[jazz_guitar] Wayne Krantz An Improviser's OS

[shiny_beast2000]

Has anyone got Wayne Krantz' book An Improvisers OS? any thoughts on
it? Mick goodrick seems to think its fantastic..

jim




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[Kevin Sterchi]

Jim

I don't see this book on Amazon.com. Where is it sold?

Thanks

Kevin Sterchi

On Aug 6, 2005, at 6:50 AM, shiny_beast2000 wrote:

> Has anyone got Wayne Krantz' book An Improvisers OS? any thoughts on
> it? Mick goodrick seems to think its fantastic..
>
> jim





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[shiny_beast2000]

direct from his site http://www.waynekrantz.com/

--- In jazz_...@yahoogroups.com, Kevin Sterchi <KSterchi@r...> wrote:
> Jim
>
> I don't see this book on Amazon.com. Where is it sold?
>
> Thanks
>
> Kevin Sterchi
> On Aug 6, 2005, at 6:50 AM, shiny_beast2000 wrote:
>
> > Has anyone got Wayne Krantz' book An Improvisers OS? any thoughts on
> > it? Mick goodrick seems to think its fantastic..
> >
> > jim




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[Petri Krzywacki]

--- In jazz_...@yahoogroups.com, "shiny_beast2000"

<pickett_jim@h...> wrote:
> Has anyone got Wayne Krantz' book An Improvisers OS? any thoughts on
> it? Mick goodrick seems to think its fantastic..

I have it and while it does represent Krantz's approach to the
instrument and improvisation (something anyone having attended a
clinic by him in the last 10 years will know), it leaves things very
open for individual exploration.

Basically, he lists all different combinations of notes within an
octave while persisting on his "fretboard area" playing approach
(improvising within a given toneset while only using notes that are
found on three adjacent frets). Then there's a lot of philosophy
regarding practicing etc, presented in an "interview" format that
allows him to state and restate his point. I can see why Goodrick
would like the book; it's pretty much in the same vein as his own
publications.

I believe that every player represents his own approach to the music
through his writings as well. Even when a book is left open-ended
like this one, it does make statements about how to use the ideas and
how they relate to the music that the author hears inside him. So,
even though OS can be used for practicing tonal playing and for
gaining a better control for playing over changes, it has been
written by a player who at this point seeks freedom from the changes
altogether and whose music is mainly driven by the rhythmic aspect -
something that the book (sadly) doesn't mention even once.

I can see the value in this "open canvas" approach to teaching
improvisation, but sometimes it seems like a book like this is then
redundant -it's like you bought a book to study writing, only to find
that the author listed all the possible combinations of letters. Idea
bank, sure, but you could have done something like that by yourself.
I think that the experience of a great player comes as an assett when
he/she makes some choices for a student instead of leaving them alone
with all the decisions to be made. That way, they can help so you
don't have to do a whole lot of extra work and you build a foundation
on which to expand a lot faster.

The book is directed for players who are serious about their playing
and have a wish to develop their own style. Listening to Krantz, you
can hear an individual who has developed just that -if that is one's
wish, take his word for it; if this individualistic approach doesn't
suit someone, seek other paths.

Just some ideas.. sorry for venting a bit ;)

Peace,
Pete
www.petrikrzywacki.com

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[shiny_beast2000]

cheers, i guessed it would probably leave a lot to the reader, like
The Advancing Guitarist.

I saw Krantz play a couple of years ago and was very impressed with
his technique and was interested in his apprach, the group was
incredible - though i can't say im all that keen on his music!

jim






--- In jazz_...@yahoogroups.com, "Petri Krzywacki"

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[Ron Murray]

Do you feel that way about Goodrick's books? I think you may make very
valid points, but the one lesson I took with him, followed up by the
book, focused both my playing and my teaching. The "unitar" concept, as
well the the "realm of the electric ice-skating rink" opened up the
guitar and improvisation to me, allowing me the very fine experience of
still surprising myself and my bandmates with new ways of using the
guitar in group conditions, after playing professionally for over 40
years. I read the book whenever I'm flying to and out-of-towner. It's
always like waking up. And the music he plays with Jack DeJohnnette is
extraordinarily advanced, and he just sails on through it, playing all
the whacky shit that's in the book, and making it perfect. Jack and
Mick are two very important jazz musicians. I bow to the East in
considering their gifts, passed on to us.

Ron

[Non-text portions of this message have been removed]

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[Petri Krzywacki]

--- In jazz_...@yahoogroups.com, Ron Murray <rmurray@s...> wrote:
> Do you feel that way about Goodrick's books? I think you may make
very
> valid points, but the one lesson I took with him, followed up by
the
> book, focused both my playing and my teaching. The "unitar"
concept, as
> well the the "realm of the electric ice-skating rink" opened up the
> guitar and improvisation to me, allowing me the very fine
experience of
> still surprising myself and my bandmates with new ways of using the
> guitar in group conditions, after playing professionally for over
40
> years. I read the book whenever I'm flying to and out-of-towner.
It's
> always like waking up. And the music he plays with Jack DeJohnnette
is
> extraordinarily advanced, and he just sails on through it, playing
all
> the whacky shit that's in the book, and making it perfect. Jack and
> Mick are two very important jazz musicians. I bow to the East in
> considering their gifts, passed on to us.

Hey Ron,

actually I never felt like that about Goodrick. For me, he is one of
the real greats and Advancing Guitarist is a constant source of
inspiration. The reason that I feel differently about him is probably
due to his attitude as I've come to understand it; he doesn't exclude
anything in forming his own style of music. The feeling I get from
his writings (never having had the priviledge of meeting him) is that
his is an all-embracing, open approach to getting inside the music.

With Krantz, there's just too much rejection for me. He doesn't want
to play standards or even chord changes. He never plays a shuffle (at
least I haven't heard much rhythmic context of that sort by him in
ten years) and he insists on rejecting the past in order to come up
with something that hasn't been heard before. I just saw him this
spring with Chris Potter's group and the contrast between him and
Potter, who through his playing is truly a walking encyclopedia of
the music's history, was striking. I suppose that it is fairly
apparent which approach I lean towards. ;)

Having said all that, I have a tremendous amount of respect for
Krantz as a player. He was a huge influence on my playing at one
point and his time feel is still always at the back of my head when
playing a funk groove, for instance. The fact that his approach is
not exactly my cup of tea is a separate issue altogether.

All the best,
Pete
www.petrikrzywacki.com

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