DownBeat March 1994 [antikvár]

ON THE BEAT DOWPEAT March 1994 All Cats Must 'Shed by Ed Enright 'oodshedding is one of the oldest and most respected rites of passage for the jazz musician. With the proverbial shed door closed, it's Just you and your ax; no one else can hear you. And you do whatever it takes to get it together: playing lines over and over again, getting scales and arpeggios under your fingers, exploring your instrument inside and out in search of your own sound and style. For budding jazz musicians, woodshed-ding entails such daily routines as playing from the Charlie Parker Omnibook, jamming along with Jamey Aebersold records, and practicing syncopated rhythm patterns. Even if you're an accomplished player, you're never too good to woodshed. Sonny Rollins, at an eariy peak in his career, felt the need to withdraw from the public eye and spent two years getting reacquainted with his horn on the Williamsburg Bridge in New York. In Down Beat's 60-year history, we've been dedicated to seeing jazz musicians through the sometimes-painful process of Sonny Rollins in 1962, reacquoinied with his horn after two yeors of prociicing on New York's Williomsburg Bridge self-improvement. In fact, we were the first music magazine to run how-to articles with musical examples, dating back to October 1935. Now, we'd like to renew that commitment with the introduction of "Woodshed," DB's educational department, geared specifically for the practicing jazz musician. "Woodshed" will include transcriptions, practicing tips from the pros, equipment-related pieces, and student profiles, plus a "Jazz On Campus" column highlighting the successes and challenges of jazz education in the '90s. The rewards of woodshedding are twofold: It liberates you artistically, and it helps you grow into a no-bullshit musician. The proof is in jazz musicians like John Coltrane, who was known to practice incessantly. One of Trane's major contributions to jazz was his brilliant rehar-monizations of ordinary chord changes. "Woodshed" kicks off on page 63 with renowned educator David Baker's formula for applying tasty Coltranesque substitutions to an ordinary II-V-I chord progression. This month's "Woodshed" department also includes a JJ. Johnson trombone solo transcription (page 64) by Delfeayo Marsalis, who stresses the importance of resolution, melody, and personal voice in improvised solos. And check out "Jazz On Campus" (page 66) to see how digital technology and multimedia computers have boosted the jazz program at the University of Northern Colorado, Greeley. Those of you who feel you don't have time for woodshedding, this closing quote, from pianist Ignacy Paderewski (1860-1941), is for you: "If i don't practice for one day, I know it; if I don't practice for two days, the critics know it; if I don't practice for three days, the audience knows it." DB DOWPEAT March 1 9 9 4 -Volufne 61-No. 3 PUBLISHER Kevin Maher EDITORIAL DIRECTOR/ASSOC. PUBLISHER Frank Alkyer MANAGING EDITOR JohH Ephland ASSOCIATE EDITOR Ed Enright DESIGN Jay Crawford Design PRODUCTION MGR. Isabel Zack CIRCULATION MGR. Elaine Rizleris CIRCULATION ASST. Ginger Giese PRESIDENT Jack Maher • • • CONTRIBUTORS: Larry Birnbaum, Fred Bouchard, Michael Bourne. Tom Copi, John Corbetl, Owen Cordle, Lauren Deutsch. John Oiliberlo, Enid Färber, Leonard Feather. Mitchell Feldman, Andy Freeborg, Elaine Guregian, Frank-John Hadloy, Petor Koslakis, Art Lange, John Lilwoiler, Howard MarKlel. John McOonough, Bill Milkowski, Paul Nalkin, Oan Ouolletto. Bon Sartdmel. Milchell Seidol, B

dlich; Greal Brilain. Brian Priestley; lr>dia. Virwd Advam; Italy, Ruggero Sliassi; Jamaica. Maufoon Sheridan; Japan, Shoichi Yul. Nolherlands, Jaap Liidoke; Norway Randi Hullin; Senogamblo, Oko Draime; Soulh Africa, Howard Boiling: Swoden, Lars Lyslodt • • •