Although I asked for brief answers, Peter was especially insightful about listening and why it's important for all young jazz players, so I've included his complete replies here.
Josh: 6th grade year, after my private instructor told me how important it was to do so. He hooked me up with some new jazz every week.
Ben: 7th grade. I was in my middle school jazz band and my teacher had told the band to start listening because it would make us better players so I figured if I was really into playing jazz then listening is the next step to get better.
Peter: 6th grade when my friend Gus from Roosevelt HS introduced me to Brad Mehldau and I got hooked. I had listened to a bit of Oscar Peterson and Bill Evans prior to that, but Mehldau was the reason I got started.
Josh: When I listen to something brand new, I don't necessarily listen for anything specific, just the sounds as a whole. I will go back later, and listen to specific things then. I also make sure that I listen to new stuff actively, rather than passively.
Ben: When I am listening to something new, I listen for how well the band plays between sections and inside of sections as well as things I can learn from like phrases and intonation, but I don’t have a super specific approach.
Ryan: The first time I listen, I'm mostly listening for the form and the changes of the song. Then the second time, I focus more on what the melody sounds like. To understand the form and changes, I listen to the bass and piano to hear what chords they're playing. To figure out what intervals they are, (like the 4 or 5 chord), I use my ear.
Peter: The main thing I listen for when I hear a new recording is if I am hearing anything new. I always want to hear new songs, or old ones played in a new way. People can try and replicate past musicians, but I would rather listen to the original musician rather than a replicator. My approach is to stay open minded and never ever fast forward through a song or album, making sure to hear it in its entirety. I also love to hear people with a command over their instrument. Essentially, I love standards and classics, but I am always trying to expand my ears into the realms of more and more modern improvisational music. However, just because someone throws a recording together, that doesn't mean they are a good musician. I always listen critically and don't give away any free passes as an audience member when it comes to "professional" music.
Josh: Listening is far more important than actually playing, because if you don't hear it, it won't come out of your instrument. So listening plays a HUGE part of my practice regimen.
Ben: For a little bit of my practicing I try to find a cool solo lick and find out how to play it in a few different keys and also trying to learn from the pros and how they play and I can learn from them.
Ryan: Around 20 minutes on the way to school, sometimes more after school.
Peter: Even on days where I can't make time to practice, I always have some time to listen, and I find few things more helpful than sitting down and trying to play with a recording. So the answer is that listening to jazz is the largest part of my practice regimen because otherwise I would have no musical frame of reference. In order to know what's hip and what's not, you have to listen critically and constantly.
ML: When did you start listening to jazz music?
Brian: 6th grade, when we would do listening sessions during Middle School Jazz Band.
Josh: 6th grade year, after my private instructor told me how important it was to do so. He hooked me up with some new jazz every week.
Ben: 7th grade. I was in my middle school jazz band and my teacher had told the band to start listening because it would make us better players so I figured if I was really into playing jazz then listening is the next step to get better.
Ryan: 6th grade when I joined jazz band. I'm now a Junior in high school.
Peter: 6th grade when my friend Gus from Roosevelt HS introduced me to Brad Mehldau and I got hooked. I had listened to a bit of Oscar Peterson and Bill Evans prior to that, but Mehldau was the reason I got started.
ML: How much listening do you do every day?
Brian: Whenever I'm in the car, one of the XM Jazz Stations is almost always on. Also, I listen to Jazz in the background when I'm doing my homework, or if I'm checking out a song someone recommended to me.
Josh: The time I spend listening varies...on average, I would say I listen at least 30 minutes a day.
Ben: I used to have to kind of force myself to listen to jazz for a long time, but now I listen whenever I do my homework so that can be anywhere from 30 minutes to 3-4 hours.
Ryan: I listen to a few songs every morning on my way to school.
Peter: I listen at least 2 hours a day actively, and I always have music on whenever I do homework or play games or anything. I watch a lot of YouTube (this is a great resource) and I buy as many albums as I can afford.
ML: Who are your favorite two or three jazz players...and why?
Brian: I have a lot of artists I like to listen to, but I don't have any absolute favorites. Every musician has a different style, but I enjoy Herbie Hancock not only for his early works, but for his ability to play many different styles, from swing to fusion and others.
Ryan: Duke Ellington, and Count Basie. Duke for becoming more familiar with solos, and Basie because I like the melodies.
Josh: Among so many, a few of my favorites would have to be Dexter Gordon, Sonny Rollins, and Wynton Marsalis. I just really like the tone and musical ideas each of them produce.
Ben: My favorite two jazz players are Pepper Adams because I feel I can learn a lot from his technical ability and I admire his tone, and Charlie Parker because listening to him is really fun.
Peter: While this question is almost impossible, the three people I listen to most right now are:
- Brad Mehldau: Amazing piano player who I just saw live. He turns standards inside out, as well as plays pop tunes from every decade. His trio work with Larry Grenadier and Jeff Ballard is some of my all time favorite music. He is also killing as a solo player, utilizing the full range and scope of the instrument. Good CD's are "Brad Mehldau trio live", every CD in the "Art of the Trio" series, and "Day is Done".
- Kurt Rosenwinkel: Beautiful guitarist with an amazing quartet. He has a completely unique sound, and harmonies and melodies in his solos are really dense. His two disc album "The Remedy Live" is absolutely fantastic. "Enemies of Energy" is also beautiful.
- Mark Turner: My all time favorite tenor player. He doesn't have any licks that make him easy to pick out, and he moves through the lowest range of his sax all the way up into super high harmonics, all with amazing tone. You will find him on many Kurt Rosenwinkel albums. One of my favorite CD's of his is "Dharma Days."
ML: When you're listening to something for the first time, something you haven't checked out before...what are you listening for? What's your approach?
Brian: When I first listen to a song, if it is one that we will be playing in a band, I follow along with my music to see how my part fits in to the song as a whole. I also listen for how the melody fits over the changes, because that helps establish a basis for soloing for me.
Josh: When I listen to something brand new, I don't necessarily listen for anything specific, just the sounds as a whole. I will go back later, and listen to specific things then. I also make sure that I listen to new stuff actively, rather than passively.
Ben: When I am listening to something new, I listen for how well the band plays between sections and inside of sections as well as things I can learn from like phrases and intonation, but I don’t have a super specific approach.
Ryan: The first time I listen, I'm mostly listening for the form and the changes of the song. Then the second time, I focus more on what the melody sounds like. To understand the form and changes, I listen to the bass and piano to hear what chords they're playing. To figure out what intervals they are, (like the 4 or 5 chord), I use my ear.
Peter: The main thing I listen for when I hear a new recording is if I am hearing anything new. I always want to hear new songs, or old ones played in a new way. People can try and replicate past musicians, but I would rather listen to the original musician rather than a replicator. My approach is to stay open minded and never ever fast forward through a song or album, making sure to hear it in its entirety. I also love to hear people with a command over their instrument. Essentially, I love standards and classics, but I am always trying to expand my ears into the realms of more and more modern improvisational music. However, just because someone throws a recording together, that doesn't mean they are a good musician. I always listen critically and don't give away any free passes as an audience member when it comes to "professional" music.
ML: How much is listening to jazz a part of your daily practice regimen?
Brian: I almost always have jazz on the radio in the car. As for practicing, if I need to work on a solo, I will listen to numerous recordings of the chart to get ideas for licks, and try to capture the style of the chart in my solo.
Josh: Listening is far more important than actually playing, because if you don't hear it, it won't come out of your instrument. So listening plays a HUGE part of my practice regimen.
Ben: For a little bit of my practicing I try to find a cool solo lick and find out how to play it in a few different keys and also trying to learn from the pros and how they play and I can learn from them.
Ryan: Around 20 minutes on the way to school, sometimes more after school.
Peter: Even on days where I can't make time to practice, I always have some time to listen, and I find few things more helpful than sitting down and trying to play with a recording. So the answer is that listening to jazz is the largest part of my practice regimen because otherwise I would have no musical frame of reference. In order to know what's hip and what's not, you have to listen critically and constantly.
****************
The bands from Mt. Si and Bellevue performed exceptionally well at the Festival, and Peter Graham earned one of the soloist awards that evening. These young players are positive proof that listening to jazz music will make your band sound better.
Thanks to the players for sharing their experiences, and thanks also to band directors Adam Rupert and Vince Caruso for help in setting up these "interviews."
Thanks to the players for sharing their experiences, and thanks also to band directors Adam Rupert and Vince Caruso for help in setting up these "interviews."
So...what are YOU listening to?
