Sunday, January 22, 2012
The Art of Solo Saxophone: Part I
As someone who has spent a lot of time thinking about these things, here are three (3) suggestions that might help your solo outing go more smoothly.
I’ve found that the best way insure that most, if not all of the aforementioned things are realized is to be prepared. I always say that you have to know the material well enough that you smoothly recover from your mistakes. Nothing kills the momentum of a solo performance, especially playing a wind instrument, then playing that noticable "clonker." Nothing goes unnoticed when playing solo. Everything is subject to micro-scrutinization. When playing with a rhythm section, covering ones tracks after a fluff or clonker is easy to do. Often times you’re the only one to notice. When playing solo, however, that cracked or out of tune note can jump out at you like the boogey man on Halloween.
Another important thing to remember is knowing when to move on to the next idea once you’ve made your point. Knowing when to stop is can be the key factor in whether or not a tune comes off great or just OK. My concerts and recordings tend to flow much better when the pieces are more compact. This can mean not fleshing the melody out too long or soloing too long. When you’re playing alone there’s natural tendency to want to overplay to make up for lack of any accompanying instrument. But oddly enough, that’s actually to time to exercise restraint and become more selective with your ideas.
When I’m preparing material for a live concert or recording, I often record myself and listen back for what I call the “bored factor.” Meaning, at what point does this start to get boring. Typically it’s when I play too long, spend too much time on one idea, or spend too much time in the same sonic space, that the b-factor starts to set in. I’m usually pretty amazed at how much of a difference 45 – 60 seconds can make. When playing solo, the version that’s 3:20 in length can seem like eternity compared to the 2:40 version.
When it comes right down to it, solo playing is comparable to being a great storyteller, or even a joke teller, for that matter. If you study stand-up comics, every second of their routine is accounted for. In fact, music and comedy are two mediums that are both about controlled chaos. Sometimes it’s just the impression of being spontaneous and totally in the moment. If you hear a stand up perform his or her routine a few nights in a row, you’d be surprised at how little of it is off the cuff. Even those seemingly in the moment verbal exchanges with hecklers are typically from their expansive arsenal of insults and comebacks.
Like great musicians, great comics have impeccable timing and pacing. And when pared with equally great material—which can be jokes or a musical vocabulary—the results can be incomparable. That’s why great comics like Chris Rock and Jerry Seinfeld can walk on stage with just a microphone and have you on the edge of your seat more than multi-million dollar Hollywood blockbuster movie. Or great musicians like Sonny Rollins or Steve Lacy can walk on stage just their saxophones and take you on a musical journey more exciting than listening to an 18-piece big band. Clarity and vision can go a long way in the world of improvisation.
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