> I'll just say that my belief is that your impression of the solo as not
> being exciting is most likely a case of intellect overriding reality...
> In other words I question whether you would have that opinion if you didnt
> have the advanced intellectual knowledge (from my post) that he was playing
> in one key but maybe that's just your opinion.... Most people that have
> knowledge of jazz chord scales,etc usually don't notice that melodies
> and solos by the masters usually have this property. We are so conditioned
> to see all these different chord scales, one after another that we fail
> to see the obvious.
I'm a writer by profession, saxophonist by obsession. First, I want to
thank Reed and several others for all they have taught me. I am out of
the morass created by the jazz-education establishment and on my way to
playing some decent music.
This comment by Reed reminded me of my college days when I was an
English lit major and all my professors had a vested interest in finding
symbols in every novel ever written. They could find as many as nine
levels of symbolism in Moby Dick when all Melville was doing was writing
a whale story with a religious message.
The impression many jazz educators give us beginners is that musicians
are making scale adjustments on every chord change. And the adjustments
they're making--all on the fly, mind you--are from an assortment of
scales. All my experience, instincts and reasoning told me this was
nonsense. Unfortunately, I put a lot of money in the pockets of
Aebersold, Coker and Haerle before I trusted myself.
What would happen to all the English profs if they couldn't sound
arcane? And what would happen to all jazz educators if they told
students to just imitate, assimilate, innovate?
fred cicetti