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