Listening to Jazz: the Counter Quick Fix Theory

The society of which we form a large part relies more on a quick fix approach to problems. From fast food to bubblegum pop, to use-and-throw consumer goods, this is a mindset that has made people give up on perseverance, patience and post-thoughts. No wonder why jazz is no more everyone's cup of tea. An appreciation for jazz is thus subjected to understanding the structure (not format) of a jazz performance, which is, typically, divided into a musical introduction, the melody, improvised solos, re-stating the melody played in the beginning and the end of the tune.

But things are really not as clear-cut as it seems from an apparent jazz structure; there occur a lot of different things during the performance. Thus, it is always better to follow how the musicians are going about it to give a performance meaning. Let's take the 1959 recording of Take 5 by The Dave Brubeck Quartet as an example.

Solos and accompanying chords: A musician playing the guitar or a piano, as an accompaniment (chords), plays it when soloist pauses. This helps in filling the space. However, he shall also mimic the soloist by playing exactly what he played or it can be just a variation of it. The accompanying musician will sometimes predict the notes what the soloist shall be playing and shall play along.

Bass and the drums: They interact because the drums need to strengthen the walking bass-line. The drummer often plays the same rhythm on the ride cymbal; in an absence of the walking bass-line, the drummer changes dramatically the grooves he plays.

Solo and the drums: The drums react to the solo quite often and compliment it. Alternately, the solo also locks on to the drumming pattern and a lot of improvisations till date have occurred this way.

Drums and other accompaniments: The drums are always attentive to the solo, but at the same time, to the rhythms played by other accompaniments.

Now, all these put together is a composite but a complex art form; therefore, Understanding each and every part is not something that inexperienced ears can catch right at first. Therefore, follow each and every part individually. For example, if you are following the solos, try remembering the primary melody. The melody ends after the soloing musicians finish playing through the form; this is when the drummer shall leap forth to create the rhythmic figures, indicating a return to the beginning.

Thus, to sum it up all:

i.

Listen and identify the primary melody first.

ii.

Concentrate on the variations: improvisations and the harmonic variation by other instruments.

iii.

Determine the dominant instrument and start following the thread on which the other instruments are harmonizing.