ITG 2004

Bryan Edgett, reporter

Recognizing the importance of playing well in multiple styles, the panelists described their forays into performing in multiple styles. Allen Vizzutti noted that crossover playing often derives from not getting enough work in one style to survive. Throughout the discussion, the panelists, from various backgrounds and with individual emphases, spoke with remarkable unity about the issues confronting the crossover player. Commenting on their personal development, the panelists each studied classical music and styles at first, and pursued jazz and other types of music later.

Regarding the positive influences of crossover playing, each panelist stressed that learning various musical styles broadens one’s musicianship. In particular, players who are trained classically benefit when they assimilate the rich harmonic vocabulary found in jazz music. Jazz players benefit from exposure to the structure and discipline required of classical musicians. Andrea Giuffredi noted that the timidity often found in classical playing is unknown in jazz. The spontaneity and freedom that flow from playing jazz can benefit classically trained players.

The panel advised crossover players to avoid two significant pitfalls. One should not sound like a classical player attempting to play jazz, nor should one sound like a jazz musician trying to sound classical. In each case, studying historical, aural, and technical fundamentals can facilitate intelligent playing. Allen Vizzutti noted that one must know their passions, strengths, and limitations. Secondly, players need to take care not to abuse themselves physically, most typically by playing too loudly. Jens Lindemann commented that the great Maurice André’s piccolo playing “dances along” until the end when he lets the volume grow.
Commenting on teaching, Rex Richardson felt that his enthusiasm for a wide array of musical styles influences his students. Allen Vizzutti mentioned that he has been teaching regularly for only a short time. He encourages his students to be comfortable about their aspirations. He also observed that often students lack attention and dedication to mastering fundamentals. He stressed listening, historical knowledge, and technical proficiency among those fundamentals. He found that students tend to take the issues more seriously if they know that an exam with a grade will follow. Jens Lindemann noted that most students are not prepared to do the work required to be excellent at their chosen career. Quoting Wynton Marsalis, he quipped, “everyone wants to be a hero but nobody wants to go out and slay the dragon.” Andrea Giuffredi gets to know his students’ aspirations discovering what motivates them. He tries to tap into their passion for their craft.

Perhaps the most interesting discussion arose in response to a question about pursuing crossover playing when one’s teacher might not be entirely in favor of that approach. Rex Richardson suggested that students find out what great players did to become great. The panelists also advised students to listen to recordings, attend concerts, and talk with other players. The discussion turned abruptly toward students relying on the teacher to find motivation, and blaming the teacher when they are unmotivated. Jens Lindemann stated that students must be self-motivated if they are to succeed. Students who are not self-motivated should do something else. His comments drew enthusiastic applause from the audience.

A short question and answer period, related to the topic, ended the session. The panelists’ unquestioned excellence in performing in multiple styles suited them perfectly to the discussion, their advice leaving the audience richer for having attended.