant about how jazz is dead and how there are only 'imitators', and yet they can't name any of the newer jazz pianists around right now. What bothers me the most is that these people don't play jazz themselves, and yet they have the audacity to tell others people what learning jazz is supposed to be like. It ends up where the jazz player, ultimately, if he’s going to be a serious jazz player, teaches himself.â€Īnd some great insights on practicing from Dave Liebman. So there, the teaching of jazz is a very touchy point. ![]() Well, of course, this is pretty naive…but nevertheless it does bring to light the fact that if you’re going to try to teach jazz…you must abstract the principles of music which have nothing to do with style, and this is exceedingly difficult. ![]() "When you begin to teach jazz, the most dangerous thing is that you tend to teach style…I had eleven piano students, and I would say eight of them didn’t’t even want to know about chords or anything - they didn’t’t even want to do anything that anybody had ever done, because they didn’t’t want to be imitators. That’s something that just has happened automatically as a result, I think, of just putting things together, tearing things apart and putting it together my own way, and somehow I guess the individual comes through eventually.†€œFirst of all, I never strive for identity. For those people who think studying&imitating other people's music is bad and who think it's ALL about "finding your own voice/identity" ![]()
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