“Why would you want to play jazz?”
“Are you sure about this?”
“Do you know what you’re getting yourself into?”
“Clarinet isn’t really a ‘jazz instrument’.”
“Maybe you should get a real-estate license, just in case..?”
Though their advice was not what I’d hoped to hear, I owe a debt of gratitude to some of my early teachers. With my best interests at heart, they worked to dissuade me from entering the mysterious world of jazz. The ones who were jazz players knew what it would take; the others just knew it would be dangerous somehow. Through some combination of stubbornness, foolishness, and desperate fascination, I have spent my whole adult life exploring this vast, exquisite, American art form. The process has been beautiful, and at times heartbreaking, but it is worth it. This music has given me an extraordinary worldwide community, a life-long pursuit, and an opportunity to find my voice as an artist.
All these years later, on the other side of the podium, I can counsel students of mine who share a stubborn interest in jazz. With their best interests at heart, I reiterate some of my old teachers’ wisdom, along with some ways they may begin their own search, with an open mind, an open heart, and open ears.
The direct and ancestral method for learning jazz is to listen to records and play what you hear. This is how the music was created and passed down for generations. Long before any university offered a degree in jazz studies, musicians locked themselves in a room with 78 rpm records and learned to play every note of their favorite solos. Without question, this is the pathway to understanding the music. It may seem daunting at first, but it is effective and inspiring.
Start with a recording that fascinates you and listen to it actively. Pay close attention and document what you notice. Get it “in your ears.” Sing along with it. Figure out the bass movement. Spend time with the melody, or head, then move on to solos. The process itself is invaluable. As you learn to play and transcribe what you hear, you will get to know the artist’s mind and creative voice. This will inform your own creativity and choices.
Start with Sydney Bechet, Benny Goodman, Artie Shaw, Lester Young, Buddy DeFranco, Paquito D’Rivera, Doreen Ketchens, and Eddie Daniels. Add to the list as you go. Get to know all the musicians on each album. Discover your favorite rhythm sections, record labels, engineers, time periods, composers, arrangers, arrangements, instrument manufacturers…
Do this for 10,000 hours, and then continue doing it for the rest of your life.
Immerse yourself in music theory. It is only a theory, but it will help you understand concepts in the music. Get fluent in all 12 keys. Practice scales, chords, arpeggios, modes, shapes, patterns, bass lines, counterpoint; learn heads and chord changes and keep transcribing.
Analyze and memorize everything you play. Make sure you know the chord changes and the ramifications of the harmony. Memorize as many tunes as you can. Know the conventional keys in which they are played and learn the well-known versions/arrangements/recordings. Make sure to learn the lyrics to all the tunes you play. Express the words when you play the head. This is a critical point. As you listen closely, you will hear the lyrics in your favorite players’ melodic interpretations. Develop a wide repertoire of heads in multiple styles – swing, Latin, waltz, ballads, blues. Today, many musicians adapt pop songs or Top 40 hits. Beatles tunes are always well received.
Practice sight transposing from C instrument charts. Clarinet in BH needs to transpose up two half steps from concert pitch (C to D; E to F#). With practice, this becomes second nature. You will be able to read from the rhythm players’ charts or follow chord changes written on a cocktail napkin. This is an invaluable skill for a clarinetist. You can fit yourself into many different musical contexts. For example, I have done many chamber music gigs, sight transposing from violin charts. I cannot stress this enough – make it a priority and it will pay you back a thousand-fold.
Get familiar with the piano. It represents the whole orchestra. Study J. S. Bach; the logic of his work resonates in jazz. You need not perform with the piano but gain facility. Consider it a hobby and see where it takes you. It may well lead to gigs or networking opportunities. I know many clarinet players, me included, who have parlayed their piano practice into accompaniment work.
Seek teachers to help guide your practice. They will have a tremendous impact on your learning curve, and your comprehension of the art form. Teaching and playing have always gone hand in hand. Nearly all musicians teach in one way or another. Some teach full time; others offer studio lessons to select students. Do some research. Find musicians whom you admire and ask if they offer lessons. Today, you can study online with any number of expert teachers. Don’t be shy! You may find a long-term mentor or take individual lessons with many different teachers.
Find live jazz near you and talk to the players when they have a free moment. I’ve met several wonderful teachers and students this way. Jazz brunch sessions can be an excellent way to meet seasoned players. When they take a break, introduce yourself. Be friendly, and genuine. They may invite you to sit in. Lifelong friendships begin this way. Musicians go from strangers to comrades on one gig – sometimes after one song.
Over the years, as you invest in the search, you will discover things that blow your mind. You will get to know the masters of the universe. You will learn scales and patterns and “licks.” You will develop skills that impress people who have no idea what you are doing, and maybe even some who do. You will pick up gigs, make some money, and find your audience. Without question, though, the treasure of jazz manifests in the people you meet along the way. This music crosses borders, generations, language barriers, cultures, faiths and prejudices. You may not relate to every musician you meet, but the people you truly connect with on the bandstand will be the joy in your life. Your on-the-job training will happen both on stage, and at the diner afterwards. You will find a family of friends, and potentially future relatives.
Go find your people! Seek out jam sessions, open mics, workshops, masterclasses, and album releases. See what kind of jazz scene exists in your area. This is easier than ever now with social media. Keep showing up, and always bring your horn. The clarinet is eminently portable and can work in many different ensembles. Create your own scene. Find a pleasant spot outside, or an interesting acoustic space and play your horn. Set up a tip jar; people will look for it. You can practice performance, express yourself, and you may meet the sister of a piano player you work with for the next 20 years.
Like fine Scotch whiskey, jazz can be an acquired taste. It may not appeal to all musicians or all audiences, but those touched by it are hooked for life. More than any other time in its history, jazz is accessible and available to everyone who cares to explore it. We have 100 years of recorded music – a living archive of jazz from its birth through its modern conceptions. There are countless books, tutorial videos, lectures, articles, reviews, social media libraries, and play-along recordings. We can pursue graduate degrees in the American Art Form, and it will still take more than one lifetime to comprehend it. Use this lifetime to be a part of it. Jazz is a way of being, an approach to life in this world. Search for it, let it get into your consciousness, let it touch every part of your musicianship, and then give it away. Be patient, be disciplined, and be humble. Enjoy the search!
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