Are You Afraid Of (Jazz) Ghosts?

Are you stuck in the past? Are you afraid oftime-feel. I use this as a device to create interest
ghosts? Listen, I'm the first person to tell you toand tension in a piece of music. I might change
check out the past, study the masters and digthe time feel (i.e. Latin feel for the bridge, rock
deep into the tradition. But the only reason to dofeel for the tag, modulate to another meter for
that is to use that experience and knowledge tothe C section, etc) through out a piece of music. I
springboard yourself into the future. You use themight change for each soloist, or maybe just for
past to create the future. You don't need tothe bridge. I'll change only sometimes on the
recreate the past.bridge or change in different ways, never locking
So many jazz musicians and jazz educators havemyself into anything. The bass player I play with
ridiculous opinions about what is jazz and what ismost often (in several bands) is hip to this and is
not. They put limits on themselves and on theira creative and open-minded person himself, so he
music. They pigeon hole the music and in doing sogoes with it and enjoys the interest created.
they pigeon hole themselves. They get caught upHeck, he does it himself. But sometimes I'll use
in the details and lose site of the big picture-'this isthis stuff with less creative people and I get
jazz, that is not; this is real bebop, that is not, etc.'responses like 'actually the bridge on that tune is
That sort of thinking only has the effect ofsupposed to be a swing feel' or 'actually, so and
limiting your creativity. Jazz doesn't care what youso always played it this way'. So What! I'm not 'so
do. Charlie Parker doesn't care what you do. Justand so'.
because Charlie Parker did something one waySo study the tradition and study the 'rules'. Then
(either in music or in his personal life) doesn'tthrow them away as fast as possible. Do your
mean you have to. He doesn't care. In fact if hehomework but then let your ears and your heart
were still alive I would bet he would applaud youguide your music. There are only two types of
for creativity and originality not imitation.music in the world: good and bad. Good music is
I heard a story about Thelonious Monk, and if Iany music that moves you and inspires you. Draw
remember correctly here's how it went. Monkon all of your influences and roots. If you grew up
was at a club watching a young piano playerplaying punk rock before you starting checking
perform. Now, this piano player had clearly doneout jazz, that music is still in you. If it comes out
his homework and really checked out Monk'sin your improvising…THAT'S GREAT! It's
music. Seeing that Monk was in the audience thispart of you. It's part of your artistic voice. Your
player decided to perform one of Monk's tunes.punk rock energy combined with your jazz
He pulled out all of his Monk licks and played thesensibility could come out sounding fantastic and
tune as close to how Monk would as he could. Hetotally original. Jazz is all about originality and
imitated his tone, his feel and his vocabulary. So,individuality. Innovation is the tradition.
what was Monk's response? "I already know howChris Punis is an active jazz musician in the
I would play it; I want to hear how you wouldnortheast. He is founding member of the critically
play it."acclaimed group Gypsy Schaeffer and a member
There are no rules and there are no mistakes.of renowned saxophonist Charlie Kohlhase's group
The only thing that matters is self-expression andThe Explorer's Club. Chris is also an accomplished
connection with other people. That's it.jazz educator and author of "The Monster Jazz
This sort of limiting belief pops up in all sorts ofFormula".
ways. As a drummer I like to experiment with