Chapter 2. The PLAYING Process
IMAGINE YOU ARE at a French Quarter jazz club. There is a man playing a saxophone, or a trumpet, or maybe a guitar. He’s alone, or there might be a single accompanist on a keyboard or drums. A stranger crosses the room from the bar, opens a beat-up instrument case, pulls out a guitar, and sits down next to the guy playing, looks at him, and gets a slow nod.
The guitar’s sounds immediately blend with the other player’s, and the two define harmony and melody in creative but perfectly attuned combinations. One leads, while the other pauses; then they take turns—leading, following, pausing, playing—always perfectly complementary, always without any notes on paper to guide them. They call this jamming, and it defines ...
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