The Jazz Guitar Chord Dictionary
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  1. #1

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    jam session

    Also "jamming." The most informal of jazz arrangements, and one which depends solely on the shared knowledge of the players. It was once a common practice among jazz musicians, often occurring after hours, in clubs or spaces set aside for musicians and their friends to be entertained and to learn their trade. Recordings such as Norman Granz's Jazz at the Philharmonic were packaged jam sessions that were put onstage around the world.

    (From Columbia University's Center for Jazz Studies' online glossary.)

    1) Are you okay with this definition? (If not, why not?)
    2) What should nervous first-timers expect when they go to one?
    3) What do those who welcome "newbies" expect them to do (and not do)?
    4) Do some pros avoid jam sessions (and if so, why)?
    5) How common are jam sessions in your area?

    A starter-kit of questions about an important topic. No one should feel obligated to answer them all, or any of them, for that matter.

    The term itself, "jam session" would belong in the glossary section. Part of what may result here is a better current definition. The other part, the main part, is to hear what members have to say about their experience of jam sessions.

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  3. #2

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    Quote Originally Posted by MarkRhodes
    jam session

    Also "jamming." The most informal of jazz arrangements, and one which depends solely on the shared knowledge of the players. It was once a common practice among jazz musicians, often occurring after hours, in clubs or spaces set aside for musicians and their friends to be entertained and to learn their trade. Recordings such as Norman Granz's Jazz at the Philharmonic were packaged jam sessions that were put onstage around the world.

    (From Columbia University's Center for Jazz Studies' online glossary.)

    1) Are you okay with this definition? (If not, why not?)
    2) What should nervous first-timers expect when they go to one?
    3) What do those who welcome "newbies" expect them to do (and not do)?
    4) Do some pros avoid jam sessions (and if so, why)?
    5) How common are jam sessions in your area?

    A starter-kit of questions about an important topic. No one should feel obligated to answer them all, or any of them, for that matter.

    The term itself, "jam session" would belong in the glossary section. Part of what may result here is a better current definition. The other part, the main part, is to hear what members have to say about their experience of jam sessions.
    I'm OK with the term jam session. I'm actually pretty much OK with anything other than open mic. But, why change it from what its been for over half a century?

    They do exist in my area, but are not plentiful. I haven't attended any yet as a participant . . because other than having the necessary gear, I'm as of yet unworthy of them . . unless I can depend on advance notification of 3 or 4 tunes that will be called when I get my turn in the barrell. My repertoire is woefully anemic.

  4. #3

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    Quote Originally Posted by Patrick2
    I'm OK with the term jam session. I'm actually pretty much OK with anything other than open mic. But, why change it from what its been for over half a century?
    I'm not looking to change the term; I wondered if members thought the definition still seemed current. If it does, that's fine. I'm not in a position to know, but I think several people here are.

  5. #4

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    I've heard the term "open jam" to refer to a gig where the house band plays a set then invites players to the stage who have signed in on a list. If time permits and I were new to playing or the "scene" I would go a few times without my instrument, just to feel out the vibe and get a sense of what the level of expectations are.Also just going, hanging out meeting th players tipping the band, applauding everyone's efforts, make FRIENDS (not connections), buy the bassist a drink stuff like that goes a long way to being welcomed on stage by a bunch of cats that burn. In general the main thing is to not "overstay" your welcome ie. don't play more than three or four choruses of improvising on a blues, two or three choruses on a 32 bar AABA type tune. Don't tune up on stage. Here are the tunes I think you would find at every open jam, Oleo( and all of it's variations), Confirmation, Donna Lee, Now's the Time,Cherokee. If you walk on stage and call Confirmation in F(1 down), and count the tune off at a respectable (195+), countoff like this 1..2..1.2.123 tempo and nail the head and play a solo that stays in time and is somewhere near Be-Bop cliche heaven...you will have made a bunch of new friends that will want to play with you. If on the other hand you step up call So What ,without playing the melody leaving it all up to the Bass player, waffle around for 8 minutes on some stuff that sounds "like" Coltrane to you, get lost in the form and then curse out the drummer for playing too loud well may as well look into some other hobby or vocation. There are some open jams where I live, usually on Sunday and Monday nites, Blues and Jazz and some Funk.

  6. #5

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    Yea... Jams are still going on. I host at least one a month, and have for many years. Usually Monday nights... the rest of the nights are busy. Sunday afternoons Jams are really gigs with guests... usually no amateurs, if you do sit in... you better be able to cover. My jams are very relaxed... if the audience digs your playing, (and that's my job... make you sound great), play a few tunes. I use different Jazz themes... recording labels, instrumentation, composers etc... to some what organized the night.

  7. #6

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    I live in NYC. Plenty of sessions, definitely not for amateurs. I don't like going to jams. Won't mention any individual session, but they're most just d*ck measuring contests. I really like one up around the upper west side at Smoke.
    Other than that, I prefer setting up my own private sessions, I can put together whatever group I want, play tunes, and usually private sessions welcome more obscure tunes (I can't say how tired I am of hearing Stella and Green Dolphin Street and other generic beginner jazz tunes), you also get to play for really long. I've had sessions that went on for over four hours, with some beer breaks. Playing private sessions with a close circle of guys also develops a better sound, and creates more group dynamics. You guys start to sound like a band, and it's way more fun.
    Last edited by MarkRhodes; 05-26-2014 at 07:58 PM. Reason: language

  8. #7

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    I regularly jam in people's homes with non-jazz players and there are some common aspects they share:

    1. tune your instrument; retune as needed
    2. take turns leading a song; go in a circle and try to give everyone a turn before starting round 2.
    3. don't start a song you cannot finish (because you don't know it)
    4. if you can't hear the solo, you're playing too loudly
    5. leader calls out the key of the song
    6. we're playing together, not performing for one another
    7. no noodling between songs
    8. go in the other room to talk

    some variables from one jam to another:

    1. everyone gets a turn to solo, if they want, in circle order
    2. leader of song decides who, if anyone, gets a solo
    3. leader calls out chord changes to new song
    4. players figure out chord changes to new songs on their own (read hands, listen)
    5. singer-songwriters testing new material for feedback

    the two (2) jazz jams I attended were with people who all knew all the songs already, or could be quickly reminded of the changes with their real book copy. There was no encouragement for a newbie player; "onion jam" format, with the best players in the center and the rest on the fringes.

    There are some "open jams" in a few bars in the area, and I find that to be a completely different experience.
    the house band plays most of the night, inviting known players to step in for a song or two, and allowing one or more solo acts to fill in when the house band is on break.
    it's not as much fun for me because I want to play along with every song, and, if you haven't proved your self to the house band beforehand, they're not likely to call you up to play.

    I like the kind of jams where the objective is several: enjoy, play, sing, improve, learn

    I can go to open mics to perform

    cheers

  9. #8

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    ^^^
    Jam band.

  10. #9

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    Quote Originally Posted by amyFB
    I regularly jam in people's homes with non-jazz players and there are some common aspects they share:

    1. tune your instrument; retune as needed
    2. take turns leading a song; go in a circle and try to give everyone a turn before starting round 2.
    3. don't start a song you cannot finish (because you don't know it)
    4. if you can't hear the solo, you're playing too loudly
    5. leader calls out the key of the song
    6. we're playing together, not performing for one another
    7. no noodling between songs
    8. go in the other room to talk

    some variables from one jam to another:

    1. everyone gets a turn to solo, if they want, in circle order
    2. leader of song decides who, if anyone, gets a solo
    3. leader calls out chord changes to new song
    4. players figure out chord changes to new songs on their own (read hands, listen)
    5. singer-songwriters testing new material for feedback

    the two (2) jazz jams I attended were with people who all knew all the songs already, or could be quickly reminded of the changes with their real book copy. There was no encouragement for a newbie player; "onion jam" format, with the best players in the center and the rest on the fringes.

    There are some "open jams" in a few bars in the area, and I find that to be a completely different experience.
    the house band plays most of the night, inviting known players to step in for a song or two, and allowing one or more solo acts to fill in when the house band is on break.
    it's not as much fun for me because I want to play along with every song, and, if you haven't proved your self to the house band beforehand, they're not likely to call you up to play.

    I like the kind of jams where the objective is several: enjoy, play, sing, improve, learn

    I can go to open mics to perform

    cheers
    People are still doing jam bands. Hmm. That's all I did back in the 70's. To be honest we took ungodly amounts of drugs back then. We had 4 guitars, bass and sometimes drums. We had a good old jazzer. He didn't plug in. He was old school. New school guys aren't into jam bands. Jam bands are interesting. Seems like they do everything except for jazz. You have to teach and you only pick songs that people can learn quickly.
    College jam bands might do a bit of jazz. More complex chords but the same rules apply.

  11. #10

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    Quote Originally Posted by MarkRhodes
    jam session

    Also "jamming." The most informal of jazz arrangements, and one which depends solely on the shared knowledge of the players. It was once a common practice among jazz musicians, often occurring after hours, in clubs or spaces set aside for musicians and their friends to be entertained and to learn their trade. Recordings such as Norman Granz's Jazz at the Philharmonic were packaged jam sessions that were put onstage around the world.

    (From Columbia University's Center for Jazz Studies' online glossary.)

    1) Are you okay with this definition? (If not, why not?)
    2) What should nervous first-timers expect when they go to one?
    3) What do those who welcome "newbies" expect them to do (and not do)?
    4) Do some pros avoid jam sessions (and if so, why)?
    5) How common are jam sessions in your area?

    A starter-kit of questions about an important topic. No one should feel obligated to answer them all, or any of them, for that matter.

    The term itself, "jam session" would belong in the glossary section. Part of what may result here is a better current definition. The other part, the main part, is to hear what members have to say about their experience of jam sessions.
    1) I'm OK with it. I think of jazz when I hear the word session
    2) I don't know. Jazz jams are too far away from me to go.
    3) See #2
    4) I don't know
    5) See #2

    Jam session means jazz to me. Jamming means improv. Jam band is a whole different thing.
    Last edited by Stevebol; 08-11-2014 at 11:00 PM.

  12. #11

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    Quote Originally Posted by jtizzle
    I live in NYC. Plenty of sessions, definitely not for amateurs. I don't like going to jams. Won't mention any individual session, but they're most just d*ck measuring contests. I really like one up around the upper west side at Smoke.
    Other than that, I prefer setting up my own private sessions, I can put together whatever group I want, play tunes, and usually private sessions welcome more obscure tunes (I can't say how tired I am of hearing Stella and Green Dolphin Street and other generic beginner jazz tunes), you also get to play for really long. I've had sessions that went on for over four hours, with some beer breaks. Playing private sessions with a close circle of guys also develops a better sound, and creates more group dynamics. You guys start to sound like a band, and it's way more fun.
    There was a hilarious Jazz jam session down in San Diego a few years ago, run by college age crew and a slightly older young guy who'd played a couple of times on name sessions, so his ego was unmanageable. They only wanted to interact with twenty-somethings or very famous visitors, so I watched them several times blatantly insult numerous local players who just wanted to join in and play a couple of jazz tunes. The host band members competed with each other to see who could be the most pompous and dismissive of anyone not in their clique. Sad, but funny ... immature young men pretending to be seasoned Jazz notables and emulating what they thought was going on at New York sessions.

    They would play the tunes they were currently working on, Invitation, Recordame, whatever, but wouldn't allow Take 5 or Well, You Needn't because that was "square". Shining Hour was cool because they were working on it, but Night in Tunisia, square. If they didn't know you, they'd desert the stage "on strike" and leave the guests standing there with no rhythm section. It was quite a display.

  13. #12

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    "If they didn't know you, they'd desert the stage "on strike" and leave the guests standing there with no rhythm section. It was quite a display. "

    @SuperFour00, excellent opportunity to play chord melodies. That is, of course, assuming you know how to play CM's.

  14. #13

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    Quote Originally Posted by edh
    "If they didn't know you, they'd desert the stage "on strike" and leave the guests standing there with no rhythm section. It was quite a display. "

    @SuperFour00, excellent opportunity to play chord melodies. That is, of course, assuming you know how to play CM's.
    That would be a kick in the head (-for them)! Emily Remler does a solo version of "Summertime" on her "Bebop and Swing Guitar" DVD. She said she learned it so she would have something to play all by herself: chords, melody, a bass line now and then, a solo. Something simple that swing and gets the crowd moving will draw the players back to the stage! My go-to tune for that is "Mean To Me," which I can also sing. Or "I'm Just A Lucky So-And-So."

    That said, it is awful that players would leave the stage 'on strike' rather than play with an unknown person. But if they leave you alone on the stage, make 'em regret it! ;o)

  15. #14

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    I have a relative and funny story . . . (I love telling stories) . . for ya about accomplished jazz musicians acting stupidly towards those of a lesser level.

    One of my jazz guitar instructors had a kind of crazy set up to teach. He would have his guitar, amp and music stand set up in his living room . . which was directly adjacent his dining room and each was wide open to the other. So, if a student got there a little early, he would sit in the dining room and await his session while the student currently in session was still playing. Well, there was a young man who was beside himself with joy because he had just bought a beautiful Gibson L4CES. He told the instructor that he had just joined a big band as the guitarist . . and that he needed to learn chords appropriate to playing in that setting. The instructor told him . . "Look man, you're just not quite ready for that yet. Jazz musicians can be real ass-holes sometimes. Why don't you give it a few more months of study before you take on something like that. Playing guitar in a big band setting isn't like playing rhythm guitar in a rock band". The young mand said . . "yeah man, I can cut it . . just show me what chords I'll need." So, off they went trying to work through one of the songs the band leader gave him to learn. When I heard him struggling to keep time through the changes, I knew he'd be in trouble.

    The next week when I saw him at the lessons I asked how the big band rehearsal went. He got this really dejected look on his face and said to me . . . "Vinny was right. Sometimes jazz musicians can be reall ass-holes". I asked what happened. He said . . . "after the second tune, the trumpet player came over to me and emptied his spit valve on my shoe".

    "Now that's a true story." (Michael Corleone . . "The God Father")

  16. #15

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    "...the trumpet player came over and emptied his spit valve on my shoe." That's a brilliant, vivid image. Of course, the situation would be humiliating, but it's a killer image

  17. #16

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    That's NOT something I would take lightly. I would have shoved that trumpet up where the sun doesn't shine.

  18. #17

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    Quote Originally Posted by MarkRhodes
    That would be a kick in the head (-for them)! Emily Remler does a solo version of "Summertime" on her "Bebop and Swing Guitar" DVD. She said she learned it so she would have something to play all by herself: chords, melody, a bass line now and then, a solo. Something simple that swing and gets the crowd moving will draw the players back to the stage! My go-to tune for that is "Mean To Me," which I can also sing. Or "I'm Just A Lucky So-And-So."

    That said, it is awful that players would leave the stage 'on strike' rather than play with an unknown person. But if they leave you alone on the stage, make 'em regret it! ;o)
    I haven't watched it in a while, but she said that she learned that so she could show off in Manny's. Manny's was a large music store on 48th in Manhattan which had a large number of new and used guitar stores. I used to hang out on 48th street when I was a kid and oogle at the guitars hanging in the window. I think Manny's closed in 2009.

  19. #18

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    Quote Originally Posted by richb2
    I haven't watched it in a while, but she said that she learned that so she could show off in Manny's. Manny's was a large music store on 48th in Manhattan which had a large number of new and used guitar stores. I used to hang out on 48th street when I was a kid and oogle at the guitars hanging in the window. I think Manny's closed in 2009.
    Yeah, she said it was Manny's. I wasn't sure what Manny's was. Thanks for clearing that up.

  20. #19

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    Quote Originally Posted by richb2
    I haven't watched it in a while, but she said that she learned that so she could show off in Manny's. Manny's was a large music store on 48th in Manhattan which had a large number of new and used guitar stores. I used to hang out on 48th street when I was a kid and oogle at the guitars hanging in the window. I think Manny's closed in 2009.
    The other nice thing about Manny's and We Buy on 48th Street was that you never knew who was going to walk in and start jamming. Some very high profile recording artists. I saw some great guitar playing in Manny's over the years.