Continued from Part 1
I began studying the guitar when I was seven years old. I hated my teacher and I didn't practice much, but when I changed teachers' and I went to Joe Geneli, I regained a love for the guitar that I first had when I was four years old when I first saw Roy Rogers sing and play. It was with Joe that I began to practice. I found an hour a day was sufficient, but as I got older and the music he gave became harder, I practiced longer.
When I was fourteen I switched to Sal Salvador
. Sal was pretty well known in the fifties and sixties and it was the right move for where I was as a guitarist. Sal gave me a slew of books, which included the Arbans Trumpet Method, Johnny Smith Aides to Technique and many more. My practice routine during the school year went up to five to six hours a day. I would practice early in the morning before school. Two hours after, break for homework, sports and dinner and resume practicing at about 8:30pm. During the summers I was practicing up to twelve hours a day. I wanted to be as good if not better than Johnny Smith
or Wes Montgomery
or any of the greats of that day. As I got older my points of reference became John Coltrane
, Eric Dolphy
, Thelonius Monk
, Cecil Taylor
, Albert Ayler
and all the players that moved me.
Through all of this, not one teacher taught me how to improvise or explained advanced harmony and theory. I took this upon myself to learn and it was part of my practice routine along with learning tunes and chord melodies.
When I became a full time musician and worked six nights a week till 4 AM in the morning, I would practice five to six hours before going to work. In 1963 with the emergence of the Beatles, every kid wanted to play guitar. Before you know it I had 110 students. It took away from my practicing, but I managed to get a couple of hours in before my teaching began and I always played with the students.
I'm 71 now and I still practice some days more than others. Through the years there were times when I felt I needed to go to another level and I would put in eight hours per if I had the time. And it's still the same. If I feel I need to get to another level, I go back to practicing longer hours.
I also spend a lot of time focusing on music. What I mean by that is, I hear music all the time in my head. I mentally practice all the time and before I re-harmonize or arrange a standard, or compose, I think about it and hear it first, so when I'm ready, it just flows through me. The same goes for writing this article. I thought about it for a long time and now the words are flowing on to the paper.
While I was thinking about this article, I thought it would be a good idea to contact some of my friends and see if they felt the same as I did. I asked only two questions:
1. Do you still practice and how much?
2. What do you practice?
I contacted a lot of musicians never expecting such a response. If everyone had answered me, this would have been a book instead of an article. Some answers were short and some were extremely long and some were hilarious.
I was amazed by some of the answers and I think you will be too.
Some of the artists are famous and some you may not have heard of, but that really doesn't matter. What matters is the dedication. I am truly touched and very hopeful for the future of jazz by these responses.
I placed the answers and artists under instrumental category. Because I am a guitarist and know a lot of guitar players, I posted the guitarists' comments last. Saxophone, Cont. Ron Aprea
I practice every day. It's tough when I'm arranging but at the end of the day I spend at least an hour with the alto. When I'm not writing I'll practice all day long...I like to create new ll V's and play them in all 12 keys, tunes, overtones, long tones, finger exercises, and maybe a Bach invention. I like the Aebersold tracks, especially Cherokee, All The Things You Are and Confirmation in 12 keys. Always searching for new ways to approach old tunes. That's pretty much it. (I lead a dull life.) Oliver Lake
I practice usually minimum of hour and a half.; longer if preparing for a concert. I practice music for upcoming performances. If there are no performances I practice scales, exercises, original tunes and long tones. George Garzone
I work on my triadic chromatic approach everyday of my life. Sabir Mateen
I'd better practice. There are many things that I'm trying t get to but cannot practice as long as I used to. I 'm working on the same thing I've been working on for the last 35 years, my sound. Clarinet Mort Weiss