During the process of this research, I have analyzed the way my favourite jazz singers of the past and of today use phrasing and how they contribute to the interplay and respond to the musical conversation. I also investigated the interplay of the Miles Davis Quintet and realized the reason why it is considered as one of the groups that pioneered in the field of musical interaction.
I interviewed three important jazz musicians: drummer Eric Ineke, saxophonist David Liebman and bassist Hein van de Geyn. They all shared their views about jazz phrasing and interplay and we had fruitful conversations.
Using the knowledge that derived from the literature, the analysis of my experimentations and the exchange of ideas from the interviews, I collected information, which enhanced some exercises for practicing the phrasing tools and for becoming more elaborate in the interplay process.
Through analyzing my own recent and older audio recordings and videos of live performances, I observed my own way of using phrasing. I experimented further on how I can use it, in order to become more responsive and contribute to the band’s interaction. During this research, I was aiming to become more advanced and adventurous rhythmically in my improvisations. I was experimenting, trying to sing phrases over the barline and starting from unexpected parts of the stave. What I also had in mind was to make rhythmical variations, in order to create a feeling of “messing up” within the form but still manage to find my way back and land on the correct beat, along with my co-player(s). In light of this analysis, it became clear that in the songs, where I was accustomed to their harmonic progression, I was more able to move freely, phrase the theme in a loose way, stretch the time and yet make it sound natural and relaxed. For example in songs like "Blue in green", it was easier for me to sing my solo over the barline because the form of this song is integrated into my inner ear. The same applies to other standards like "Alone together". On the contrary, in my original song "Spicy life", which is a fast piece with demanding harmonic progression, my phrasing of the theme was not very adventurous and my soloing was structured within the bars and limited in regards to time-stretching, due to the fast transition of the challenging chord changes. Therefore it is obvious that the choice of repertoire can affect the freedom in the phrasing and alongside, the amount of interplay.
My attempt at this research was to investigate how the development of the phrasing tools and phrase-building skills will help the singer become more elaborate and able to participate in the interplay. The basic principles of interplay and prerequisites to take part in it, are summarized briefly in the following skills that are being developed in parallel, through evolving the phrase-building techniques: being able to create clear and intriguing phrases, create space, being quick on making decisions and responding to what is being offered on the spot.
Throughout this process, I didn't invite much feedback from other musicians apart from my teachers, with whom I discussed the terms phrasing and interplay and exchanged our views while listening to my recordings and experimentations.
Two elements that were referred by Hein van de Geyn and Eric Ineke during the interviews but have not been developed in this research are sound and dynamics.
These elements are important in the process of a musical conversation as they define the atmosphere, the style and the context upon which the interaction will hopefully take place.
Harmonic variations and note/scale choices also contribute in the interplay and this aspect has not been referred during this research either, as my main focus was on rhythmical phrasing and management of time.
The main conclusions that derived from this research are the following:
The elements of rhythmical phrasing that are important in order to stimulate interplay are, firstly, rhythmical clarity and accuracy; providing a clear and intriguing rhythmical phrase-statement. Like in any conversation, clearly phrased sentences can invite a meaningful dialogue whereas vague and meaningless talking with no clear rhythm, beginning or ending cannot create a welcoming environment for the exchange of ideas.
Secondly, it is the creation of space for that particular statement to be noticeable and provoke the next relevant phrase. This is also the way to create the means for interplay. Any conversation cannot exist if the interlocutors don’t leave space for one another. In order for one phrase to be perceived there has to be some space before and after it. Otherwise, there is just a non-stop sequence of notes. Although they may be "good" notes forming beautiful phrases-lines, the ear will not have enough time to distinguish them and decide whether these phrases had any impact or not in the natural flow of the musical conversation. Therefore, most probably there will be no coherent response by the fellow musicians.
A third element that influences the interplay is articulation. As long as the singers have chosen the phrasing tools to deliver their rhythmical ideas either when playing the theme or improvising, then the element of articulation will provide the final touch in one's interpretation. Singing legato or staccato, stretching the line rhythmically or being syncopated, accenting the notes on the upbeats; all these rhythmical attributes of articulation can affect and stimulate the interaction on behalf of their co-players.
Consequently, by using all the above fundamental aspects of rhythmical phrasing, the ground is then fertile in order to engage in the interplay. Engaging in the interplay presupposes that one has grown quick on instant decision making about how to elaborate and respond to the offered statements or stimulate the interaction in the first place. Overall, mastering the tools for building phrases that are summarized below, the interplay can be stimulated in the following ways:
By playing/singing contrapuntal (contrasting) or parallel phrases to what is being suggested on the spot, in terms of length, rhythmic density, direction or range, musicians provide either rhythmical stimuli to the rhythm section or on the other hand elaborate responses.
By playing/singing “call and response” phrases that resemble questions and answers, a new musical idea can be offered to the co-players. One may either give the opportunity to his/her fellow musicians to provide a "reply" or come back with another “question” for him/her to respond to.
By playing/singing phrases based on rhythmical motives, one gives the chance for further development of the conversation, by offering something new to that established and repetitive pattern or by emphasizing it, using accenting, contrapuntal or imitative interplay.
One more factor that plays a rather significant role in the level of the interplay and was discussed during the interviews, is the time that musicians have spent together playing. The musical communication is probably much stronger between musicians that know and appreciate each other musically than among musicians that only get together in a jam session. Musicians that play rarely together or fail to form a "good match", do not develop that deeper musical communication as much as musicians that choose to grow together musically, normally do. Overall, it is safe at this point to conclude that musicians who indulge in playing together for a longer period of time can be more elaborate, instantly responsive, coherent and creative in their interplay because they have chosen to establish a common language, mutual trust and appreciation, a better "chemistry" and a deeper musical communication. Consequently, their exchange of ideas-phrases can potentially be more adventurous and less predictable.
Jazz is all about having a conversation, after all, as my interviewees pointed out in the conversations we had.
So, like in any kind of conversation, the more, musicians value each other musically and dedicate themselves to mutual growth, the more fulfilling their conversation will be!