How ye've gone about it.

shatners basoon

Just curious about ppl's approach to playing jazz.
Considering its about the least popular of all genres (despite being by far the most superior ) how did ye get into jazz? And seeing as its probably the most complex form of music (tho its complexity can vary greatly) and its scope is so massive how do ye approach learning it, at first and now?
Playing wise are you learning thro theory or by ear? I personally prefer both using theory only as a means of communicating to others what the hell my compsititons are about (i like odd key changes )
Do you find (like alot of ppl) that too much theory can hinder creativity if one is thinking too much about what one "should" do? I know theory is meant to simply help by telling ppl what they can do but it seems to me that a lot of musicians can get too caught up in theory e.g. my old guitar teacher.
Any thoughts?

Setun

I got into jazz because by complete chance. I heard John Kelly play Song For My Father on The Mystery Train, the first time I recall ever listening to that show, and then BAM! Hooked!

I just listen and play along trying to pick up on what the musicians are playing on the CD's. I think it's important to learn the basic theory so you know what you're doing or not doing, but with practice you will know what sounds good by ear.

There is so much theory behind a lot of Jazz recordings, especially the earlier stuff, it's very difficult to try and understand all of it. I think you can pick it up gradually with experience and time - playing with groups, reading books and looking at transcriptions, talking to other jazzers.

The OP

Steely Dan, for me, was the bridge between Rock and Jazz....I always listened to Rock, then discovered Steely Dan, which took me in a different direction, and I then got into other artists from there...

Zapp Brannigan

Tommy Halferty got me into Jazz and since then I've been hooked.

I learn it by playing, I guess I have to "feel" it. But I do know some theory and stuff like that, but I kinda pick that up as I go along while trying to keep up with Halfo!

Briony Noh

I suppose the Blues was my way in. I felt I should appreciate it more than I did and wondered what was missing. Improvisation notwithstanding, there wasn't enough grit, for me. I don't know when I first started thinking Jazz had it, and even then I don't think I really liked it. To my ears Grappelli sounded tedious, Reinhardt was skillful but dull, and who did Kenny Ball think he was kidding? I thought then that all Jazz had to lead to When The Saints before they'd let you go home. Then I heard John McLoughlin, and through him the whole panoply of Coltraines, Yomashtas, Jan Hammer and later the Marsallises and others too famous to mention. Less famously, I started hearing roots jazz in clubs where I could see how the musicians were communicating with each other (and with us) on an entirely different level - on a good night, of course. I hear The Coat for the first time in 1984 in London and couldn't get over his total unassuming self-effacedness - until he started to play. I don't know if The Coat is famous, was famous or was just a local legend, but I'll remember his cornet-playing forever.

Then I started dabbling. Learned a few ninths and diminisheds on the guitar, couple of songs (Ain't Misbehavin', they were called), lazily avoided learning anybody else's licks but stole some technique from Django (I got all my fingers, how hard can it be?) and now I can improvise happily (and privately) for hours on the most obscure chord progressions you can think of. I'm too lazy to learn theory, but I've picked up bits and pieces here and there. I don't know if it's influencing my playing or not. Probably not. The final judge, for me at least, is the pair of organs that I keep my glasses on - the ears, damn it (try to be clever and someone has to say 'are they Wurlitzers or Hammonds?')

But still, even now, Carlos Santana is probably my most favourite guitarist, I think his blues emphasised jazzy playing is just the pinnacle of what I'd aspire to.

End of story ... (Satchmo in High Society, dialogue by Cole Porter)

quintron

I think the first thing you should do is dispel any notions that jazz is "difficult" or "complex" music. Approach it as you would any other genre.
Sure some of the changes are dificult, and to be able to improvise well over these changes takes some time to master....but...jazz was originally pop music...in the true sense that it was popular and ubiquitous. It was music to go out, party, and get laid to...
Nowadays with the benefits of a staggering back catalogue of jazz masters to aspire to, schools & degree programs available and great teachers to learn from it is in danger of suffocating itself in academia.
Don't get me wrong. Music Colleges are great and provide great focus and a solid structure for learning (been there meself) but the pressure to emulate the greats and "theorize before your realise" adds a detachment for a lot of players and simply craps out the rest.
Charlie Parker & John Coltrane (2 of jazz's most recognisable names) didn't go to school to learn jazz. They learned on the bandstand and absorbed their knowledge in a real world gig setting; not from a book. Wes Montgomery had only a rudimentary knowledge of theory but an unbelieveable ear. He is famously noted, when asked what key a tune was in in the studio before a recording session, he just struck a chord on his guitar and said..that key..lets play.
You're not training to be a sytems analyst so don't rely on theory books to begin with.
Best way into jazz is to get a load of good jazz records. Listen to them over and over..hum the melodies and solos until they sound natural. Get your phrasing and then try to emulate it on your instrument.
Jazz is a fantastic music often stagnated on record. It is almost always better as a live music because every conversation is different. Any aspiring jazz musician should be checking out as many live acts as possible to see the scope of a live jazz performance. Just like Parker et al, learn on (or near) the bandstand. Its a hell of a lot more fun.

shatners basoon

Surely you'd have to believe that some jazz is difficult and complex music. Not all of it of course but i guess my biggest problem with learning jazz (been playing guitar/piano for about 3-4 years now, i've been dabbling in jazz for about a year, with well a little success.) Its the scope of the genre that i sometimes have difficulty with. For me, jazz deals with everything in music, jazz musicians tend to be virtuosos, knowing their instruments like the back of their hands. Its something to aspire to certainly but can seem quite daunting at times for beginners (like me!)

I am aware that if the music is in you it only takes time and effort to conjure up the skill to release it and i'm not saying that i'm distraught with the fact that i cant solo as well or as consistantly as Wes (dont think anyone can really!) The desire to be able to do so helps keeps me going i guess.

I'd agree with you quintron about theory though, especially the 'lets learn as many Pat Metheny licks as possible' technique for musicians. I'd rather write my own licks thank you very much!I don't think that there is anything wrong with knowing what you're playing though, lots of the greats knew what they were doing, alot didn't, all that matters is that one's education doesn't restrict their creative freedom. Thats my take on it anyway.

My only problem with jazz is i've nobody to play it with. Well i've one friend who also plays a bit but is too lazy to jam as often as i'd like. Playing with other musicians is really important and i just feel i'm missing out. Galway doesn't really have that many jazz gigs either so the bandstand suggestion doesnt quite work for me yet either! Ah well, all in good time.


Some interesting stories posted then. I figured most people nowaredays would enter the realm of jazz through blues. nice to see a steely dan fan though, my dad got me into them:D Nice story Briony Noh as well!


I got into jazz a bunch of ways, first from rock-fusion-jazz the mahavishnu, al diMeola, Chick Corea route. My dad also loves Keith Jarrett and Miles so i'd stuff to listen to there. Then Wes entered my world and i've never been the same since! I normally just play my own chord progressions. I'm a fingerstyle guitarist at heart (love Leo Kottke, Michael Hedges and Bensusan) so i like to mix that with jazz. Now i'm just looking for people to jam with, learn how to read music better and get mor comfortable with my instruments. Looking forward to the future!