Ever since I first started playing my horn, I have emulated all the masters like Monk or Dizzy, and that was like going to school for me. However, now I can see that there is a mass of musical harmonic theory that has built up over the years, and mostly passed on from player to player from a “Newer” generation. I have found the book Jazz Harmony and Improvisation by Hebert Silverstein, MD and Richard Drexler contains all the basic harmonic innovations that Jazz came up with between the 1970’s, 80’s and 90’s. The harmonic language of this book will get you up and blowing fresh sounds over a rich harmonic framework of tones.
Many of the ideas presented in this book have been printed before, but I found the harmonic language (especially Drexler’s originals) to be a vehicle of getting new sounds in my ear. Reading through the tunes (voicings are suggested and there is also a chapter on the subject as well) was like opening my ears for the first time to new possibilities. So much of what I had listened to for years suddenly became explicable!
If you have always wanted to know what to do to sound hip over a polychord like D flat triad over G triad, this book is a great place to start. Drexler describes a voicing system and scale system that, although not all inclusive, is a great launching pad into a rich harmonic palate of fresh sounds. If you already have a strong grasp of Aebersold’s scale to chord relationships than read this book to take it to the next level.
One nice touch is the inclusion and analysis of two solos: Bob Berg’s solo on “Mitvhah Waltz” and Christian Jacob’s solo on “You Don’t Know What Love Is.” Each solo is analyzed loosely using the system presented in the book along with some helpful hints and commentary. I really enjoyed Jacob’s harmonic approach to this well known standard, again launching my imagination in new directions. If there is one thing this book does best, it is to inspire the musician to reach for new choices and colors.
One thing this book is not -- It's not a complete picture of the harmonic language of jazz, nor is it meant to be. Examples of tunes with new melodies written over familiar chord changes can only convey so much information, of course, but the focus is on giving you enough of an understanding so that you can make your own practicing agenda. Hey, I’ve already written several nice melodies over my favorite standards and at the very least that will give me stronger melodic lines to draw upon on my next gig!
I think the best audience for this book consists of players who have mastered the "basics of their horn" and are ready to look to new sources of inspiration for improvisation and writing. I would have enjoyed the songs in a “play-a-long” format, but all in all this was a good read; recommended.
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