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| 4.500 Ft
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| 1. | Killer Joe
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| 2. | Anthropology
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| 3. | Blue Monk
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| 4. | Sister Sadie
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| 5. | In A Sentimental Mood
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| 6. | All Blues
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| 7. | Doxy
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| 8. | Up Against The Wall
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| 9. | Birk's Works
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| 10. | Sticky Wicket
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Jazz
Recorded at Acoustic Sound Studios, New York, 4–6 January 2004
DANIEL SMITH bassoon
MARTIN BEJERANO piano
JOHN SULLIVAN bass
LUDWIG AFONSO drums
THE BASSOON AND JAZZ
Jazz on the bassoon? How does one attempt to play jazz, to improvise, on the bassoon? While this CD is not the first recording to showcase the bassoon in a jazz setting, it nevertheless remains a most daunting challenge for anyone to do in a convincing manner. The bassoon is a very difficult instrument, perhaps the hardest of all in the woodwind family. Even if one masters the skills involved in playing the bassoon on a professional level, very few of these skills will be of much help when first learning how to improvise. A jazz phrase, whether written out or improvised is much more difficult to execute on a bassoon than for instance on a saxophone.And then there is the issue of a style, just who do you copy? Saxophone players can study and learn from such greats as Charlie Parker, Stan Getz and John Coltrane and trumpet players from masters such as Dizzy Gillespie, Miles Davis and Louis Armstrong. But who does an aspiring jazz bassoonist copy or learn from? And then where and how would you learn to do this..... and then get the chance to try out your attempts at perfecting such a very unusual and difficult skill? I believe that the main reason for jazz on the bassoon being such a rarity lies in the very nature of the instrument. Not only is it difficult to master, as most woodwind players would readily acknowledge, but in addition one would have to shed all preconceived notions as to how to successfully play jazz on the instrument. Assuming someone is already an accomplished player, in essence they would have to wear two 'hats', that is to keep a legitimate or conservatory trained concept in place when performing in an orchestra or ensemble, and then switching over to another way of thinking and playing when entering the world of jazz. |
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