© -Steven
Cerra , copyright protected; all rights reserved.
“All drummers are
frustrated piano players,” said one of my best friends who was himself, an
excellent pianist.
“C’mon, Man. Help me tune these drums,” I said.
Having just added
a third tom tom to my drum kit, along with the turned-off strainer on the snare
drum and the bass drum, I hoped to tune the five drums to a pentatonic scale.
This was a
breakthrough period for me as I was learning to keep the melody in my mind
while soloing on a tune; something that helped me to play drum solos that were
more “musical” and less “technical” [i.e.: relying on a combination of drum
rudiments – think marching band drum cadences].
It was a skill that
I had worked up to after first learning to trade four-bar and eight-bar breaks
with other instruments. Sometimes 12-bar breaks were used if the tune we were
playing on was a standard blues.
But taking an
extended drum solo on the full 32-bars of a standard tune structure was
different because all the other instruments stopped playing.
So how do you find
your way through a drum solo on a tune when the 4-bar/8-bar/ 12-bar benchmarks for
trade-offs are gone?
Simple, you do
what the melody and harmony instruments are doing when they solo: you keep the
basic song structure in your mind and you make-up an alternate melody. Yeah,
but, easier said than done.
The first drummers
that I recall performing drum solos over full choruses were Max Roach and
Shelly Manne. Max was a bit more mechanical in his approach than Shelly – who
was probably the most musical drummer who ever lived – but they were both great
at constructing extended drum solos – solos that other musicians in the band
actually liked to listen to.
These extended solos
were not intended to be played as the show-stoppers that drummers such as Buddy
Rich, Louie Bellson and Joe Morello were noted for, but rather, as expressions
of Jazz using the timbre and texture of drums rather than brass, reeds or
woodwinds.
Interestingly, the
piano fits into all of these categories as it can be as percussive as drums but
also interpret melodic and harmonic elements in the music as well.
Maybe my pianist
friend’s contention is true in that all drummers would like to have access to
the piano’s myriad capacities for producing sound instead of being limited to
striking drum heads and cymbals.
Whatever merit
there is in his assertion, he is right about one thing; next to drums, piano
has always been my favorite instrument.
Which is why I was
so surprised that I hadn’t read Len Lyons’ The Great Jazz Pianists: Speaking of Their
Lives and Music when it was first published by DaCapo Press in 1983.
I had been aware
of Len’s book for many years as other Jazz writers often reference it in their
work, but I didn’t actually acquire my own copy of it until last year when a
friend gave me his copy as a gift.
When I
sat down to read The Great Jazz Pianists: Speaking of Their Lives and Music, I
devoured it. It is one of the best books about Jazz that I have ever read,
perhaps, not surprisingly, because it contains interviews with many of my
favorite Jazz pianists.
In many ways, the
origins of the book are quite accidental in that Len didn’t initially realize
what he had in the interviews with Jazz piano masters which he had conducted
over the years.
As he explains it
in his Preface:
“Jazz piano has
always seemed to me to be a single language of a thousand different dialects.
It embraces a multiplicity of styles, yet has a strong underlying continuity that
its artists study formally or absorb naturally through their listening and
playing.
It has been six
years since it first occurred to me that the jazz piano tradition was an
autonomous subject deserving book-length treatment. My original idea was to
write a collection of journalistic stories about the pianists I had interviewed
over the years for magazines and newspapers, contrasting their individual
differences with their commonly shared heritage. The project was slow to start.
It was superseded by my ongoing work as a freelance journalist and the
time-consuming process of writing a listener's guide to jazz, published in 1980
as The
101 Best Jazz Albums.
Then, in May 1982,
while organizing my portfolio, I began rereading my transcribed interviews with
jazz pianists, which, by that time, exceeded three dozen. An hour later I was
still reading, finding their stories delightful (even the second time around)
and their insights enlightening and thought-provoking. Suddenly I realized I
had the key to presenting the jazz piano story: The pianists must speak for
themselves. Their opinions, reminiscences, and anecdotes reveal intimately who
they are, and their comments on playing jazz, and on their unique heritage,
ring truest in their own words. In short, the focus of the book I was imagining
shifted from jazz piano to the jazz pianists, who are, after all, the lifeblood
of the music.
The book has
finally taken shape in two parts. Part
One is a survey of jazz pianists from 1900 to today. It places these musicians
in the context of the overall history of jazz and its changing instrumental
styles. There were some intimidating challenges involved in composing this
overview. First, there is the inevitable overlapping of some material in this
section with information provided in the introductions and interviews of Part Two. Having interviewed many of the
key figures in the history of jazz piano, I could not very well survey the
field without referring to them and their work. Repeating certain points seemed
preferable to ignoring them. (As they are introduced into the survey, the names
of pianists interviewed in Part Two are followed by an asterisk [*].) …"
The interview
material in Part Two (except for the Dave Brubeck interview, which was arranged
with this volume in mind) was gathered for magazine publication between 1974
and 1979. In many cases the interviews herein are expanded versions of the
articles that first appeared in print. Whenever possible, they have been
supplemented and updated with this book in mind, to allow the pianists an
opportunity to express themselves fully on crucial subjects. …
The introductions
to the interviews have been kept brief to avoid duplicating topics discussed
during the interviews themselves and in the survey in Part One. …”
Some of the
pianists interviewed by Len in Part Two have
been the subject of earlier pieces on JazzProfiles. This list includes
Teddy Wilson, John Lewis, George Shearing, Dave Brubeck, Ahmad Jamal, Horace Silver, Oscar
Peterson, Jimmy Rowles, Bill Evans, Chick Corea and Herbie Hancock.
To ease my
frustration at not ever having become a Jazz pianist, from time-to-time, I
thought I might use Len’s book as a guide to developing a few more “Jazz Piano”
features for the blog.
If you
haven’t already done so, why not check out Len Lyons great book.
You don’t need to
be an ex-Jazz-drummer-cum-frustrated-pianist to do so.
No comments:
Post a Comment
Please leave your comments here. Thank you.