Jazz for aficionados

Learlsfool,
That explanation really Cleared up a lot of questions I`ve always had regarding the ability of jazz musicians to play so many different songs.I have seen on "rare" occasions where a requested song was not able to be played.I appreciate you sharing your considerable knowledge and experience with the rest of us interested music loving folks here.
Charles,

Chazro, one musician I knew did not practice. Yes you misunderstood me. Others who have been following this thread should have gotten a better understanding.

I am a Jazz musician,but I was trained as a classical musician as well.I lived for a short period in "both worlds"but the last 20 years I have with a few exceptions made a living playing jazz and jazz related music.
In my experience the amount of study time put in by both musician types is more or less the same.one funny thing though, all my jazz musician friends study classical pieces but very few of my classical friends study jazz or improvisation.

Learsfool, I want you to know that I respect your comments as a classical musician. There was an event that made me think about classical music and high end equipment.

When I went to sell my son's sax, the music store owner told me he would pay a lot more if I took it to an instrument repair shop and got a clean bill of health for the horn.

Although there was only one person in front of me, the clerk took a long time explaining what was wrong with their horn. While waiting, I noticed photographs all over the walls; they were taken in this very same shop with the owner, famous musicians with recognizable faces. There were jazz musicians, classical musicians, popular musicians, blues musicians, and local musicians that I knew personally. He certainly had the right recommendations.

Classical music emanating from high end horn speakers made the wait a pleasant one. Normally I don't like classical music, but not only did I like this, I wanted to know everything about it. I suspect the equipment that was generating the music had something to do with this. Since no electronics were visible, I had to rely on my "audiophile sensibilities" to make a determination; old tube high end with a "golden glow" similar to CJ, but possibly older, was my conclusion.

It was a really large room, and all the workers were out in the open at their work stations repairing brass and reed horns of every description. There was a serene expression on their faces as if there was no place else they would rather be, and nothing else they would rather do; it was a very relaxed atmosphere. They actually played music on each horn after a repair; this indicated they were musicians as well as repair people.

On the right equipment, classical music sounds very good. I suppose that's why classical musicians are always into the high end. When the clerk beckoned that my horn was ready, I almost wasn't ready to leave.

It's absolutely amazing how your description of a one night club gig, fit the description of my friend's gigs, and what I didn't know. I saw them talking "musical gibberish" and making sounds less than an hour before a performance. There's no way this can come out right, is what I thought; but they always sounded like they had been playing together for years.

Enjoy the music.

Learsfool, your description is excellent; no need for qualifiers. I would contribute to it only by approaching it from a somewhat different angle.

There is no possible way to exaggerate the level of skill possessed by an excellent jazz musician. Their understanding of, and ability to move around within the world of harmony, is simply astounding. As you point out, there exists a fairly well established "repertory" of tunes that working jazz players tap for their performances. This list of "standards" grows over the years with more modern tunes by contemporary/current composers. Learning the melodies of tunes seems like child's-play when you consider what it takes to improvise (spontaneously compose) a credible solo (new composition) within the unique harmonic framework of any given tune.

Consider a typical "standard" jazz tune with a 32 measure, AABA form such as "Cherokee"; a tune that is 32 measures long, with an 8 measure verse (A) which is then repeated (A), followed by another 8 measure section (B) referred to as the "bridge" which harmonically bridges the two A sections to the returning and last (A). This bridge is usually recognized by a seemingly harmonically abrupt and even unrelated harmonic center; but, usually sets-up the return to the harmonic center of the "A" section. Now, consider that each of those 8 measure sections is made up of a sequence of harmonic "changes" (chords). Each of those eight measures will have one, two, three or even more chord changes within that measure. The choices of harmonic changes (chords) that a composer chooses create a "harmonic rhythm" which gives a tune harmonic pulse or momentum; a sense of forward movement. Each of these chords, while related, has it's own "palette" of color choices (note choices) that it offers the improviser as he travels through this sequence of palettes in real time. The improviser then has to choose from each individual palette (chord) and play notes that not only are found in that particular palette, but also relate to the palette before it, the palette that follows it, and most importantly the entire "box" of palettes (AABA/32 measures). The best improvisers can choose colors (notes) that are not found in any given palette (they are outside the harmonic center of that particular harmony) and still make them relate to the overall harmonic scheme. Consider just how little time an improviser has to react to the constantly changing harmony, and still choose notes that are more than simply "correct" notes and actually add musical meaning to the improviser's spontaneous composition.

Musical meaning; THAT is what seperates the "good" improvisers from the greats and what defines a true artist. It's possible to master the mechanics (physical and intellectual) of the process of improvisation to an extent that can be very impressive, but still shortchange the listener with an absence of music. While this can be subjective, the educated listener usually knows it when he hears it (or doesn't). This is the main reason that a more in-depth understanding of the music making process helps to appreciate who the real artists are. A visceral, non-analytic, appreciation of music is great and truly the bottom line; but, understanding the proces better can clear the way for a deeper understanding of the art.