
Understanding your role within a jazz ensemble is crucial to both individual growth and group success. The Jazz Workshop's Director, Paul Pieper, brings years of educational expertise to these carefully curated observations, offering instrument-specific guidance that illuminates the interconnected nature of jazz performance. While each section speaks to particular instruments, the underlying principles resonate across all aspects of jazz musicianship.
DRUMMERS:
Don't worry about playing too loud or too soft - always strive to be at the "right" volume.
Playing straight-ahead jazz at a high level means learning how to create a strong groove with only the power of your ride cymbal beat.
Consistency in tempo is critical, and it's one of the things that makes great jazz sound great. This is especially true at slow tempos.
Strive to make beautiful sounds at all times.
The best jazz drummers know the melody and the form of the tune - just like everyone else in the group.
Everyone in the group is a drummer, but you especially are.
"Dynamics" doesn't just mean volume, but also varying timbres, and density vs. space. You have maybe the most ability in the group to leverage these things.
BASS PLAYERS:
Time is more important than notes.
You are the referee in the rhythm section. You are also the main timekeeper in the group, if that role belongs to any one person.
The better you understand harmony, the better your bass lines will be.
It's important to be able to get it done with just plain quarter notes. Try to spend a little time in every walking bass line doing this with no ornamentation.
Always be musically advocating for where you think the tempo is, or should be.
Learn to keep playing with a strong groove even when you're soloing. Sometimes you'll have to keep playing with a strong time feel even during your solo. That's not always fair, but it is what it is.
PIANO / GUITAR PLAYERS:
Comping never NEEDS to happen - ever. With that in mind, learn to be deliberate when you're comping.
Good comping is often as much as 50% space, or more.
Learn to play iconic, classic comping rhythms.
Don't be dead weight. Don't make the groove worse as a result of your comping.
Think about the soloist and what they need from you. Think about how to inspire them and how to stay out of their way, in equal measure.
Learn to be interested in what the soloist is doing. A lot of "listening" is just this.
HORN PLAYERS:
Listen to the rhythm section. Play in time with them. Don't get out of sync with the drummer.
You are a drummer too. Playing in a jazz group, you can never forget this.
If the melody is one that should be interpreted somewhat ("Songbook" tunes), find a way to make it come to life with your interpretation. A little goes a long way.
Try to project. You don't have to play loud, but you do want people to be able to hear you.
Involve the rhythm section in your solo. Make them part of what you're doing.
ALL IMPROVISERS:
In jazz improvisation, process is more important than results.
Reading off of a page while you are soloing, while very often a necessity, makes your solo worse, because it takes extra mental resources.
All soloing is singing. Practice singing solos. This uses the same part of your brain as when you play a solo, if you're doing it right.
To improvise well means learning to concentrate and focus.
Be kind to yourself in your journey as an improviser. Learn to let your mistakes go. Shake it off and keep going.
Only you can play the solo that you are playing - you and no one else. For that reason, it has indescribable value.
These insights represent years of observation and experience in jazz education. They serve as guideposts for developing musicians, helping to navigate the complex and rewarding journey of jazz performance. Remember, while these guidelines are instrument-specific, the underlying principles of musicianship, listening, and dedication apply to all jazz musicians.
Want to explore these concepts further? Join us at The Jazz Workshop for personalized instruction and ensemble opportunities.