PLAYING SOLO SAXOPHONE

 

by David Liebman

            In a certain sense the idea of a “solo” performance is inimical to one of the basic premises of jazz: group collaboration and interaction. When one considers the innovations and milestones of jazz history, it is invariably centered upon a great soloist such as Parker or Coltrane within the context of a group(s). An exception was pianist Art Tatum, performing on a traditionally solo instrument. The notion of a horn performing solo for more than an obligatory cadenza in jazz has in recent decades become common. Artists such as Steve Lacy and Anthony Braxton as well as other solo line instrumentalists come to mind. The question is what are the considerations for this type of performance to be successful?

            Just as in a group situation, a solo line instrument must conceive of the total performance in terms of overall tension and release. Because of being alone, the performance has to be exceptionally clear and emphatic in this regard. A solo line player should be aware of all the instrumental and musical tools available in three distinct ways: technically, compositionally and emotionally. He has to be virtuostic on his instrument, thoughtful in his presentation and of course, passionate. An audience is less forgiving for a solo performer since all the attention is centered on one individual rather than several.

 

TENSION AND RELEASE

In any artistic process, tension and release are guiding factors. It is the yin-yang principle put to practice, implying opposites. In art the dialogue between opposing pairs is at work constantly whether purposely or not. The very fact of a musical action taking place is recognizable only in relation to its opposite. The artist has of course the choice as to whether he wishes to achieve a balance or not because a statement left unanswered can be powerful also. There is something of value in concentrating on one musical idea only and maintaining that singular color or mood for the length of a performance. The point is that the solo line performer should consider what is possible and then make clear choices.

    Musically, pairings such as loud/soft; fast/slow; angular/smooth; dark/bright(sound); active/repose are examples. The single line player, no matter what he plays is automatically committed to one or another aspect of a particular pairing since there are no other musicians to offset the choice made. The artistic goal is how subtle the instrumentalist can be in exploring the “grey” areas between opposites and sustain interest. With a typical small group of three to five players, the combinations are endless. One of Miles Davis’ strongest attributes was his awareness of tension and release not only in his own playing for sure, but more importantly his awareness of that principle in conducting the groups he had over the years.

            Since the solo line player has only himself to “interact” with, he is responsible for making these choices clear. As mentioned, it is crucial to sustain the attention of the listener since with no other instruments playing and all eyes and ears riveted on the individual, the “boredom” factor has to be addressed. Keeping a listener’s attention concerns the balance of change versus sameness, surprise coupled with expectation and how to keep things moving in a loose and spontaneous atmosphere. Yet at the same time, concentrated development on one idea is essential for drawing the listener in. It is quite a challenge when one considers all these points!

 

MUSICAL ELEMENTS

            Besides the normal triumvirate of melody, harmony and rhythm, I add color (sound and texture) as well as form (order of events) to the general elements of music. These last two aspects are indispensable to the solo line player because the use of these  for a solo line player is more subtle than in the case of a keyboardist or guitarist who have so many sounds (as well as chords) available. Texture changes within the capabilities of the soloist’s expertise are extremely important in establishing interest and mood. Other facets such as dynamics, expressive devices and articulation are subtle but necessary factors in the grand texture. Of course form provides the overall architecture of a performance. The single line player is essentially speaking on a one to one basis to the listener. Choice of material and the order of events are matters to be regarded when addressing form. In a certain sense, form may be the most important element of music and for the solo line player, understanding its implications is crucial. What musical element if emphasized would be most beneficial a particular juncture of the performance?

 

THE “GRAND GESTURE”

A performance of any sort is basically comprised of units which I call gestures. These gestures can be small or large in nature. Each gesture consists of a purposeful movement, an action that is singular and clear. Gestures come in gradients described loosely in terms of light, grandiose, ambiguous, clear and so on ad infinitum. The solo line player is constantly juggling small and large gestures-because by being unaccompanied, everything is clearer and more dramatic. This is the great challenge of solo playing; awareness and discreet use of all kinds of gestures….not an easy task!!

          Finally, the solo line player is somewhat like a strip tease artist since all is emotionally bared for viewing. Technically, there is no one to hide behind-no drums covering up, no chords clouding the melodic intentions, etc. The solo line player must be brave and confident as well as a consummate artist.