Re: [Harp-L] SPAH Jazz Jams



Tim and all -

It's worth noting that, at a previous convention where the hotel had a small room with a piano (Columbus, as I recall) there were small groups of us who got together for impromptu jams, much as Jimmy Lee has done with Blues Jams. I believe it was unofficial and, probably for that reason, it worked out fine.

I got to Jam with George Brooks and a few other Jazz harp players for the first time at one of those (my second SPAH convention), perhaps he can better remember where they took place. In that particular case, they weren't structured and that's what made them work. Someone called a tune and 2 or 3 players played, and we moved on to another tune.

So maybe it's not about structure - maybe its just about access.

Mark Russillo
a.k.a. The Rhode Island Kid

----- Original Message ----- From: "Tim Moyer" <wmharps@xxxxxxxxxxxxxxxxxxxx>
To: <harp-l@xxxxxxxxxx>
Sent: Thursday, August 24, 2006 5:17 PM
Subject: Re: [Harp-L] SPAH Jazz Jams



John Balding wrote:
Is there a possibility that the Jazz Jams could be divided
into two ability levels, i.e. - Pro and Beginner/Advanced?
To me, this would help alleviate some of the ego problems or
beginners' fear issues which may have surfaced in the past.

I don't support ideas that further attempt to divide people at SPAH on any lines. One of the beauties of the blues jam is the egalitarianism, where an unknown first time attendee gets the same number of bars to express themselves as a seasoned pro. You just have to check your ego at the door. It helps to have a moderator like Buzz Krantz, who while he can be a big teddy bear, can also clamp down the thumbscrews when he needs to. I still remember that look he gave me when I was shouting from the peanut gallery to extend the solos to 24 bars. Sure shut me up.

Sure, some people find this too intimidating to play.  To help with
this, Michael Rubin started a "pre-jam" to help newbies with their
jamming chops and etiquette, and Jimi Lee was running an afternoon
jam that usually had smaller groups.  All these things have sprung
up from the grassroots to support the blues jam.

Similar things can happen with the jazz jam if there is interest and
participation.  I'm not saying that the jazz jams should be
structured this way at all.  I like the idea of being able to maybe
sign up, and then call a tune, and share it with one or two or three
other players, rather than spending 30 minutes making the rounds
with one progressions, as the blues jams do.  But my point is that
if people are encouraged to participate the jam can find its own
solutions to problems that might arise.

-tim






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