Jazz interviews
Asking about the communication between the styles provided some of the most interesting answers that shed light into the current awareness that players in these styles have about each other’s schools. The feeling amongst some jazz guitarists is that classical players and the classical school are often unwilling to really open up too much to allow for better communication between the styles.
Adam Palma is one of the most highly regarded jazz guitarists in the Manchester area. He has also performed alongside some of the most celebrated guitarists in both the classical and jazz genres. One of these occasions was a concert where he
150 shared the stage with jazz guitar virtuoso Tommy Emanuel, and classical guitar virtuoso Craig Ogden. There he played a jazz duo with Emmanuel, and then
Emmanuel played a classical-jazz duo with Ogden. During our interview he referred to the occasion, and to Ogden. “When he (Ogden) played with Tommy, he played exactly his piece, and Tommy played on top of it, which doesn’t make sense. Whether people liked it or not, I have no idea” he paused for a moment “But it’s not opening (to another style), because opening would be –“Hey Tommy, lets play Etude, or whatever, and lets improvise”--.Fine. But if I play exactly what is written and
somebody else is messing about on top of it, it is not improvisation, it has nothing to do with it” (Palma, 2015).
The classical world itself as a whole (not specifically guitar) has for decades
incorporated amplification and the electric guitar in modern works, with works such as ‘Electric Counterpoint’ by Steve Reich and ‘Scorched’ by Mark-Anthony Turnage incorporating well respected jazz guitarists Pat Metheny and John Scofield respectively. However, the two guitar styles themselves have not developed an ongoing relationship, with few projects made where the two traditions really meet halfway to collaborate. Of the few that have, one could perhaps think of the duos between John Williams (classical) and John Etheridge (jazz), and between Martin Taylor (jazz) and Carlos Bonell (classical).
During my interview with Taylor (2015), he in fact revealed that he has collaborated with different classical guitarists, adding Simon Dinnigan, Badi Asaad and Jorge Morel to the list. However, Taylor mentions “I don’t know much about the classical school of playing, although I am quite familiar with the more popular classical guitar repertoire. I have never played classical guitar”.
It seems that even if there have been some collaborations and occasions where jazz and classical guitar meet (such as Taylor’s, Emanuel’s or Etheridge’s duos with classical guitarists), most of the time, players do not seem to get to a point where they actually absorb much about the opposite style of playing beyond being involved in a performance with somebody from that school. Furthermore (whilst this is not
151 necessarily a priority) they do not seem to try to incorporate any elements from each other’s styles into what they actually do.
Jazz Guitarist Brad Edmonson (2015) says “In my experience I think there is a
definite lack of communication between the classical and jazz genres. I think classical and jazz guitarists should make more of an effort to collaborate in both composition and performance, which should in turn hopefully improve communication between the genres”.
In general, there is a feeling amongst the majority of the jazz players interviewed that there should indeed be more, and better, communication between the two styles.
Classical interviews
It is also the shared opinion amongst the majority of classical players that there is insufficient communication between the two styles. Interestingly, like jazz guitarists, classical players themselves often see a lack of openness and flexibility within the classical guitar school, making it difficult to absorb elements that come from other genres. As a side-observation, I find it very interesting that a general trend seems to have gradually developed in the last fifty or so years towards a more open-minded and curious outlook from classical guitarists towards other styles of playing (jazz in particular), and the interviews also support this view.
Some of the biggest names in the classical world over the last fifty years have made an effort to interact with other genres (however infrequently), such as Julian Bream - who famously played with jazz and world musicians, John Williams- who played in pop groups and with jazz players, Manuel Barrueco – who has done jazz and pop duets, and Leo Brouwer – who has covered pop songs and taught jazz players. Crucially, however, the schools and environments from which these players actually come for the most part do not seem actually to have facilitated these kinds of
meetings for the players, often by implication achieving the opposite to a large degree.
152 So the comparatively very small number of players who have branched out have had to find their own way and, importantly, for the majority who have actually
collaborated, these collaborations mean that they always stay in their own style of playing when they are in a duo or ensemble with other musicians, as opposed to improvising or using their ears or using other techniques outside of those used in classical performance.
Whilst answering this question, Craig Ogden (2014) said that had he been taught to use his ears more and improvise, he would be much more inclined to try to work with jazz players and other improvisers. He expanded “If I was more fluent by ear, I would be more comfortable making those connections. So I would blame me, and my education, for the barrier that still exists between me and jazz players” he adds “I think better education for classical players would help to break down those barriers”.
Question 6- Do you think it is important for classical players to understand the