Learning and understanding 'how to swing' is the most important part about being a good musician. ... I've listened to okay players that could swing/goove really well and sold me. Then I've heard well schooled players who's swing sounded like someone stumbling down the street. ... Jazz is really about understanding theory well enough to play through any seriers of chord changes at any tempo. ... If you're that interested in playing jazz start with the blues. ... The 'one, four, five' 12-bar chord progression is a great start. ... Find and easy groove and play through that progression till it's flawless. ... Then look up chord substitutes in 12-bar song. 1, 6, 2, 5. ... 3, 6, 2, 5. ... When you understand the difference of the last two progressions you're on your way to playing jazz. ... It's not that hard. ... Grooving is hard so, work on that.
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Does not being able to play jazz = being a poor bass player?
- Thread starter glocke1
- Start date
Absolutely! You suck if you can't play jazz. 
Do you know how many times I've wanted to say that? The truth is some people have no business even attempting it because they haven't the desire or inclination to do it properly. Jazz theory is a gold mine for anyone wanting to understand how music works, even if they have zero interest in jazz as an art form and have no plans to play it. Does this matter? Yes and no. Yes, because in order to be a proficient musician you should have some knowledge of theory. Jazz theory is pretty high up the food chain. Think "music theory on steroids". No, because if you are able to grind out I-IV-V and root fives until your fingers fall off and the crowd loves it, you don't need much more than that. From a selfish standpoint I wish everyone would learn a massive amount of theory (jazz or otherwise) so the songwriting standard would be raised a little higher than it is now. Even musicians yearn to be entertained.
Do you know how many times I've wanted to say that? The truth is some people have no business even attempting it because they haven't the desire or inclination to do it properly. Jazz theory is a gold mine for anyone wanting to understand how music works, even if they have zero interest in jazz as an art form and have no plans to play it. Does this matter? Yes and no. Yes, because in order to be a proficient musician you should have some knowledge of theory. Jazz theory is pretty high up the food chain. Think "music theory on steroids". No, because if you are able to grind out I-IV-V and root fives until your fingers fall off and the crowd loves it, you don't need much more than that. From a selfish standpoint I wish everyone would learn a massive amount of theory (jazz or otherwise) so the songwriting standard would be raised a little higher than it is now. Even musicians yearn to be entertained.
Let me put it this way: Every famous label house band, from the Funk Brothers for Motown, to the Wrecking Crew in L.A., were made up exclusively of jazzers. Even the NYC guys (Eric Gale, Will Lee, Bernard Purdie, Steve Gadd, the Brecker bros, etc. etc.) were all jazzers. I don't care what style of music you play, those guys are better than you. Unless you're an absolute monster, in which case send me some clips.
Exactly. And what is the key "mission critical" skill these musicians share? Listening. Jazz musicians understand the importance of ear training. They don't need to google TAB to learn new songs, they don't get into heated arguments about "what's the key signature of F major blues?" and they don't freak out if the singer wants to transpose the song down a half step. Jazzers instinctively understand a song's harmonic pattern as easily as you or I talk about the weather. They get hired for studio work because they don't waste expensive studio time trying to figure out how the song goes.
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When I read the OP, my first thought was my long standing OPINION that jazz musicians are to "musicians" what Ty Cobb was to baseball, what Bob Dylan is to writing lyrics, what Marlon Brando was to acting, or. . .. you get the idea. Jazz musicians are at the top of their game, and must be. They don't play "little boy chords." Is Donald Fagen a decent keyboardist? That man is so deeply rooted in jazz that he ought to have leaves growing off his fingernails.
To answer the question, "Does not being able to play Jazz=Being a poor bassist?" Is like asking "since I can't write like Shakespeare, does that mean that I suck as a writer?" Of course not! If you can't play jazz well, that means one thing: you can't play jazz well.
And not for nothing, but Jazz doesn't do it for me. Never has. I completely appreciate the degree of talent those men and women possess; but that music gives me no joy. Sort of like Carlos Santana. I know the man is probably to guitar what Neil Peart is to drums, but listening to him gives me absolutely no pleasure. Call me daft, you won't hurt my feelings.
Anyways, don't sell yourself short. If you can't play jazz, it has nothing to do, IMO, with the bigger picture question of "are you a decent musician?"
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I think alot of folks miss the bolded part. The assumption is that if you can play "complicated" music like jazz you can play anything. And often it couldn't be farther from the truth.
I don't think we're all supposed to like jazz but I know lots of people hope others will be impressed if they state that they like jazz. "Look how smart I am, I like thinkin' music!". For many listeners some of the more hardcore jazz is pretty much incomprehensible.
Wrestling is still very popular. People like what they like.
Perfect description.
Jazz knowledge helped me learn & transcribe this bass line for an 80's show I do.....
Even if you do not become a Great Jazz bassist it will help you become a better player in the style you like.
You can't really be arguing that Will Lee couldn't play the heckie-darn out of your country/ rock/ jazz/ polka/ marching band/ kazoo band tune?I could name dozens. Are you a believer?
Yes, that is exactly what I'm saying. NO jazz musician can play other genres well. In particular Will Lee. I'd bet he couldn't even play Beatles tunes.
