Originally Posted by
NSJ
A few years ago, my teacher asked me to help Oscar Ghiglia, a longtime good friend of his, with an unrelated non musical matter, which I did. I eventually got to meet Oscar, and heard him give a master class to Northwestern University graduate students ( The woman who heads the guitar department at Northwestern school of music is a former student of Oscar’s, and always has him come and perform every year). I mean, these graduate students were serious players of course, but the advice Oscar imparted on their interpretive skills was HUGE. You could hear the differences almost immediately, even a schlump like me noticed.
For those that do not know, Oscar was Segovia‘s most famous student, studying with the maestro for 10 years. I found him to be a very nice, down to earth guy with a very quick wit and an articulate, very cultured point of view.
I was thinking about the relationship between Jazz and classical players. I remember this conversation I had with my old teacher; he recounted in an interview with Studs Terkel in 1968 that becoming a professional classical Player after already being a professional jazz musician helped keep him sane , Because the sad reality is, being a professional jazz musician meant playing your heart out in a a bar or a club in which most people are talking over you, don’t really give a shit, and are more concerned with getting drunk and barely noticing the music at all. The much more respected classical venues at least meant people were paying attention to the music. .
He had this great story, he was playing electric guitar with the singer Peggy Lee in her band at a small jazz club in Chicago. Before anyone else would arrive, he would show up early and bring his classical guitar to keep his chops up-to-date and practice the classical repertoire in a room away from everybody else. One day when he was doing this, as he finished, he heard a noise and looked behind. It was Peggy Lee, and she had heard the entire practice repertoire and was in tears and demanded that he perform a solo classical set before hrr Jazz group played. He happily complied and did double duty .
This double duty kind of created this attitude in which his fellow musicians saw all that green grass over there. Oscar for example, was always wowed by his Jazz playing, and conversely, every time Joe Pass would come into town, he would always demand that he played classical guitar for him. After he would finish, Joe would always say something like, “Man, what do you play is real art and when I play is bullshit “. Talk about being humble and self deprecating. Wow.
By the way, Bream asked him to play jazz with him in a duet setting . It did not go well at all, he felt Bream was stuck in the 1930s and was downright brutal with the guitar . That is actually not a surprise conclusion for anyone who has watched Bream’s DVD documentary of his life, when he subbed for a jazz big band for a Fiver in London. The big bandleader thanked him for his service and said if he showed up tomorrow, he would give him a rhythm guitar lesson :)
Thank God he had his day job ! :)
The other thing I want to say about the relationship between jazz and classical is another story my teacher said about long ongoing conversations he had with Jimmy Weible decades ago. Jimmy was developing his ideas about two line counterpoint on an improvised basis , and my teacher convinced him the in order to develop these ideas more fully, he needed to develop his right hand in a more systematic way by taking formal classical guitar lessons. Finally Jimmy agreed, and my teacher flew out to LA to help him get a very nice guitar with one of the famous Spanish guitar makers he knew. I believe the Jimmy actually studied classical with the Brazilian guy who played with the modern jazz quartet among others and lived in United States for many years . Not Baden Powell or Luis Bonfa, I can never remember his name.
The point is, Jimmy studied classical guitar not to perform classical music, but to develop his technical skills in order to musically develop his jazz improv two line improv ideas better.