Introducing Booker Little
Little is preoccupied with remaining within the mood of a piece when he solos.
"Jazz soloing, as a result of the methods Bird introduced, started a very involved technique, and Bird and some of the others reached a very high degree of emotion, higher than most of the soloists to follow. Sonny Rollins has reached the same height, probably because he was around to hear them. He not only heard them say this is an A-major or a D-seventh, he also heard, firsthand, what they did with itthe kind of emotion they got out of it. A guy learning as I learnedsay, the first chord in the bridge is an A-minor seventhwell, the first thing he had to do was figure out every note in the A-minor seventh, and when it came to playing it, he had to make sure he hit all the right notes. I think this is important, but not half as important as concentrating on staying within the mood.
"Say you're playing 'Blue Monday.' I don't think it's saying very much if you start to play it and then just rip and run all over the instrument. But again, you can get so involved with the technical aspect of playing that you do thatit's not hard for that to happen. Miles Davis minimized how much trumpet playing you could do as much as anybody could minimize it, But many people have a misconception about him. They say he can't play trumpet. But he's a fantastic trumpet player with a fantastic mind. He was one of the first guys around who didn't have to play every note in an A-minor chord to give you the impression of an A-minor chord and to get the mood that the section needed.
"There's so many areas of trumpet playing that can be employed, and they don't have a lot to do with the 'legitimate' end of trumpet playing as such. There are a lot of notes between notesthey call them 'quarter-tones.' They're not really quarter-tones, but notes that are above and below the 440 notes. This is something Miles employs a lot, and I doubt that he even thinks about it."
As a result of the influence Clifford Brown has exerted on the younger trumpet players, Little said that he believes there is a serious need for everyone to break away and find his individuality.
"The problem isn't only with trumpet players, and that's why I think it's very good that Ornette Coleman and some other people have come on the scene. Ornette has his own ideas about what makes what and I don't think it's proper to put him down. I do think it's okay to talk about what his music has and what it doesn't have. I have more conventional ideas about what makes what than he does, but I think I understand clearly what he's doing, and it's good. It's an honest effort. It's like a guy who puts sponges on his feet, steps in paint and then smears it on the canvas. If he really feels it that way, that's it.
"At one end you have a guy who does it from a purely intellectual aspect and at the other a guy who does it from a purely emotional aspect. Sometimes both arrive at the same thing. I think Bird was more intellectual in his playing than Ornette is. I think Ornette puts down whatever he feels. But I think both ways have worth, though I don't believe Ornette himself has the worth of a Charlie Parker. Bird consumed everything, all that has been before and then advanced it all, and I don't think Ornette has consumed everything, though I'm sure he's heard it. I do think what Ornette's doing is part of what jazz will become.
"You know, there are so many things to get to. Most people who don't listen often say jazz is a continuous pounding and this is something I can feel too. I think there are so many emotions that can't be expressed with that going on. There are certain feelings that you might want to express that you could probably express better if you didn't have that beat. Up until now if you wanted to express a sad or moody feeling you would play the blues. But it can be done in other ways."