My Answers to…
QUESTIONS FOR JAZZ EDUCATORS (Part 2)
Brad Goode: August 16, 2021 Facebook Post and Thread
Q1. One can improvise by using material applied to chord changes, either written or memorized, OR one can improvise by playing from instinct and ear over song forms that have been internalized. Are these two different art forms?
A1. I would not call them art forms at all. The art form is performance. They are two different processes of coordinating the body and the mind with the ear; as all performance within the art form is by ear. The terms “instinct” and “internalization” might be used to describe written and memorization processes; as it may be someone’s instinct to coordinate the ears, body, and mind through writing and study and then in turn, to memorize so as to internalize.
Both processes are valuable as a means to a beginning. When practiced thoroughly and genuinely they should lead to extremely personal internal change, discovery, and wonder, thus serving and developing the artist’s personal talents, skills, considerations ,and relationship with the art form; there is no codifying an absolute or acceptable way to participate in the creation of an artifact within an art form.
There are the same inescapable laws of physics that we all commit to dancing with through dedicated repetition as we reimagine, through self discovery, new possibilities of self expression to serve the performance of our unique artifacts. In this way, the deeply personal processes of practice lead to genuine honest innovation and revelation in performance.
Q2. Is the influence of recorded music equal to the influence of live music?
A2. They are completely two different artifacts. Their value is defined from the experience of the audience’s point of view. Though extremely different modes, they may be as equally impactful within their separate medium of expression and exposition. It truly is for the listener to acknowledge.
Q3. Is transcribing someone else’s improvisations a form of cheating?
A3. How many Bertoldo di Giovanni sculptures did Michelangelo have to replicate in order to sculpt? How many copies of Rembrandt did Picasso replicate in order to paint?
Replicating someone else’s work is not creating; I am certain Michelangelo and Picasso have many more personal drafts of their own developing languages and artifacts than copies of other people’s works in their repertoire.
No Art Academy would charge their students sit and paint replicas for four years.
Q4. It is often said that Jazz is a language, but in speaking it should we be trying to sound more like each other, less like each other, or should we let nature take its course?
A4. Seek to hear what self discovery sounds like through disciplined intentionality and personal performance study. There is no cadre of “we” in this pursuit.
Q5. Should we teach content, or should we allow the student to find or choose their own?
A5. The artist must be uninhibited in finding their own voice. They must stand behind it whole heartedly in the face of inevitable scrutiny. This is tremendously difficult and vitally important work. It is THE POINT of THE WORK. The artist does not need allowance to create and explore in this manner.
Every scholastic institution selling a degree should prioritize and support the artist’s duty to pursue their own artifact through their own process; not promote or enforce a curriculum. The institution should value this process at its best; realized through a beloved apprenticeship where a clear commitment is made to the devoted study of the craft with the fidelity of intense mentorship.
Q6. If rhythm is the primary force in Black American Music, why would we structure our courses, analysis and lessons around harmony?
A6. Rhythm is the great conveyor and animator in the relationship of melody and harmony, especially and most fundamentally in Black American Music. What is most important in my opinion is how melody and rhythm are synthesized to transcend the harmony.
A problem is a lack of melodic literacy. Melodic literacy is contingent and enhanced upon rhythmic accuracy through cadencing. Harmonic literacy is contingent upon melodic literacy.
Q7. Most history courses are taught chronologically. Must they be? Should the performance styles also be taught chronologically?
A7. Most jazz history courses do not even give a thought to the importance of addressing the suffering, hardships, atrocities, and balms endured by the people who made and created this music. It is here, where we learn of what the music truly means and how we might engage in an honest personal relationship with the true history and tradition of Jazz Music.
It is a disgraceful disservice to the students and a tragic neglect of the heroes who sacrificed and triumphantly conceived this music. It is a National Treasure that should be recognized as a common and cherished living heritage; it is clear the rest of the world does.
Q8. Are chord-scales an effective way to prepare the student for control and freedom of melodic construction?
A 8. In my experience through the tradition, No. Emphatically, NO.
Q9. Might some of our performance practices just be ruts? For example, why always head – solos – head? Is this necessary?
A 9. Yes, absolute ruts. It is not necessary to follow such an unimaginative form. A complete lack of creativity, uninspired laziness, and uninformed practice. This is a huge part of the work in creating compelling jazz; inventing and reinventing forms, composing and orchestrating development sections etc…every esteemed and poignant jazz album contains these fundamental elements. This is what defines the song and the album. If it is done well, it provides the soloists with interesting puzzles to solve, cajoling inspired moments of supreme creativity as a group.