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
After I retired I started playing Jazz clarinet-E.G. Bop-Hard and post Bop-and my last album was a total free form solo date (where I over dubbed on my self) some call it playing with them selves. I recorded with some of the heavies, Joey DeFrancesco
(He did two dates with me and club dates in and around L.A. and Hollywood. Sam Most
and Bill Cunliffe
and some small concerts in L.A. with Terry Gibbs
and some of the (usual suspects) Hollywood hero's. I'm the guy that quit playing for 40 years and came back on the scene in 2001. To this date have put out eleven albums for those of you in Odessa (albums are the same as CD's)
I'll be 80 years old next year, (I've stopped looking into the mirror) who is that old wheezed dude that's hiding in there-Dam and that's no reflection on any thing including this article-where are my meds? So, what does one have to do to keep their chops in (the phone might ring), shape? First it helps if you are a bit obsessive and compulsive in the way you do things. One must practice (without fail) at least six days a week-for at least 1 & a 1-2 hours each day. I mean All of the scales in all of the keys and then the chromatic ones. All of the most used and then some chords with any and all inversions. All that I've just mentioned must be done at all tempos from largo to presto vivace-and esp. For horn players tonged and slurred long tones for all horn players, starting at the lowest working note of your ax, starting at triple P to triple F and back down again to P (that's one note) and proceed upward chromatically to the note and repeat the same drill once more going to the highest working note on your horn and then start down to the beginning note. One does this for the rest of ones life. "If you wanna be a bad mo-fo ain't no other way if your playing real music!" Chris Kelsey
The question "Do you still practice?" took me by surprise. My first impulse was to respond, "You might as well ask whether I still breathe," but I suppose, as I get older I can better understand why some musicians cut down. It's true that the longer you play, the more the law of diminishing returns kicks in; progress can come more slowly and require more effort.
I know for a fact that the cumulative effect of my practice still bears fruit, because I'm a much better changes player now than I've ever been, and I only really began concentrating on that aspect of my playing in recent years. Beginning in my 40s, months pass when I practice tunes almost exclusively, sometimes with a computer rhythm section, sometimes along with records, sometimes unaccompanied. I'll never be a great bebop player, per se, because I don't really "feel" itwhen it comes down to it, I feel a closer connection to blues, funk, and rock than to older styles of jazz. But I work on it, and it enriches my own music.
My horns are never in their cases except on the way to a gig. I leave them on their stands at the foot of my bed, the easier to grab one and blow when the mood strikes, which is often. I practice daily, almost always for upwards of an hour, minimum. I will take a day or two off after a particularly intense gig, I'm a very physical player, and there are times when I'm so spent, I'll need some time off to recover. I can get a little rusty after these short layoffs, but within an afternoon I usually have everything back up and running. When I practice just to maintain my chops, as sometimes happens, I'm either tired or being lazy. There are so many things I don't know about making music. Discovering them is no chore; on the contrary, it's why I play. Trumpet Herb Robertson
Yes, I still practice the trumpet (have to with this instrument. It would eat me up if I didn't). I do what I call a "general maintenance" type of routine when I have no gigs for the immediate future. I do long tones (very necessary for brass instruments) in a spider web fashion. What I mean by that is that I start with a hub center note in the upper middle register and then gradually spread the intervals up and down always returning to that hub center. Dynamics always. Then some flexibility routines (spider-web) and some range extension exercises. When my chops feel just right I usually finish for the day unless I have a tour coming up with written compositions. That's when I hit that stuff. I never practice if I have a gig that day. Dennis Gonzalez
I practice my horn from time to time, but my practice involves working in other ways. Usually my standard practice involves music given to me by other composers, especially if I am going to play their music, and especially if it is notated. The last really difficult wood-shedding I did was to play a concert in Colorado with the young, gifted alto saxophonist/composer Aakash Mittal
. He is finishing up a residency in Calcutta as we speak, and his music reflects his Indian roots. It is difficult music for me because it is full of runs and notes using different modes and odd time signatures. I had to learn to feel the music and beat and sound as I went along. I'm not sure how well I succeeded. I felt like a first-time cornet student.
I consider that composing on other instruments and listening exercises are essential practice. It gives me another perspective which is important for garnering freshness and creativity.