John Basile: Ideas

Very often the art of compromise looms front and center when applying one’s creative vision to the realities of making a living in the music business. As it is very much a business in every sense of the word, like any business, numerous hats must be skillfully worn throughout a career to fully appreciate the scope of what’s needed to succeed.

Very often during that process one can easily lose touch with who they are and of most importance what they want to say musically.

During that very personal journey, the art of compromise (musical or otherwise) very often is what’s needed for survival purposes – the compromise to be successful in expressing one’s vision as an artist vs. the realities of making a living in the 21^st century through actually playing a musical instrument in a jazz context for a living.

As a musician, first and foremost, one should never veer off course in the long run. We need to strive to stay focused on always expressing a piece (even if a very small piece at times) of who we are, without compromise, and least of all without musical apology.

For this project we wanted to approach the music, musicians, and conception totally from an organic (figuratively and literally) approach and work with material that I felt was complete in representing my personal experience in music over the years.   With a few 70’s pop tunes, straight ahead standards, a movie theme, a few originals, and some samba/Latin grooves, we had a ball in recording what feels like a very complete musical menu from start to finish with the right cast on board throughout:

 

Pat Bianchi (www.patbianchi.com) represents the past and future of the jazz organ. His approach and solos here on “No Apologies” capture the best that jazz and the organ itself have to offer, while pointing toward the future of the instrument as well.

Pat has a deep sense of swing and the blues and his contributions here fully reflect that amazing solo artistry and his unique accompaniment skills.

Carmen Intorre’s (www.carmenintorre.com) playing feels like wearing a comfortable pair of shoes from the first time we played together. Whether the groove is straight ahead, funk, samba or ballad with brushes, Carmen has the instincts and sensibilities to be right in the moment in everything he plays. Many moments reveal themselves extemporaneously throughout the selections here in a true “No Apologies” approach.

Kevin Winard (www.kevinwinard.com) has an impressive career resume as well combined with the very obvious creative experience needed to provide superb accompaniment skills to any genre. A skilled drummer as well, Kevin came in and added a sweet taste of percussion that fully complimented our menu.

 

Like a great meal in which the main course totally relates to the appetizer before it, while progressing logically to a final espresso at the end, we hope you feel full with satisfaction that a complete musical story has been told – a story with no compromise and certainly “No Apologies” for sure. Enjoy!

 

John Basile

January 2010

CLARITY

What makes the precise detail of certain musician’s improvisations “clear”? When every aspect seems just right - when every note and rythmic choice made seems “perfect”. This is improvisation. It’s not supposed to be perfect some may say and to an extent they are right.
This concept came up for discussion one afternoon while playing with John Abercrombie at his home. We were discussing the various ways to approach a tune and the idea of what/how to approach soloing on a song (whether an original or a standard) and I felt this important concept certainly come to light and worth talking about.

Certain musician immediately comes to mind in terms of clarity in what they play and how they play it. Is it a conscious choice? Miles, Jim Hall, Chet Baker, Wynton Kelly, Bill Evans all evoke this certain kind of purity to their playing. If the melody of a song is viewed as the highest statement of “truth” if viewed as an improvisation, these musicians’ improvisations often times stand as an even higher pinnacle of perfection. How can one aspire toward the goal of a clear, concise, perfect statement melodically, rhythmically, and harmonically? John indicated if you really listen to a tune you want to approach learning/performing - really listen - to it’s melody, form, harmony, tempo etc. etc. - the song itself will actually dictate the path to take when approaching improvising a solo. Learn the melody and general structure/feel of particular piece music and then let that essence be the “goal” at which you attain this clarity. Without becoming too abstract I think that awareness of that idea, combined with a deep commitment to “swing” (in all aspects) during this process certainly helps. It must, as the aforementioned player’s always speak so clearly in what they play and it always feels good as well.

Form – Another point worth exploring when constructing a solo is to never lose site of form as a tool in this regard. Is it a traditional AABA standard or perhaps a repeated short form cycle such as Horace Silver’s “Peace” or “Blue and Green”? Each connotes a different approach to playing and one must really take that into consideration when deciding what, when, and how to improvise. Again, awareness is key.

Intensity – The concept of intensity also comes to mind when opening the door to achieving clarity. It’s often misunderstood and misinterpreted. Instead of the obvious idea of louder, faster etc. an approach I love is so clearly demonstrated in the playing of Jim Hall. Jim chooses a total harmonic approach to intensity that defies the conventional idea of playing more notes or simply boosting volume levels. He’ll alter chordal shapes and introduce subtle reharmonizations at low volumes that truly “roar” with intensity. A seeming paradox that makes perfect sense and the result is total clarity in his improvisations and a real sense of purpose.

Finally, just as an aside, lately, when I hear any of the great jazz masters who we associate sometimes with a particular instrument, play, it’s interesting that their actual instrument becomes so secondary to what they play. In other words I’m less and less aware of Jim actually playing a guitar per se or Paul Desmond “playing” a saxophone. The clarity and their total commitment to playing in the moment transcends the technique of any one instruments technical challenges. For the purposes of clarity the instrument truly is just a vehicle. The improvisation and “point of view” if you will, is so up front, simple and clear, that the technical demands of any one instrument seem to not even enter the equation. Just a few recent thoughts to strive for...

I recently attended a lecture on listening and came away with a number of perspectives on not only the importance of never to stop nurturing this art in life during personal conversations – but of its’ profound application in playing jazz. Guitarists have the unique ability to play a continuous stream of notes as the technique of playing the instrument does not demand a “breath” be taken to produce sound. I feel this is often why most guitarists’ play too much in achieving what they actually want to “say”. The clarity we seek gets lost in an ego-driven attempt to conquer the instrument and “impress” during a solo. Ironically, this blocks any real conversation/communication with an audience and the other musicians – the exact opposite of what you want to achieve and hopefully the real reason we want to play music in the first place – to communicate. To communicate in conversation we need to listen to others and the same is true while playing jazz music but exactly how can we cultivate and “practice” this? One suggestion is breathing. Start by first becoming aware of how you breathe during your improvisations. Are you taking short, shallow “snorts”, or perhaps not breathing at all until absolutely necessary? Whatever pattern, it probably directly relates to what, how, and when you play - what you play. Become aware. - Experiment playing less by actually stopping a phrase unless you truly hear it continuing. - “Let go” of the technique of the instrument. Focus on what someone else is playing and while doing so – don’t play. - Begin to recognize this while listening to great players (Jim Hall and Paul Desmond – masters of this). Why does it “feel good” to listen to some players and not as good to others? - While playing with another musician practice “call and response” style phrases. This promotes the experience of stopping and waiting and thus being “in the moment” – an essential element in great jazz playing. - Silence.....We know that what is unspoken has enormous consequences in how we relate with others verbally so let's use that knowledge and truth when playing the guitar. The parallels are the same. - Consider that during a concert performance an audience does not really connect to flashy technique and ego after an initial tune or two. They “remember” a performance and connect spiritually with the sense of communication they feel when we are truly listening and responding to our fellow bandmates. Lets seek those moments as a worthy goal in playing. Great jazz guitar performance demands years in the study of instrumental technique usually accompanied by countless hours spent alone - practicing. To share this work with others is essential to our spiritual and musical growth. Let's all stop ... to listen .........

A recent lesson with a student prompted the broad question as to what to practice in terms of building a complete vocabulary for improvising.
We listed some of the categories of study that are essentials from the ground up:

1) Arpeggios and available tensions on each individual chord.
2) Chord scales from the root of each chord.
3) Common tones (including available tensions) that sustain throughout 2 or more chords.
4) II - V , or II - V - I progressions to locate key areas and general tonal centers. **
5) Hearing phrases that cross the bar rythmically or melodically.
6) "Inside" and "outside" pentatonic scales.
7) Altered scales specifically on dominant seventh chords.
8) Call and response ideas i.e. striving to play "conversationally".

These are only a few ideas and approaches used in thinking about improvisation and how to approach a solo. Many players might use some, all, or none of these approaches in any one solo, shifting back and forth to whatever is most effective to be "in the moment".
No one approach or idea is best all the time and start by recognizing some of these things when listening to your favorite players.

- Begin to look at all things musical in more than one way (especially on the guitar).
- Strive to give your improvisations a conversational quality.
- Always let your ear be the judge as to what sounds best.
- Experience and patience!

* Expanded Key Center - By combining these techniques it is possible to think of many groups of chords as one key area (effective on fast tempos) keeping in mind characteristic leading tones, common tones, and thinking very chromatically.
This approach may only work in part of a tune but can give your solos a feeling of being the most "free".

Just some general food for thought....

JB