So, You Want to Be a Jazz Musician?

So, You’re Interested in Becoming a Jazz Musician?

By Jamey Simmons, Director of Jazz Studies

Middle Tennessee State University

So, you are interested in becoming a jazz musician?  If so, you have chosen one of the most demanding, exhilarating, and creative pursuits.  It is one that combines the sounds of America with the music of the rest of the world, celebrating the evolution of an enslaved people’s expression into a powerful cultural musical force.  It is this tradition and culture that you are joining. 

We are drawn to playing jazz for different reasons.  Some of you want to understand it to pass it along to the next generation of musicians, and this is a most admirable goal.  Remember that our gateway to being an excellent teacher is becoming a great artist.  When we experience jazz at a very deep level, it leads us to want to share it.  Some of you came to jazz through a love for the great players on your instrument.  This is also a great way to come to the music, as emulating the masters has infinite ways of expanding our technical abilities.  Others are drawn to the rich rhythmic, melodic, and harmonic qualities of the music, even though it can be hard to understand at first.  While the former two motivations for being drawn to this music are admirable, it is this sheer joy of participating in the music itself that should give us the desire to practice hard, have the courage to jump into new situations, and create in the moment.

Because most of music education is geared toward the western classical tradition, learning to improvise and create in the jazz style will include (for some of you) a steep learning curve at first.  What you will find though, is that the process of being a creative jazz musician starts a snowball effect that leads to areas that you never imagined.  In time your music will become circular: PERFORMING AND LISTENING will help your AURAL IMAGINATION grow and vice versa.   

Let’s examine in detail why being a creative jazz musician will be challenging.

1)      The aspect of AURAL IMAGINATION is of primary importance in becoming a successful jazz musician.  This means that to improvise music you must have a vivid SOUND PICTURE in your mind of the music you are playing.  The rhythms you play need to be physically felt: you should be able to sing the melodies and harmonies in your mind, while imagining all of the timbral and technical nuances of the music.  All of the technical studies you undertake will go toward developing what many call the “inner ear.”  This may seem daunting, but the strongest allies you have in this are your ability to listen to music in detail, your music theory ear training and your subconscious mind, which solves a great many musical problems for you as you feed it with your hard work.  After this is done you will be able to live up to your responsibility of being a contributor to the sound of the group, reacting very quickly to your peers in musical situations.

Why is having a strong imagination important?  I believe that it’s because God (Himself being the Creator) gave us the urge to be creative.   For me, I know that God gave me the gift of creating music, and the joy that it brings me has grown over the years and continues to grow as Iearn, try new things and think about music in different ways.  All of this starts in one place: the mind.  This undaunted creative attitude is necessary for us to have the courage of finding new ways to touch our audience’s hearts and minds.  In some ways this spiritual aspect is summed up with Leonard Bernstein’s quote:

“Music . . . can name the unnamable and communicate the unknowable.”

2)      The technical demands of jazz performance are extremely high.  The range of most wind players has expanded since Louis Armstrong played his impressive high D on West End Blues!  Great jazz musicians spend countless hours on their sound, often studying with classical teachers that push them to new heights.  For many of you, playing solos will be a feat of endurance. Rhythm section members will play nearly the whole time!  Brass players will have to learn to build solos, being strategic in letting your chops rest during the buildup of your solos, paying close attention to relaxed breath.  Woodwinds, you will need to keep your tone and intonation consistent through the wide span of your range. Some of you, because of your relative ease of endurance, will have to learn to judge how to improvise because of musical considerations, not technical ones.   

Because of these technical demands, you will need a good practice routine.  Practice should be divided up into the following categories:

-          Warm – up  30 minutes (approximately) with long tones, Hanons, simple technical fundamentals (range, speed, flexibility, tone, scales and arpeggios) with a metronome.

-          Practice new concepts 2 hours (approximately) are practiced for mastery.  This may include etudes, repertoire (classical), learning new tunes (jazz) with a friend or play-along, transposing melodic language around the keys, practicing a transcription, practicing orchestral excerpts.

-          Practice ensemble music for 30 minutes with reference to a recording if possible.  The idea here is to prepare to be a leader in rehearsals.  This is how we have the professional mentality.

Notice that I have only 3 hours of practice here.  There should be times where you will be practicing 8 hours a day, because this is what great artists do.  If you cannot conceive of doing this, you may want to rethink being a jazz musician.  Actually, it’s good to remember that this is the price of excellence in most fields. 

We know that having a good practice routine is important, but how do we approach the practice itself?  This reminds me about my drive to work from our house in the country in Bedford County, TN, to Murfreesboro.  On this drive I see some of the most beautiful rolling farmland, hills, forests, and houses.  Taking TN Hwy 69, I go past a little town called Fairfield, which is really a church, several houses, barns, and an old mill converted into a home that rests right on the Little Duck River.  When going quickly through, listening to the radio or music and thinking of the upcoming day, Fairfield is really a blur.  But when I slow down I start noticing the details of the neighborhood: the pattern of the painted horse in the pasture, the wildflowers along the road, the glint of the sun off the tin roof on the old corner garage, the algae in the river, and even the play of the wind on the trees.  All this is to point out that when we practice slowly, our awareness of the nuances in our playing is heightened.  Over the years, this drive has become very familiar, and the landscape is etched into my mind, just as my long tones, technical exercises, solo repertoire, and practice of licks, tunes, and etudes has etched into my mind the sound possibilities of my trumpet.

This is the combination you will want to use in your practice:

·         Eliminate distractions

·         Have the sound of your goal in your mind

·         Practice slowly with solid time and good tone

·         Repeat exercises until you play it perfectly seven times, then speed it up

·         Reserve time in your practice to make up something new and creative

Remember that gaining technical command is not the goal, but a means to an end.  This end is expressing yourself through your instrument, which sometimes is done in the simplest manner.  Samuel Barber’s Adagio for Strings, Miles Davis’ Flamenco Sketches, and Duke Ellington’s Single Petal of a Rose are excellent examples of this.  In the same way, technique is necessary to prepare for the various directions we can take in improvising music, some of which are very demanding.

3)      Jazz is now about a century old and has spawned countless variations and combinations of style.  As a jazz musician, you will need to be familiar with a diversity of different styles and some of the repertoire and ways of improvising in these styles.  As an example, here is the set for a big band dance set we might play on New Year’s Eve.  Notice the different styles involved and the band that made them famous:

One O’Clock Jump                                     Blues in Ab                                               Count Basie                              Medium Fast Swing

Cherry Pink                                              AABA standard                          Perez Prado                              Rhumba

Sing, Sing, Sing                                          E-minor vamp                           Benny Goodman                       Fast “Jungle” Swing

I’m Beginning to See the Light                    AABA standard                          Duke Ellington                          Medium Slow Swing

Night Train                                               Blues                                        Ray Anthony                             Slow Swing

The Peanut Vendor                                   Eb vamp                                   Stan Kenton                             Rhumba

My Funny Valentine                                  ABCA’ standard                         Stan Kenton                             Ballad

Moon River                                              ABAC                                        Henry Mancini                          Waltz

King Porter Stomp                                     Early Jazz form (march)              Morton/Henderson/Goodman   Fast Swing

By looking at this simple set taken from an earlier period we can see an amazing diversity of styles, from tunes written by jazz musicians, to ethnic songs, to Broadway musical and movie themes.  The time frame of these compositions ranges from the 1920s (Porter Stomp, The Peanut Vendor) to the early 60s (Moon River), and displays different tempos, time signatures, and traditions (big band, blues, Latin, crooner songs, and even Jewish musical influences).  If this was a small group gig (with no Real Book!) you would need to memorize forms, keys, melodies, common introductions and endings, and lyrics.  

If we can see this great diversity here in just a big band set, consider the following musician/composers we need to be aware of, taken from a variety of genres:

Louis Armstrong, Jelly Roll Morton, Sidney Bechet                             Early Jazz

Blind Willie Walker, Charley Patton, Robert Johnson                        Early Blues

Mamie Smith, “Ma” Rainey, Bessie Smith, W.C. Handy                     Urban Blues

Otis Rush, John Lee Hooker, B.B. King, Muddy Waters                      1950s Classic Blues

Django Rheinhardt, Stephane Grapelli                                                    1930s European Jazz

Art Tatum, James P. Johnson, Willie “The Lion” Smith                       Stride Pianists

Fletcher Henderson, Chick Webb, Paul Whiteman                             Early Big Bands

Duke Ellington, Count Basie, Benny Goodman                                     1930s and 40s Big Bands

Lester Young, Coleman Hawkins, Mary Lou Williams, Roy Eldridge          1930s and 40s swing soloists

Benny Goodman, John Kirby Sextet, Nat Cole Trio                              Swing Small Groups

Dizzy Gillespie, Charlie Parker, Bud Powell, Max Roach, Charles Mingus             Bebop

Art Blakey, Horace Silver, Cannonball Adderley                                   Funky Jazz

Clifford Brown, Sonny Stitt, Sonny Rollins, Wynton Kelly, Wes Montgomery                   Hard Bop

Chet Baker, Miles Davis, Gerry Mulligan                                                 West Coast/Cool Jazz

Bob Wills and the Texas Playboys                                                              Country Swing

Stan Kenton                                                                                                       Progressive Big Band

Bill Haley, Sam Phillips, Chuck Berry                                                         Early Rock and Roll

Miles Davis                                                                                                         Bebop, Cool, Hard Bop, Modal, Fusion

Frank Sinatra, Tony Bennett                                                                        1950s Crooners

Bill Evans, Oscar Peterson, Phineas Newborn, Jr.                                Great Piano Trio

“Cachao” Israel Lopez, Tito Puente, Ray Baretto                                 Cuban Jazz

Ray Charles, James Brown                                                                            Soul, Funk

Ella Fitzgerald, Billy Holiday, Sarah Vaughn                                           Great Jazz Vocalists

Antonio Carlos Jobim, Joao and Astrud Gilberto                                  Brazilian Bossa Nova

John Coltrane, Joe Henderson, McCoy Tyner                                        Hard Bop, Modal, Avant Garde

Ornette Coleman, Archie Shepp, Sun Ra                                                 1960s Avant Garde

Herbie Hancock, Ron Carter, Wayne Shorter, Tony Williams           Advanced Modal, Fusion

Thad Jones, Gil Evans                                                                                     1960s and 70s Composers

Chick Corea, Michael Brecker, Weather Report                                   70s and 80s Fusion

Keith Jarret, Jan Garbarek, Dave Holland                                                ECM (European jazz)

Wynton Marsalis                                                                                              1980s Mainstream Jazz

Greg Osby, Dave Douglas                                                                              Post Modern Jazz

Maria Schneider, Rufus Reid, Bob Brookmeyer                                   Contemporary Large Ensemble Composer/Arrangers

Please let me know if I’ve left anyone off of this list, as it is a work-in-progress!  Can you see how this list represents hours of listening, transcribing, and understanding these distinct jazz styles?

This list may look daunting, as playing in different gigging/performing situations requires knowing at least a bit about each genre.  That’s looking at the discipline side of the equation.  What is really fun for me as your teacher is seeing how your understanding of these styles helps define your personality as a jazz musician.  This is the creative/intuitive side of the equation. 

Here is a major concept to understand: understanding musical styles that came about before you makes you a stronger, more original musician.  I realized this when talking to one of my favorite composer/trumpet players, Dave Douglas, when he was in residence at the 2007 Jazz Composers Forum held at the University of South Florida. He told me that he was currently studying 15th- 16th century Renaissance counterpoint!   I asked him if this would show up in his music, and he said no, not directly.  He did explain that the discipline of counterpoint would affect his playing and composing in countless ways. 

Did Dave Douglas have anything in common with other jazz greats?  Yes!  Consider Bill Evans’ study of Franz Liszt’s music, Michael Brecker’s study of East African musical traditions, Clifford Brown’s devotion to his Arbans etude book, Coltrane’s mining from Slonimsky’s Thesaurus of Scales and Melodic Patterns, Thelonious Monk’s copying of the stride pianists, and Charlie Parker’s internalization of Art Tatum’s piano playing.  These interests made them what they were.  If you say, “I’m my own artist. I want to be completely contemporary and make my own music,” the onus will be on you to build an entire musical language all by yourself.  You would be an anomaly, as the usual pattern of innovators takes shape in coming out of the past styles.  Also, you’ll have a tough time gigging with other musicians, because you’d need to teach them your own language!      

4)      In choosing to be a creative artist, you will choose to be somewhat of a cultural outsider.  In saying this, I’m not trying to have a chip on my shoulder; I’m simply presenting a kernel of truth: Creative people are different.  Because of this you will need to get used to describing to people the music that you’re making, drawing them into your world.  This is an important part of developing a relationship with your audience and will result in the cultivation of the skills of teaching and communicating.   Because our society can sometimes undervalue the arts, this is increasingly becoming important.

Currently our music educational system is geared toward the study of classical music.  This means that the music education and performing institutions (concert halls, universities) sometimes have ambivalence regarding improvised jazz music.  Because jazz musicians are becoming more prepared and articulate, and our music is developing to new heights, this perception is slowly changing.  You should try to get to know educators and creators in other styles that value jazz.  Sometimes they will be great allies, helping break down the divide between these two worlds.

Jazz music has other peculiar challenges.  Gigs are hard to find, with the jazz club scene markedly diminished since its heyday in the 1940s, 50s and 60s.  Jazz radio is now largely left to public radio stations, with many of these presenting one-size-fits-all syndicated programming. Jazz recordings are a very small minority of the overall sales in the recording industry.  Despite these challenges there always is room for original music, made by someone who has a passion for his or her art.  If you are passionate, you will learn to communicate this to others.

5)      You will have to consider some of the practical aspects of being a professional musician.

One of the biggest struggles you will face if you decide to pursue music as your calling is for you to be able to make a living for yourself.  Some of you will find it necessary to take a “day job” to help make ends meet.  There is nothing wrong with this!  Many great musicians have started their careers on this track.  The life of the great American composer Charles Ives (insurance company executive) is an excellent example, as well as the Russian nationalist composer Alexander Borodin (medical doctor).  One of my peers from my Eastman graduate school days, Madeline Sturm, studied clarinet, only to go into graphic design.  Now she does the graphics for John Stewart’s Daily Show!  She used many of the same character traits to succeed in this career as she did in her music study. 

What if you really want your career to focus on music?  The biggest factors in starting and maintaining a career in music is the following:

·         Having dedication to excellence, not the status quo

·         Being a good collaborator, not a competitor

·         Having personal integrity, not a questionable, shady reputation

·         Being on time, practicing personal hygiene, looking professional, not late, unbathed, and unkempt

·         Being willing to learn,  not be resistant to change

·         Being motivated, not lazy

·         Being a person of your word, not a manipulative liar

·         Being enthusiastic, not a “killjoy”

·         Being generous, and not stingy

·         Being encouraging and positive,  not cynical and negative

·         Your special talent and personality are valuable to people but you are not the only one for the gig.  Chances are there are other people who would be able to “make the gig” with their own talents and personalities.  (This statement balances our pride in our achievements with a dose of humility.)

Are these things that are only applied to music?  No.   This would be an excellent business seminar!  In fact, some of these things are greatly undervalued in our society, but those that follow these precepts usually have happier lives, more rewarding careers, and stronger relationships. 

One of the other necessities for having a career playing music is that of having various skill sets.  In the financial world they call this “diversification.” The reason for this is that the jazz club/gig scene is, on the whole, rather limited.   Nashville, for instance, features only 2 or 3 clubs that feature jazz as the main musical attraction.  Of course, New York, and many European venues are exceptions to this scarcity, but the competition to play in those venues is fierce.  This is why diversification is so important.  It is no different in other styles of music.  Take the symphony orchestra world as an example.  There were currently in the U.S. about 1200 symphony orchestras performing concert series as of 1998.   Since some of those have gone out of business, let’s round to 1000.  Only about 300 or so of those orchestras pay their members full time salaries with benefits.  Usually orchestras carry 2 full time trumpet players, allowing 600 trumpet players to play full time in orchestras.  That means that those remaining 1400 trumpet players do other things to fill the “income gap”.  (This is a very good reason for classical musicians to learn to play at least some jazz and commercial styles.) Here are some of the other activities you could pursue to diversify your talents and skills:

·         Marketing music

·         Promoting bands and musicians

·         Repairing instruments

·         Teaching (elementary, junior high, high school, university)

·         Building your own private studio of music students

·         Arranging music

·         Composing

·         Playing multiple styles of music

·         Doubling on other instruments

·         Music studio engineer/production

·         Blogging

·         Becoming a music journalist

·         Writing articles for trade magazines

·         Publishing compositions and arrangements through a publisher

·         Designing marching band shows

·         Selling musical instruments

·         Being a music librarian at a university

·         Being a librarian for a major musical act

·         Tuning pianos

·         Playing as a utility/section musician in symphony orchestras

·         Running a wedding/society band

·         Producing and composing for TV/Movie/Radio

·         Copying music

·         Singing (if you’re an instrumentalist)

·         Playing an instrument (if you’re a vocalist)

·         Running live sound/lights

·         Leading a praise and worship band

·         Playing studio sessions

·         Build instruments, mouthpieces, reeds, amps, etc.

·         Playing organ and/or piano at a church

·         Playing solo piano/guitar for receptions

·         Working as a web designer for musicians

·         Playing in pit orchestras for Broadway shows

·         Use your own imagination!

Of course, many of these may not be your “dream jobs,” but they can fill a gap for a short time, and be an encouragement to try to move into performing full time.  For some of you, you may find a passion for one of these disciplines and move into it full time. 

I’m hoping that your experience here at MTSU will lead to a fruitful artistic life.  You will have plenty of opportunities to learn from others and pass on what you learn to your peers.  Letting your aural imagination work for you will give focus to your hard work.  You will be able to perform a variety of styles while you’re here, whether it’s in the Wind Ensemble, Concert Band, Jazz Ensembles and Combos, Salsa Band, Commercial Music Ensemble, Symphony Orchestra, various chamber ensembles, Chorus, or the plethora of student recitals.  Your senior recital will be a reflection of these styles and experiences combined with your own interests and your private instructor’s guidance.  You will have plenty of opportunity to work with others, exposing them to your musical expertise.   Most importantly, this is where you will start building a reputation.  Hopefully it will be one of integrity.  As you serve others, show yourself to be dependable, work hard, create beauty, and enjoy the struggle for excellence.  These things can help ensure a long, happy, and fruitful career, filled with strong relationships. 

Now go and create great music, and God bless you!

Jamey Simmons