Thursday 4th July – 14.00
Studio Theatre
Master Class
Martin Shaw

Kevin Eisensmith, Reporter
Martin Shaw presented a master class on jazz improvisation to an audience of approximately 50 people. Shaw is a tutor of jazz trumpet at Birmingham Conservatoire and has worked with Natalie Cole, Shirley Bassey, The Brand New Heavies, and Jools Holland, to name a few. He also performed as a member of the BBC Big Band on Tuesday evening’s concert, and was a featured soloist on several of the pieces that were performed. Shaw has a warm, soft sound on both the trumpet and the flugelhorn. In the combo setting, his playing was compact with fluid, imaginative lines and a wide range of articulation styles.

Shaw began his presentation by performing a short set of three works: My Romance by Rodgers and Hart in a medium-swing feel; Body and Soul as a ballad; and Jobim’s Meditation in an up-tempo latin feel. Accompanying Shaw were the ITG Conference Rhythm Section: Andy Kingslow, piano; Pete Turner, bass; and Eryl Roberts, drums. Shaw plays an Edwards trumpet and flugelhorn. His masterclass was made possible in part with support from “The Valve.”

In his comments, Shaw recommends learning modes to become more comfortable with improvisation. He equates learning modes to learning all of the forms of verbs in the English language: it leads to “a more complete knowledge of the language.” He recommends learning all modes starting on the same root note. He played all forms of the major modes starting on concert Bb; then, as the rhythm section vamped on a Bb chord, he improvised on each form (Ionian, Dorian, etc.). Shaw noted that each mode “suggests” to him a different “feel” or mood. He then demonstrated the use of modes in the Kern/Hammerstein composition All the Things You Are.

Additional comments by Shaw included the recommendation that players learn tunes initially without embellishment. This allows the player to hear how the melody “really goes over the changes.” Then begin to add little embellishments and inflections, but don’t overdo it!

Shaw then demonstrated the use of “patterns” in improvisation - playing 1-2-3-5 on each chord change, for example. Other patterns included 5-3 and arpeggios in triplet rhythm. This is an academic approach to improvisation, but it enables the student to learn the various modes and encourages a more “horizontal” approach to a solo. He encourages players have at least 150 tunes committed to memory. This makes it unnecessary to have music in front of you. However, there is nothing wrong with using music in a performance, especially if you are unfamiliar with a piece. He also suggested learning tunes in different keys.

Shaw said that earlier in his career he learned other soloists’ “licks,” and that listening is the most important thing a player can do. It is very important for musicians to listen to all styles of playing. He also said that transcribing solos is a valuable tool. A quick list of his influences included Louis Armstrong, Freddie Hubbard, Blue Mitchell, and Miles Davis.