The Jazz Guitar Chord Dictionary
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  1. #26

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    I front a blues band, so that obviously requires audience interaction. I also do occasional jazz gigs (pre-pandemic, mainly guitar duet, since then a couple of online solo things). Whether the music is all instrumental or has vocals, I talk to the audience (unless it's a true background music kind of thing). Introduce the the other musicians, say the names of the songs, tell something about some of the songs, maybe a personal anecdote, a little humor. People like it. When I go to performances, I like it. I've been to a handful of classical performances where the performer stops and talks about the music, and I think it really improves the experience. I wish that happened much more often.

    John
    Last edited by John A.; 09-29-2020 at 04:20 PM.

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  3. #27

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    I think it's very important to talk to the audience. In my band we play 95% original music. I always tell a story about the song we're about to play. Why I wrote it or some story behind it. What it means to me and how it came to be. My songs always have a stories and a purposes. It helps create a bridge for the audience. Then there's often someone who comes up and tells me about that song we played about war or marriage or that soccer player.

    I'm less concerned, perhaps than I should be, about putting on a show. I played with an original pop band many years ago with a lead singer who had amazing stage presence. He told me I didn't have to dance and carrying on. That's not what he called stage presence. He said, "all you have to do is be aware that you're on stage and people are looking at you. That's all." LOL. He was right I think.

    And I think jazz HAS suffered from it's own introversion and self possessiveness. Few people want to go and SEE a gig with people who are looking at their navels with an instrument. Now if it's Miles or Scofield, yeah. That's OK. Even cool. But Joe Bloggs at the local bar? Not really.

  4. #28
    Well they call it SHOW BUSSINESS which to me means you make the paying crowd feel welcome and that you are not too HIP to speak to them.Psychology shows that musicians who use body language are perceived to be better musicians by the average crowd in studies.I know in the club biz the old saying if the cash register is ringing than the band is swinging is true.The room ,level of listener awareness,style of music are all important variables. In a room so dead we players have to say lets put our hands together and try and contact the living! some friendly patter might help! I would say players should remember why people are paying them their hard earned money! When I saw Jeff Beck Group with Mahavishnu opening , Jeff said Thank you and God bless and that was enough.

  5. #29

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    A little informational chat goes a long way towards making friends for jazz, or even classical recitals. Julian Bream was a great story-teller, and his brief, informative, often funny interludes were important in creating his success. I can suggest that those of you who want to try talking to the audience do two things specifically: play first (that's really what they came for), and have some sort of relevant story prepared (not memorized, but researched). Keep it short and light, and don't do it for every tune; pick your spots, such as originals or a story of how you discovered the tune or something along those lines.

  6. #30

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    Quote Originally Posted by ronjazz
    A little informational chat goes a long way towards making friends for jazz, or even classical recitals. Julian Bream was a great story-teller, and his brief, informative, often funny interludes were important in creating his success. I can suggest that those of you who want to try talking to the audience do two things specifically: play first (that's really what they came for), and have some sort of relevant story prepared (not memorized, but researched). Keep it short and light, and don't do it for every tune; pick your spots, such as originals or a story of how you discovered the tune or something along those lines.

    Hi, RJ,
    I agree with your above remarks from a practical perspective in enhancing/promoting a performer's career. I did it for years in every show playing popular music(Jazz/Rock;R@B). However, there is the nagging question that still poses conflict,(IMO) for the "artist"-- Am I an artist or an entertainer? And, is there a difference? I often think: would Horowitz's or Rubenstein's concerts been more meaningful with dialogue? Did Segovia need to schmooze his audience between pieces? Would the Zen poet Takahashi need to give background information before reading a poem? Would Gauguin's paintings have more meaning with explanation? And, closer to home, why did Miles turn his back to the audience for years? I think it revolves around being a purist or not. I think when a musician, painter, or poet/novelist reaches a certain level, his/her Art should be enough. Period. However, I don't believe there are many here at that level, myself included, so for us it becomes a question of personal taste. If it gets me another gig without being obnoxious, O.K. But for my exclusively solo work, I do my PR between sets, one on one, and I think it is much more successful in the long term. Play live . . . Marinero
    Last edited by Marinero; 09-30-2020 at 03:02 PM. Reason: spelling

  7. #31

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    Another issue is whether we're talking about a concert or some other kind of gig.

    I'd rather play for a party than an audience in rows of chairs facing the band and feeling like they're supposed to be quiet.

    When I'm in the audience listening to instrumental music for 90 minutes ... I'm hoping for something familiar for at least some of the time.

    My favorite shows are those where the music was accessible and played at a really high level. Also, shows where I knew the performer's records really well, so that I was looking forward to how they did the same tunes live. And, even then, after 20 or 25 minutes of solid instrumental music, I'm ready for a break. The best performers understand that, IMO.

    I saw Joey D'Francesco at Dizzy's. He played organ, he sang, he played trumpet and he talked to the audience. "Anybody know the name of that tune?" (It was Sentimental Journey). Artist and entertainer. Trio Da Paz, same club. Came in with the trio, plus a singer, Maucha, Harry Allen and Claudio Roditi. It was art and entertainment.

    I recall a show by Gerald Albright at Yoshi's in SF. He's known as a smooth jazz saxophonist, but he can play anything, including burning bop. He put on a show. Great music great personality.

    I also played in a band where the leader, a music teacher, had the idea that he wanted a completely attentive audience for two sets. Like the way people attend the symphony. His only engagement with the audience was to announce tunes in a somber tone. No humor, no smiling, nothing emotional to attach to. I thought that was terrible, partly, because that band wasn't good enough to command that kind of attention. As it turned out, most of the people from his school wouldn't show up.

    Come to think of it, I saw Duke Ellington in 1964 at the World's Fair, and he did this fingersnapping spoken bit that was pure entertainment. He made a point of featuring Sam Woodyard playing with his hands. If Ellington could put on a show, is that really beneath the band I was in?

  8. #32

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    Gorilla suit or GTFO

  9. #33

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    Quote Originally Posted by christianm77
    Gorilla suit or GTFO
    Put in a few years with a basic dance band. We did a lot of weddings and functions. We dressed in slacks and frilly shirts. One gig I wore a jacket and snuck in a whole-head gorilla mask (ala Nairobi Trio) and a pair of "Zany Zappers"-a pair of cheap sunglasses with button-activated blinking red lights. Just before my lead break I donned the mask. leader looked over, his jaw dropped visibly, then I hit the zapper switch and the red lights started flashing. Said leader about fell down laughing.

    I was a lot more fun in those days.

    I won't say how long I looked for a full suit. Scarce in these parts.
    Last edited by citizenk74; 09-30-2020 at 11:28 PM. Reason: Spelin

  10. #34

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    Shut up and play.

  11. #35

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    Shut up and play only consistently works for background music. There are many great artists whose spoken interludes didn't detract from their artistic performance and, in fact, may have garnered them new fans who found themselves more comfortable because they had been included in the event and and been both entertained and educated. Why should we be limited to being "artists" at the cost of gaining new fans? It's the 21st century: different technologies, different attention spans, different audience from the 18th and 19th centuries. Dizzy Gillespie: entertainer or artist? A rather pointless and silly question, when one considers that he was a seminal artist who happened to love entertaining his audiences.

    Purists are killing jazz.

  12. #36

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    You read a lot into that.

  13. #37

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    "Purists are killing jazz." Ronjazz

    Hi, R,
    The dumbing down of our world's populations is killing Jazz as it is for the visual and poetic arts. However, there is truth in what you say, IMO, is that when people stopped dancing to Jazz music as it transitioned to concert music, the large audiences/followers disappeared. Today, Jazz music is extremely esoteric and has been thoroughly trounced by Pop, Rock, Rap and C and W appealing to the LCD--least common denominator. Perhaps we are carrying a torch for all quality music that is soon to be distinguished by all listeners other than aficionados/musicians. I think Jazz is on the same road that quality poetry followed years ago. Perhaps its already arrived.
    Play live . . . Marinero

  14. #38

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    Quote Originally Posted by Marinero
    "Purists are killing jazz." Ronjazz

    Hi, R,
    The dumbing down of our world's populations is killing Jazz as it is for the visual and poetic arts. However, there is truth in what you say, IMO, is that when people stopped dancing to Jazz music as it transitioned to concert music, the large audiences/followers disappeared. Today, Jazz music is extremely esoteric and has been thoroughly trounced by Pop, Rock, Rap and C and W appealing to the LCD--least common denominator. Perhaps we are carrying a torch for all quality music that is soon to be distinguished by all listeners other than aficionados/musicians. I think Jazz is on the same road that quality poetry followed years ago. Perhaps its already arrived.
    Play live . . . Marinero
    Well said. I'd add one more thing. Jazz is better in NYC than most places. In the NYC clubs you're more likely to hear jazz the way it is supposed to be played, in my view, -- where even the musicians don't know where the song is going to go, and they create the performance on the fly - unplanned. Time feel can be exquisite. Played that way, even unfamiliar tunes without vocals can be compelling. I hear that more in NYC than elsewhere, not that I've been everywhere else.

  15. #39

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    Quote Originally Posted by Litterick
    You read a lot into that.
    Yep. I tend to think things through.

  16. #40

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    I’ll leave you to it.

  17. #41
    Quote Originally Posted by Hey bopper
    That's a good point actually. Playing without charts definitely registers with me. I still use my iPad even though I know the tunes and have been playing them for years a few years ago I never used charts but have slipped back into using them again. I don't need them for the heads it's just a comfort thing having the changes in front of you if you get distracted or lost in the moment.
    I think as well I used to play sitting down and if I had a chart in front of me that would block the audiences view of my fretboard so they couldn't actually see me playing.
    i play standing up now but still have the charts.
    that said I've seen breaker use charts although he steps away from it when improvising. I don't think I've ever seen metheney use charts or scofield, kriesberg in fact I don't think I've seen any pro guitarist use charts. Maybe is because we are all crap readers and have to have everything internalised
    When I first saw Chick Coreas Return To Forever in Boston Al Demiola must have just gotten the gig from Bill Conners because he did a lot of reading that night! Must of been many,many notes on those charts! Whatever else he really is a Great Reader!

  18. #42

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    Quote Originally Posted by christianm77
    mood is a good thing to focus on.

    Barry Harris is great at all of this BTW.
    Yes, every time I have seen him in performance (as opposed to workshops) he not only chats with the audience but gets them to participate in building a tune or singing along. He’s a showman as well as a shaman!

  19. #43

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    I won tickets to see Kenny Garret at Jazz at Lincoln Center once. I never heard of him before but after his performance I was a fan! I even went out and bought a bunch of cd’s. He had us up and clapping and singing. Definitely one of the more enjoyable shows I have seen. Christian McBride was another gifted performer that can keep an audience engaged.


  20. #44

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    Quote Originally Posted by Bflat
    I won tickets to see Kenny Garret at Jazz at Lincoln Center once. I never heard of him before but after his performance I was a fan! I even went out and bought a bunch of cd’s. He had us up and clapping and singing. Definitely one of the more enjoyable shows I have seen. Christian McBride was another gifted performer that can keep an audience engaged.

    He's one of my favorites. His album Songbook is at the top of my list.

  21. #45
    One thing that is hurting modern jazz in my humble opinion is that some play to impress other musicians more than the average listener and some know how to do both like Chick Corea ! I am glad there is artistic freedom but jazz radio and jazz clubs seem to be sparse and dying on the vine.Snarky Puppy seems to do a good job of playing high level music while being entertaining. The times they are a changin with many things. We all seem to be saying the same thing I guess.A performer needs to have a goal and aim for that perhaps. I dont know how to navigate this site well yet, but I was going to mention Will Matthews of the Count Basie Orchestra as a jazz guitarist of distinction! I drove clear across town (KC) in a traffic jam to hear him again one time and there are not that many I would do that for. Im not sure how Big Bands are doing these days but they dont seem to come through town much anymore.I wish they did! How can I play whats high quality and reach a certain number of people is what up and comers have to decide.I see Bobby Broom does not have bookings this year. I guess covid is a big part of it. I wish I had the right answers for a healthier jazz scene but I dont.Maybe some of you do!

  22. #46

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    This biggest difference I see is energy level and downtime. "What should we play next? I dunno, what do you want to play next? Autumn Leaves? Naw, I'm getting bored with that. Mrs. Jones? Ok" That stuff makes me crazy. Raise the bar to at least a crappy classic rock cover band. Have a set list. Have at least 3 interesting transitions that take one song and morph it into the next without stopping.

  23. #47

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    Quote Originally Posted by mittens
    This biggest difference I see is energy level and downtime. "What should we play next? I dunno, what do you want to play next? Autumn Leaves? Naw, I'm getting bored with that. Mrs. Jones? Ok" That stuff makes me crazy. Raise the bar to at least a crappy classic rock cover band. Have a set list. Have at least 3 interesting transitions that take one song and morph it into the next without stopping.

    Hi, M,
    I never played in a band that didn't have a "set" list. I've rarely, if ever(?), heard a performer "wing it" as far as set tunes unless it was a jam session. Even when a performer travels without a group, there is usually some sort of rehearsal beforehand and ,if not, they know the tunes the artist wants to play. I attended concerts at Chicago's Jazz Showcase for almost 40 years and many times Joe Siegel used house bands to accompany traveling artists: Willie Pickens/Lou Levy, piano with assorted drummers and bassists. Never heard that chatter with pros.
    Play live . . . soon??? . . . Marinero

  24. #48

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    To all these who think that communicating with the audience compromises their artistic integrity - read Dizzy Gillespie's autobiography and get a life. He has a LOT to say on this subject. Short version: of course you can neglect the audience if you don't want return bookings.

  25. #49

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    Quote Originally Posted by docsteve
    To all these who think that communicating with the audience compromises their artistic integrity - read Dizzy Gillespie's autobiography and get a life. He has a LOT to say on this subject. Short version: of course you can neglect the audience if you don't want return bookings.
    Hi, D,
    I agree . . . especially in Jazz. However, in today's world if you're not a "star," many Jazz audiences(?) hardly know you're in the room. I've seen videos on JGF by members playing in a club where the nachos with cheese took higher precedence than the music. A club famous for that, IMO, was Andy's Jazz Club in Chicago. The last time I saw Von Freeman play there was when he was in his 80's and the chic hipsters hardly noticed the certified American treasure that was on the stage. Of course, the conversation of the dumbing down of America is always at the ready and . . . I wholeheartedly agree. Play live . . . Marinero

    Here's a piece on Von before his death. R.I.P., brother! You were one of my early sax idols and the inspiration for generations of other Chicago tenor players. M

  26. #50

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    My music < nachos with cheese

    To be fair:

    Most music < nachos with cheese