Articles by Phillip A. Haynes
Five Killer Comping Strategies
by Phillip A. Haynes
A fabulous 'ole collegiate chum, with whom I've produced & drummed with for 40+ years now, recently urged me to share some approaches of accompaniment creativity I'd recently suggested to him. Indeed, these following conceptions can expand most any serious musician's resources significantly: Accompany in the way(s) you always do, yet now insert much more intentional quiet space until re-entering only at critical harmonic turnarounds, key changes, and/or bridges, as experienced performers generally don't need or want to be spoon-fed changes ...
read moreIntroducing Jazz History And Literature, Reconceived
by Phillip A. Haynes
When I was invited to offer jazz coursework in 2007, as Bucknell University's first Kushell Jazz Artist-in-Residence, my Chair asked what single subject I thought was most important to teach. I responded, “an integrated jazz history & literature sequence, including a semester of classic jazz and one of modern jazz." To which he replied, “Fine, just as long as you can craft it so that both music majors and non-majors can take your courses successfully, without prerequisites, and yet all ...
read moreJazz For The Serious Connoisseur
by Phillip A. Haynes
In tackling this top ten list for serious students of jazz, the focus was on works that shocked and intrigued upon first and successive listens, striving to understand their meaning, materials, historical context, and influence on contemporary improvisation. “Blackbird" (1980) by Bobby McFerrin, The Voice (Elektra, 1984) When released, McFerrin's astounding virtuosity represented the first revolution in scat since Ella Fitzgerald. His entertaining and breathtaking “man chorale" approach utilizes rapidly juxtaposed tessituras, changeable vocal characters, integrated ...
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