“Don’t just play something, sit there”… Jim Hall’s Jazz Koan.
Following on from Lennie’s advice re hipness and non-action, thank you to my friend (guitarist) Jason Broadbent for Jim Hall’s counsel “Don’t just play something, sit there”! On further research those close to Jim Hall suggest he actually said “don’t just do something, sit there” but the point is the same.
The more I practice, the more I teach and the older I get, the more I am struck by the parallels implicit in improvisation, expressive and functional use of language and the various approaches to mindfulness (across the traditions, secular or Buddhist mindfulness, Yoga, Martial Arts, Contemplative spiritual practice and so on). How often do improvisors chase and crave a successful outcome, attach to detail or over-identify with musical energy or self-expression? Our projection and desire are so far away from the flow-state that we claim to seek, confusing it for fantasy of technical or musical perfection. Jazz improvisors are so well resourced with the concrete resources of repertoire, musical materials, transcriptions and recordings as well as hundreds of educational courses, but the need now is surely for deeper understanding of the process of improvising and less a fixation on acquisition.
I recall my first day teaching at the Guildhall School of Music & Drama over thirty years ago, hearing a BBC Radio 4 documentary about creativity and the importance of “entertaining opposites”. At that time I was reading “Zen and the Art of Archery” where non-effort is central to presence and practice, attention more valuable that effort. There is much to be considered in this domain and more to follow. In the meantime, “don’t just play something, sit there!” Thank you Jim…
Thank you Liam Noble for alerting me to this video…
Consider the notion of embracing difference in learners, an absence of comparison and the centrality of experience.
Krishnamurti’s profound philosophy of education is in direct opposition to the current industrial model of education than not only works against differences in learners/people but has also systematically removed the philosophical aspect of the training of teachers themselves. Teachers used to be educated themselves to integrate a values such as “difference” within every lesson plan, programme of work and curriculum.Today they no longer have time to devise child/student-centred curricula and are instead shackled to the sick paradigm in the name of so-called quality and accountability. Krishnamurti is a voice in the wilderness but a reminder of the true purpose of education.
The American educational philosopher John Dewey wrote in the early 20th century that “self-realisation is the goal” of education, “creating desire for continued growth”, not the mere acquisition of knowledge and information. This used to be central to teacher-education but chillingly these values have been and continue to be unpopular with government officials, including the highly influential Chris Woodhead (Chief Inspector of Schools in England from 1994 until 2000) who advised that “the words of John Dewey ought to be banned from all teacher-training institutions” (Daily Telegraph, 25 April 1999). Sadly, Head Teachers, Curriculum Designers and teachers themselves are generally corralled into compliance while at the same time the general educational culture is vulgarised by low-level and inexpert discourse in the press and even parents and learners themselves forget the authentic purpose of education and its and humane philosophical themes.
Education, from the latin Educare – to draw out that which lies within.
I was surfing the website of David Valdez and came across the tributes to and Ph.D about the American jazz educator Charlie Banacos. This man was a very significant figure and worth investigating if like me, you are unaware of his work (see CasaValdez for more information)… Just for starters some of the saying attributed to him:
“If you play with your fingers, you’re dead”
“The fingers are passive”
“The body doesn’t want to stop”
“The body doesn’t like angles”
“Row the boat”
“You feel like a diver by the side of a pool, ready to jump”
“Play with your arms, not your fingers”
“Of course it’s difficult; that’s why they call it an etude”
“Ear training—it’s Zen, not Aristotelian”
“Don’t measure” (as you practice ear training—hear it all at once)
“Piano technique—it’s Aristotelian, not Zen”
“Each note has its own shape as it goes by, like you’re driving by the planets”
“Keep your fingers near the keys, and don’t be afraid to raise your wrist”
“Don’t change the exercises”
“It’s a coordination problem”
“Just because you don’t speak like MLK doesn’t mean you shouldn’t talk”
“Think of the numbers, not hand positions”
“Circles, Squares, Triangles -separate them” i.e. one idea after the next, not on top”
“Plan your practicing, or you will be overwhelmed”
“Use all the tensions on the lines; use all the figurations for each voicing”
“It doesn’t matter what finger you use”
“Think like a drummer, using space and range”
“Close your eyes and sit in the audience watching and listening”
“Re: sight reading—it’s a craft, not an art”
“Oh, and do it in all twelve keys.” Kill!
“Divisive rhythm/additive rhythm”
“Elephant with a stick in his trunk” (using it as a guide as you walk/play).
“He’s [insert name here e.g. Mingus, Jerry B. etc.] whacked, but he can play”
“Deep into the keys” (toward the center of the earth and toward the fallboard)
Apparently, he also would stress the following…
“It’s not technique, its timing” —Oscar Peterson
“Practice without accents” —Oscar Peterson
“The body is a rock; the arms are snakes” —Claudio Arrau
“All notes are ‘up’ notes” —Martha Argerich
“Feel the Ground” —Anton Rubinstein
“It’s all about circles” —Chick Corea
“Think of elephants, giraffes and hippos as you play” —Bill Evans
“C fingerings in all keys” —Franz Liszt
“Giant Steps solo in all keys” —George Coleman
“Music is Technique”—Nadia Boulanger
“Practice for the performance” —Chick Corea
“You must be a good draftsman before you can be a great painter” —Bill Evans
“Practicing is pushing a wall—you wake up the next day the wall has moved” —Bill Evans
“Don’t force the keys” —Art Tatum (to Red Garland)
“Each time is different”—Artur Schnabel, upon practicing the same phrase 200 times
“Three hours before breakfast” —Mike Stern
“Enslavement to the notation” —Craig Taubman
“Nothing difficult about it—just hit the right keys at the right time” —J.S. Bach
“You can’t be unhappy and be learning something new at the same time” —Merlin
A poet of the music, Paul Desmond was both self-deprecating and deeply insightful. This medley of quotes might tickle and provoke us… “I tried practicing for a few weeks and ended up playing too fast… I have won several prizes as the world’s slowest alto player, as well as a special award in 1961 for quietness”. Regarding his tone:“I honestly don’t know! It has something to do with the fact that I play illegally.” On why he changed his name: “Breitenfeld sounded too Irish.”
More seriously, Paul Desmond challenges students and teachers of the music: “Complexity can be a trap. You can have a ball developing a phrase, inverting it, playing it in different keys and times and all. But it’s really more introspective than communicative. Like a crossword puzzle compared to a poem.”
And most telling… “Writing is like jazz. It can be learned, but it can’t be taught.”
Sadly his perception about the jazz audience appears to remain pretty much spot on…”Our basic audience begins with creaking elderly types of twenty-three and above.”
Musicians and students are prone to a bit ranting as to how improvisation occurs and whether or not the analogy with language acquisition is appropriate. In supervising students’ (and their own) personal practice, teachers of improvisation can encounter blocks to progression and development, spending a lot of time untangling a student’s perception of their learning experience.
While Improvising is fun, once studied or practiced, it is my experience that inexperienced students and some seasoned musicians can mistake the sensations associated with play or the “flow state” with the slower and “creaky” mind that learns the initial stages of concrete skills. You might say confusing the self-expressive state is confused with the learning state.
“Watching a musician in the throes of an improvisational solo can be like witnessing an act of divine intervention, but embedded memories and conspiring brain regions, scientists now believe, are the source of ad-hoc creativity” So suggests Amanda Rose Martinez… see her article in SEED MAGAZINE – click here.
I suggest that our experiences as students of improvisation will be easier if we undertstand the learning process, so thank you Ms Rose… but now the community of jazz educators will be well advised to consider precisely how the research can be applied to enhance schemes of work, learning strategies and practice in general – and to be fair, the findings of this research have been alluded to for at least 30 years through applied (as distinct to cognitive) psychology. This is where the work of figures such as Guy Claxton et al, George Odam and the tried and tested Inner Game authors is useful.
What’s stopping us?
Wise person sayeth…
"Sometimes you have to play a long time to be able to play like yourself."... Miles Davis