By Howard S. Becker, Robert R. Faulkner
<P style="MARGIN: 0in 0in 0pt">Every evening, someplace on this planet, 3 or 4 musicians will climb on degree jointly. even if the gig is at a jazz membership, a bar, or a bar mitzvah, the functionality by no means starts off with a be aware, yet with a query. The trumpet participant may perhaps flip to the bassist and ask, “Do you recognize ‘Body and Soul’?”—and from there the sophisticated craft of taking part in the jazz repertoire is proven in entrance of a stay viewers. those traditional musicians may perhaps by no means have performed together—they might by no means have met—so how do they easily wear a express with out getting booed offstage.
In “Do you recognize . . . ?” Robert R. Faulkner and Howard S. Becker—both jazz musicians with a long time of expertise performing—present the view from the bandstand, revealing the array of abilities important for operating musicians to do their jobs. whereas studying songs from sheet song or by means of ear is helping, the jobbing musician’s lexicon is dauntingly vast: millions of tunes from jazz classics and dad criteria to extra unique fare. because it is most unlikely for an individual to memorize all of those songs, Faulkner and Becker convey that musicians jointly negotiate and improvise their method to a profitable functionality. gamers needs to discover each one others’ components of workmanship, increase a capability to faux their method via strange territory, and reply to the unpredictable calls for in their audience—whether an unforeseen gang of polka enthusiasts or a tipsy father of the bride with an imprecise favourite song.
“Do you recognize . . . ?” dishes out pleasing tales and sharp insights drawn from the authors’ personal reviews and observations in addition to interviews with various musicians. Faulkner and Becker’s bright, unique portrait of the musician at paintings holds necessary classes for a person who has to imagine instantaneous or less than a spotlight.
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Extra resources for "Do You Know...?": The Jazz Repertoire in Action
A suggestion might be met with a question about what key the tune is in, or the proposer may clarify an ambiguous suggestion (“It’s ‘I Got Rhythm’ ” or “It’s a blues”) until the others have a clear enough idea of what the suggestion will entail for them to decide whether to accept it or not. The questions, answers, and discussions reﬂect dimensions of what performers think has to be considered in this situation. If they reject the suggestion, they start all over again. These negotiations, as we’ll see later, take place in a few seconds but are no less complicated for all that.
Many tunes would have vanished long ago if they hadn’t proﬁted from such an accident. Would anyone be playing “Surrey with the Fringe on the Top” today if Miles Davis hadn’t recorded it? Or “Mean To Me” or “What A Little Moonlight Can Do” if Billie Holiday hadn’t recorded them because the Brunswick recording company, in the 1930s, had hired her and Teddy Wilson to turn out four sides a month of currently popular tunes? Wilson hired the best musicians around, Holiday developed her classic style in the course of this long series of sessions, and today the recordings are jazz classics, part of the storehouse of available music players have learned from.
Musicians vary this blues structure endlessly. A small example: instead of two bars of the dominant (a chord built on the ﬁfth note of the key, F7 in the example) in bars 9 and 10, bar 10 can be the subdominant (a chord built on the fourth note of the scale, E♭7). The melodies, especially when the blues are sung, are more or less traditional and relatively unimportant. Instrumental versions usually contain short melodies someone has composed over these chords and given a name to (Charlie Parker’s “Now’s the Time,” Duke Ellington’s “Things Ain’t What They Used to Be”).