It is important not to confuse jazz ensemble performance with concert band performance. They are two different things, with different expectations and stylistic requirements.

Part 2: For Band Directors

A truly outstanding band is technically correct (notes) and emotionally correct (jazz spirit). A perfect synthesis of these two ideas is very rare. A great band also becomes one, a single organism, and can get beyond the notes to express its musical emotion artistically (Brian Lillos, 2006)

Ensemble Precision   Musical Emotion

  (must interact)

Tone: Individuals should play with a jazz tone (not “classical” or “rock” or something else). The ensemble should tend to have a focused and powerful sound where appropriate, or a subtle warm sound in gentler pieces such as ballads. Powerful doesn’t mean loud. Brass instruments tend to be brighter and “brassier” than in concert band. Saxes also tend to be brighter and stronger. Rhythm sections should sound like a jazz band and not a rock or folk group. Listen to famous big band recordings for reference.

Rhythm & Style: The one thing we spend most time on in school band rehearsals is rhythm. Many students seem to find rhythm the hardest part of music to get right, especially swing rhythms. The band needs to be able to play each piece in a stylistically correct manner. They also need to be able to play all the rhythms accurately and together.

Intonation: Individuals, each section and the full ensemble should play in tune with each other. The intonation should remain secure at all dynamic levels and in all textures. Dissonant chords sound much worse than simple chords if the band is out of tune. An in tune band sounds brighter and louder or clearer than an out of tune one.

Blend:   Sounds within a section should match. The band should sound like an ensemble, not a collective of individuals.

Balance: This applies to the whole ensemble, within each section including the rhythm section and between sections. Generally, no individual part should dominate. Parts at the extreme ranges must be audible and in tune (such as lead trumpet, bari sax, bass trombone). Middle parts should also be audible and in tune (such as alto 2, trombones 2 &3). Lower parts should support the lead voices, not disappear every time the music gets a bit harder! Often a pyramid balance is most effective, but not always. The pyramid can apply to the whole ensemble and within sections. However, sometimes “sectional” balance is better (each voice equal in weight). Contrapuntal and linear arrangements call for a different approach again.

Improvisation in solos:                 Everybody can improvise to some extent, so there is no reason not to. Solos should be improvised. As a general rule the written examples tend to be rubbish. If they are a transcription of a genuine solo, then they are useful for study but shouldn’t be played in performance. Students who have solos have a responsibility to practice how to improvise effectively and in style at least in that piece. In serious jazz music improvised solos form a large and critically important part of each arrangement. It is really a shame when an otherwise well prepared group is let down by weak, unprepared soloists. Solo sections should be worked on with as much rigour as the ensemble sections.

Leaving out the solos, using written solos or choosing pieces without solos are not viable options. They are all to the detriment of the band and seriously undermine its credibility as a jazz ensemble.

Good solos tend to display excellence in the following: Style, tone, rhythmic drive and energy, projection, musical confidence, creatively following the chord changes (if any), quality of motivic/melodic/rhythmic development, level of harmonic understanding, structure, mood, spontaneity, excitement, communication with the audience, communication and interaction with the rhythm section, and a balance of unity and contrast. (Lillos, 2006).

Rhythm Section: In a great rhythm section all members play with excellent time feel and sense of style. The drummer effectively supports the ensemble playing appropriate set ups, fills, solos and punctuations. The pianist and guitarist play together cohesively and “comp” in style. All members communicate with each other and with the rest of the band. Here is a summary of points to consider (from Lillos, 2006):

• drum feel
• drum support, preparation & fills
• guitar and piano fills & punctuation
• bass kicks, punctuation, turnarounds
• Rhythm Section (RS) punctuation
• RS energy behind band
• RS energy behind soloists
• RS communication with horns
• RS communication with each other
• Horns playing off RS
• Textures
• RS musical leadership