This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. Berliner explores the alternative waysâaural, visual, kinetic, verbal, emotional, theoretical, associativeâin which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators. Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker.
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The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid drummers Max Roach, Ronald Shannon Jackson, and Akira Tana guitarist Emily Remler pianists Tommy Flanagan and Barry Harris saxophonists Lou Donaldson, Lee Konitz, and James Moody trombonist Curtis Fuller trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney vocalists Carmen Lundy and Vea Williams and others. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea.
I am also talking about within the musical brotherhood/sisterhood, there are people haveĪ landmark in jazz studies, Thinking in Jazz reveals as never before how musicians, both individually and collectively, learn to improvise. So that's the kind of isolation I'm talking about. It took me thirty years to want to realise that this is my community and that part of my sound comes from it, too. Hanmer also highlights the diversity of music-making in the community where he grew up, acknowledging its influence on his own musical identity (2004: 184): Out of my community comes music from the Coon carnivals, from the mosque, from the church, from guys selling snoek and vegetables. Its ultimate assault was directed at the individual, fracturing the person's sense of self at the most basic level, as if the act of perception itself was held in in thrall to separation and distortion. He explains how the system initially divided communities not only along lines of class and colour, but also how these barriers were put in place at the most direct bodily level so as to divide people from their own perceptions, and from one another. The composer Paul Hanmer, interviewed by Gwen Ansell in Soweto Blues, highlights the divisive operations of the apartheid regime. The official version (with correct pagination and including Rafs Mayet's photographs) is available for purchase online at. For more information, visit or follow Zynga on Twitter, Instagram, Facebook or the Zynga blog.Please note that this is the final draft of this article made freely available by arrangement with the editors of SAMUS. Founded in 2007, Zynga is headquartered in California with locations in North America, Europe and Asia.
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