72

Meet Lynne Arriale

Craig Jolley By

Sign in to view read count
I recommend listening and singing along with records of the masters—using them as a reference point, playing the tune ourselves, and saying, "What's the difference?" Usually it's pretty painful. When I was first playing jazz I can remember saying to myself, "I don't even know where to start. There are so many things wrong with what I'm doing." I tell my students, "You've got to find at least one thing right. It can't be all bad." There are nuggets of gold in everybody's playing. It's a question of percentages—is it 60% or 97%? It's a huge difference. That's what separates someone who's kind of talented but doesn't have it together from the masters.

Teaching

I teach piano, composition and improvisation. I've worked with saxophone players, vocalists, and other instrumentalists as well. Of course I can't address technical issues with horn players. I'll say, "What might be your next step in your personal evolution?" We do a lot of clinics and master classes wherever we go. We did one in Switzerland, and we just finished one at San Jose State University. We do the Jamey Aebersold clinic two weeks every summer. We really enjoy them. It's a combination of our performing, talking to the students, answering questions, and showing them the important things to practice. We have the students get up and play. Then we give them very specific things to work on that hopefully will make a difference as soon as possible. We have them slow things down so they can hear when they're in, and when they're out—put them in a state where they're relaxed enough to really hear what's going on without freezing up. I encourage students to use their vocabulary to create language—to be in the moment on the spot. To use an analogy with speaking we don't repeat each paragraph we've read in Newsweek today. That would be absurd. We learned words a long time ago, and as we read more and talk more throughout our lives we learn to put words together, and we learn to communicate. It's the same with the language of jazz.

Play alongs

I've recorded a few of the Jamey Aebersold play-alongs—piano, bass, and drums play different standards. The student is able to play along with the trio or isolate on certain tracks and play along with bass and drums alone or just the bass. That is a phenomenal practice tool. Even though it's frozen in time they're really playing with people instead of with a metronome.

Recording vs. live playing

Recording allows you to scrutinize your work. Knowing there's a microphone on can have a big effect on what you're doing. In a live performance you feel energy from the audience. Both are critical to the evolution of a musician. We often prepare a tune by playing it on the road before we record it. After we record it we keep playing it. Often it can take a completely different direction. I honestly don't listen to my own recordings all that much. I'm concentrating on going forward except when I'm doing radio interviews—then I have no choice. I have to listen to my own stuff! Sometimes I say, "I wish I could do that over." Some things I listen back to and think, "Yeah, that's alright!"

Tags

comments powered by Disqus

Shop for Music

Start your music shopping from All About Jazz and you'll support us in the process. Learn how.

The Dove

The Dove

Lynne Arriale
Solo

Radio
Album Reviews
Interviews
Album Reviews
Read more articles
Give Us These Days

Give Us These Days

Challenge Records
2018

buy
Solo

Solo

Motéma Music
2012

buy
Convergence

Convergence

Motéma Music
2011

buy
Nuance

Nuance

Motéma Music
2009

buy
Live

Live

Motéma Music
2007

buy
Live

Live

Motéma Music
2006

buy

Related Articles

Read A Young Person's Guide to the Jazz Bastard Podcast Interviews
A Young Person's Guide to the Jazz Bastard Podcast
By Patrick Burnette
June 11, 2019
Read Joey DeFrancesco: From Musical Prodigy to Jazz Icon Interviews
Joey DeFrancesco: From Musical Prodigy to Jazz Icon
By Victor L. Schermer
June 2, 2019
Read Moers Festival Interviews: Marshall Allen Interviews
Moers Festival Interviews: Marshall Allen
By Martin Longley
May 30, 2019
Read Sam Tshabalala: Returning Home Interviews
Sam Tshabalala: Returning Home
By Seton Hawkins
May 27, 2019
Read The Baylor Project: A Brand New Day Interviews
The Baylor Project: A Brand New Day
By K. Shackelford
May 24, 2019
Read Moers Festival Interviews: Scatter The Atoms That Remain Interviews
Moers Festival Interviews: Scatter The Atoms That Remain
By Martin Longley
May 23, 2019