Many up and coming jazz musicians get so caught up in learning their instrument that they forget to play music. They spend all their time in the ‘shed’ working on the techniques and concepts of jazz and never play music with people. That’ akin to a baseball player spending all of his time practicing fielding ground balls, or sprinting around the bases, but never actually playing baseball. Playing the ‘game’ is as important to becoming a monster jazz musician as practicing the techniques. There are many skills that can only be developed while playing with a band. For instance—locking up with the groove, playing in tune, listening and reacting to the other players, recovering from form mistakes, ending tunes, blending, interacting, and comping to name but a few.
I learned this lesson the hard way. I was once that guy who practiced, practiced, practiced, then I got my butt kicked. I went to Berklee College of Music. They used a numbered rating system to place students in ensembles. I had wanted to take one of Hal Crook’s ensembles for the entire time I was there, but I didn’t have high enough ratings (his required ensemble ratings were among the highest). I auditioned every semester to raise my ratings. Finally after two years my ratings were high enough. I joined his ensemble and showed up for the first day. He called a standard (What is this thing called love-I believe) and then counted it in at breakneck speed, well above my comfort zone. I got my butt kicked.
After the class I went right back to the practice room. I practiced hard all week trying to prepare for next weeks class. When I showed up the next week there was already another drummer behind the kit. I figured out pretty quickly that I was being kicked out. (To make matters worse the other drummer was a friend of mind who felt terrible about the situation) Hal showed up a few minutes later and took me out into the hall way to talk to me. He said ‘Chris, you’re not ready for this ensemble. I could keep you in the class and kick you’re a## all semester, but that wouldn’t be good for either of us. What you need to do is play one session with other players everyday for a year, then call me and we’ll talk. Play duos, trios. Play with other drummers. Get any playing experience you can. You don’t need to be a better instrumentalist; you need to be a better musician.’
Needless to say that was a rather crushing blow to my ego. Here I thought I had finally arrived; I mean I was in Hal Crook’s ensemble. Then I got booted. After a few days of feeling sorry for self and walking around with my tail between my legs, I got over it, and I got to work. I scheduled every session I possibly could. I would literally book 15-20 sessions per week. Honestly about half of those would inevitably end up being cancelled but I still ended up with at least one session per day and a couple of days with more than one.
I met several musicians with whom I became great friends with and developed long and fruitful musical relationships. I played lots of duo sessions, with saxophonists, guitarists, bass players, piano players and even other drummers. I developed regular practice bands with weekly rehearsals.
I began to learn how to play music, instead of just my instrument. I learned how to follow, how to lead. I learned about group dynamics, and the bass/drum hook up. I learned tunes, practiced following endings, and had a lot of fun doing it.
The result? A year later I called Hal and we played a session-just me, a bass player and him. I nailed it. He shook my hand and told me he’d call me next semester for an ensemble spot. I took two ensembles with him and then went on to study privately with him.
So go out and play with people. Chances are you already have several musician friends. Become the ‘organizer’ and start setting up practice sessions. If you don’t have many musical friends then start looking for them. It’s really easy to meet people. Go to local jam sessions. Be sure to show up early and watch the house band. Introduce yourself on the break and sign up to sit in. Hang out and talk to the other attendees. Be present on the scene by attending the sessions week after week. Then simply ask people if they’d like to play a session.
If you’re in music school then that’s a no brainer. There should be tons of people to play with. Or you could use Craig’s List. Gradually you can become more picky about who you play with but at first just start playing. As you meet better and better players you can invite them to your sessions.
You can’t learn jazz in the practice room alone. While practicing is important it must be combined with playing with other musicians (And listening, and playing gigs, but more on that later.). When you’re putting together your practice plan and routine, schedule in time for sessions. Sessions should be thought of as part of your learning strategy. It’s a bit of a balancing act but it’s one that worth striking. Try playing regular sessions you’ll see what I mean.

Chris Punis is an active jazz musician in the northeast. He is founding member of the critically acclaimed group Gypsy Schaeffer and a member of renowned saxophonist Charlie Kohlhase’s group The Explorer’s Club. Chris is also an accomplished jazz educator and author of “The Monster Jazz Formula”. For more information about his teaching methods and to receive your free lessons, “21 Great Ways To Become a Monster Jazz Musician”, visit www.learnjazzfaster.com