Jazz - an explanation as to why it is not random noodling

[Bilbo]

I have used this example many times when trying to explain to Jazz novices what Jazz is and what it is not. When a musician is soloing, s/he is generally thought to be using theory and a knowledge of harmony to create spontaneous improvisations directly out of their imaginations. Whilst this may occasionally happen, it is more often the case that the player is using what s/he hears to inform her/his developing ideas.

In this performance of the Tony Williams tune 'Sister Cheryl' from Wynton Marsalis's first LP as a leader, saxophonist Branford Marsalis, then aged 22, plays a wonderful solo of around one minute that provides us with a perfect example of what makes a great Jazz solo.

The important thing to remember is that, as pianist Herbie Hancock approaches the end of his piano solo, Branford has no idea what he is going to play. Then, at the 3.50 mark, Herbie plays a four note chordal phrase that gives Branford the idea he was waiting for with which he opens his solo at 3.56. Remember, Branford is listening to what Herbie is doing and then formulating a response in real time. Branford repeats Herbie's phrase once and then reframes it as the chords change beneath him. He then changes the phrase slightly (4.02) and Herbie responds to the change by playing a slightly different phrase underneath him (4.04). Branford uses Herbie's response to echo a further response (4.05) which he then repeats and moves around the harmony. His phrases from here are essentially theme, variation and recapitulation but the thing is that each phrase informs that next (4.11 to 4.20 is beautifully done - notice how he reuses the same phrases again at 4.36 and, once more, at 4.52).

Listen to the solo in isolation and then again within the full performance and you will get a real sense of what it going on and why there is nothing random about this solo. It is a dialogue that starts between Herbie and Branford and which Branford then uses to build his own argument. Exquisite.

 

[jrixn1]

38 minutes ago, Bilbo said:

Herbie plays a four note chordal phrase that gives Branford the idea he was waiting for with which he opens his solo at 3.56.

There are two good solo handovers in https://www.youtube.com/watch?v=k94zDsJ-JMU (Milestones), at 1:50 and 3:15.

Edited February 27, 2020 by jrixn1

[EliasMooseblaster]

Lovely. I would likely have missed the subtleties of that exchange if you hadn't pointed it out - my biggest mistake is that I tend to focus on the soloists in isolation, and forget that actually, the best ones feed off the band around them.

Also, I couldn't help but notice: lovely bass playing. Who is it on that LP?

[DaveFry]

Short form , so they repeat the head . Wes takes the first short solo , hands over to George who repeats Wes's last phrase and develops it . 
 

The famous example at 3:00 :

 

 

And here is someone who might have some credibility here ( or not )

 

Great thread idea , Bilbo .

 

[EliasMooseblaster]

1 minute ago, DaveFry said:

The famous example at 3:00 :

 

Wow. This neatly proves my point above about missing those subtleties - and this is one of my favourite jazz tracks, which I must have put on innumerable times...

 

2 minutes ago, DaveFry said:

Great thread idea , Bilbo .

+1!

[wateroftyne]

I think the pinnacle in the genre probably occurs around the 2:30 mark here:

 

[Bilbo]

38 minutes ago, EliasMooseblaster said:

 

Also, I couldn't help but notice: lovely bass playing. Who is it on that LP?

Ron Carter. There is a transcription of the bass line to the tune 'Hesitation' from the same album on my transcription archive page. 

Edited February 27, 2020 by Bilbo