Sliding into a note

I apologize in advance if this topic has been a thread already, but I couldn't locate it in a search. (Maybe someone can point me in the right direction.)

I have seen some experienced pros, even on CDs and DVDs, who seem habitually to slide into a note whether walking or soloing--especially when a jump or shift is involved. Not just for an occasional effect, but habitually. To me, this style of habitual play carries with it the suggestion that either the player lacks confidence in his ability to hit the note in the center right off--or maybe he's just lazy. I know that's not always the case, but it creates that impression in me. (Again, I'm not talking about doing this occasionally for the effect.)

On the other hand, I know some pros--notably a local/regional favorite here, Bill Saitta--who seems to hit notes cleanly and dead center, on the fly, even with huge jumps at very fast tempos. I've seen/heard Bill do this consistently for an hour as the featured soloist in a rhythm-section trio at the annual Idyllwild Jazz in the Pines festival.

Is this unusual? Or is my particular experience in listening to players biased, do you think? And what do you guys feel is the best way to practice to achieve this? Or do you just have to be born with an ear like that?

 

Yes, well, as a matter of fact, his DVDs are exactly those I had in mind--and I had exactly your reaction. I own both of his DVDs, by the way, and--speaking only as a rank amateur--I find them both excellent. I mean, he stresses the basic stuff like no book could, I don't think, and yet by the end of his Vol. 1 he's got you pumping out 1-4-5s like a half-way decent sounding bluegrasser. (In a couple of keys, anyway.)

He says on the DVD that he does this "Gomezing" thing (he doesn't call it that) "all the time," but I really don't care for that style "all the time." When he's trying to hit the notes during his demonstrations, he seems to hit them right on and he impresses me as having an excellent ear. (But, again, I'm a rank amateur.) So, I'm thinking that in his case it's rather a matter of "impressionism," as you put it, BV.

I'll be watching and listening to Todd Phillips's DVDs many times more because I think they're highly instructive and encouraging for someone at my level. And I've got your book on order, Ed. :-]

 

Thanks for the comment, Chris; I'll take your advice. And, wow, I see that you play with Harry Pickens, my favorite pianist. I see/hear him every year at the Jazz in the Pines festival in Idyllwild, California. I actually plan my festival activities around his gigs there. I once saw/heard him in a two-plus-hour performance with the Harry Pickens Trio (Marshall Hawkins, bass; Harold Mason, drums) at the then Skye Gallery in Idyllwild where--believe this or not--from my seat, I could have played the highest C on his piano without leaning forward. I don't think I could ever experience a more magnificent evening of jazz!

 

So, Chris, I guess what gets billed as the "Harry Pickens Trio" out here should really be called the West Coast HPT--or maybe even the Southern California HPT, huh?. I would not be surprised if Harry had different trios in various regions all over--who wouldn't want to play with him if he were good enough? At the Idyllwild festival, you have to get a good seat for whatever group precedes Harry in the line-up, just to keep a good seat for Harry. When he plays, the room fills up with other festival musicians--fast. Last year, I had a front-row-left seat for Harry, and just before he started a woman came up and asked if I would mind her sitting on the hard floor in front of my feet. The day before she had been the featured soloist on that same piano.

That night at Skye Gallery, at one point Harry got into one tune so deep I think I was hearing chords I've never heard before or since. Marshall Hawkins (bass) and Harold Mason (drums) were looking at each other and back at Harry with worried looks as if to say "Where is he going from here?" And Harry's just grinning from ear to ear like he does when he's really into it.

Oh, man, when I think that we almost lost him a few years ago, it makes my stomach hurt.

Chris, your points comparing sliding into a note to a horn soloist bending a note, and your comment about more latitude when playing with a chordless rhythm section are really interesting. I'll be listening for that, especially at the festival next month. Meanwhile, I'll keep working on my ear. Thanks, much.