band

I was playing to a slow blues jam track many years ago and was frustrated at the way I sounded.

I went to my well of inspiration and listened to slow blues solos performed by Gary Smith. I noticed that the last note of each of his phrases was held (with a vibrato commonly) and the volume decayed slowly until the next phrase. It didn’t sound as if he actually stopped any of his last notes… they either disappeared into the mist of the noise floor of the band (maybe he was still playing, but I couldn’t hear it?) or he decayed to the point of almost stopping and he started his next phrase. continue reading...

Listening to Kim's "Hunch Rhythm" I'm sure you noticed that he didn't reserve dynamic change for only chord change, he also would...

1) Start a lick soft and then finish LOUD

2) Start a lick LOUD and then finish soft

3) Start a lick soft, then go LOUD and back to soft

4) Start a lick LOUD, then go soft and back to LOUD

5) Play punctuated note(s) VERY LOUD to surprise and excite you continue reading...

Space... it's the most simple and effective way to stay in time. Leave more space in your playing. This is accomplished in two ways...

1) Space in the form of rest between phrases, where you're not playing.

2) Space in the form of long holds, where you play a note for a bar or longer.

Both types of space give you the opportunity to listen to where you are in the form and make micro-adjustments between phrases.

When you move out of time it's usually for one reason... you're too focused on what you're playing. Relax... clear your mind... enjoy the music you're creating with the other musicians (live or on recording) and focus not on what you're playing, but the composite effect of what you and the band are playing together.

I usually see a blank face when a student is asked by the the band before playing their song, "Is there a quick change?"

If you don't know, then say no... most blues harp songs don't use one... it's a safe guess. continue reading...

Tone is created by the player... with their embouchure (for a harmonica player) or with their hands for guitar, bass, piano and drums. Good players can play at a whisper-quiet volume with huge tone. They can also use a rig (mic, amp, etc.) that the average player may feel is lacking and make it sound glorious. If your rig doesn't break up until you have it set real loud, then tame it with lower-gain tubes or use a smaller amp so that you can drive it harder. continue reading...

Show up on time. Show up prepared. Be easy to work with.

This sounds too simple, but these are the main reasons why musicians are hired and fired.

Replace the word "Jazz" with "Blues" and this is pretty accurate to what the new blues musician experiences. I've provided the text and my notes for your review to go along with your watching of the video.

"Journey Into Jazz" by Gunther Schuller
Narrated by Leonard Bernstein (1962)
http://www.dailymotion.com/video/x15bpi_leonard-bernstein-journey-into-j... continue reading...

I've never heard the comment... by anyone... ever... that a band was too quiet. The usual comment is "the band was so loud I couldn't hear myself at all." It's also common to hear from those in the audience, "I think you sounded good, but I couldn't really hear you."

So, our rule of thumb...

While playing on the bandstand, if you're not able to follow the story the soloist is crafting or the tale the vocalist is weaving, you're playing too loud. The vocalist/soloist has to at all times be heard well enough that not only their strong notes come out, but the subtleties as well. continue reading...

The highest art of performance is to hear and react to what everyone in the band is playing as you play. If you're too focused on what you're playing, your ears close and your timing and groove suffer... along with your note selection relative to what the band is playing to support you (it's common for a soloist to play too light to a bluesy backing and vice-verse). continue reading...