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A landmark in jazz studies, Thinking in Jazz reveals as never before how musicians, both individually and collectively, learn to improvise. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea.
The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid; drummers Max Roach, Ronald Shannon Jackson, and Akira Tana; guitarist Emily Remler; pianists Tommy Flanagan and Barry Harris; saxophonists Lou Donaldson, Lee Konitz, and James Moody; trombonist Curtis Fuller; trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney; vocalists Carmen Lundy and Vea Williams; and others. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker.
Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators.
Berliner explores the alternative ways--aural, visual, kinetic, verbal, emotional, theoretical, associative--in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike.
Something for EveryoneReviewed by Jerry Engelbach, 2009-02-21
I'm a jazz pianist. All the musicians I know who have read this
book think highly of it, and I'm no exception.
It doesn't pretend to be an encyclopedia of everything jazz. It's a
study of the nature of jazz improvisation, based upon the author's
own experience as a trumpet player and his interviews with (then)
living jazz musicians about their personal experiences and
recollections.
The "story" is an enlightening one, even to someone like me, who
has been a musician for a half century and met some of the people
in the book. For jazz lovers and people who just want some insight
into this wondrous genre, it's an absorbing read.
For practicing musicians, music students, and anyone else who knows
at least some music theory, it's invaluable for its many detailed
musical examples, the like of which I've seen nowhere else in any
publication.
There's something in this book for everyone who wants to know more
about the creative process in jazz.
This book is even more than meets the eyeReviewed by Salina M. Locke, 2007-12-15
Despite the many pages, this was a very easy read. Berliner does a
great job writing in a way that was well-written, yet easy to
follow. I don't have a music background; however, I was interested
in this read to find out how an expert learns and refines their
craft. In this book, Berliner reveals the art of improvisation and
how improvisation requires many years of dedication and learning.
One cannot just pick up an instrument and begin improvising--even
experienced musicians have difficulties with this. It isn't until
someone has mastered their skill, learned from mentors,
participated in apprenticeships and truly immersed themselves in
their craft that they are able to improvise. And, it's a lifelong
achievement to get to that point, as there are always ways to
refine your craft. Thinking in Jazz explores the passion and the
learning involved in being the best at your craft. If you are
passionate about music, this is a must read!
Just to note: The last 300 pages or so consists of short musical
examples sampling improvised performances by different sources. I
wasn't able to benefit too much from this section since I don't
have a background in music. But, even if you are like me and lack
the musical expertise, the rest of the book is definitely still
worth reading.
Great book, with a lot of musical examplesReviewed by TR707, 2007-06-22
This is a very well written and thought out book. It is not really an instructional text, but it could be used that way. Most of the book is easy to understand, except for a few technical things here and there that only trained musicians would understand. I would recommend this to anyone who wants to study Jazz in a musical way or people who just want to expand their understanding of music in gereral. This would make a great book to use at universities. The last section of the book contains actual musical examples of what is talked about in previous chapters, so if you can read music this is a great tool for musicians of all levels.
Comprehensive Appraisal of JazzReviewed by Jose L. Iturrino, 2007-05-26
It is well written ....having a well documented base with a historical background and a didactic perspective...Very good book.
ShallowReviewed by Blake S. Cohen, 2004-12-27
Mr. Berliner reduces the Art of Jazz Improvistaion to nothing more than rote regurgitation of memorized licks and phrases. The True Nature of Jazz Improvisation is much more profound than his book describes. His work is perhaps usefull in understanding one small, peripheral aspect of Jazz Improvisation, but anyone who would like to seriously understand the Artform needs to take his point of with the understanding that is only a small fragment of what a musicians Mind, Body and Soul process to create truly spontaneous beauty, which is the Real and True Art of Jazz.
