Why not? Jazz is its own beast, though, and I suppose it would be silly to use such a dated form of nomenclature from another genre of music. One guy I know — a big influence on me and much revered jazz musician a bit older than myself — told me that he thinks of titles independently of writing tunes and writes them down wherever he is, so he always has a list to choose from whenever he has a tune finished. When he told me that, I thought it was funny and almost unintentionally cruel, because a person who is deeply connected with one of his tunes might have a whole story to go with a title that he thought of while sitting on the subway.
This approach reminds me of something else a friend of mine revealed to me that surprised me and left me disillusioned for a moment. Again, it seemed cruel to me — my favorite music that seems to match up so perfectly in a love scene might have originally been intended for a movie about whales. I still enjoyed it. Perhaps that points to a broader, much covered topic about the abstract nature of music, and how assigning meaning to music with language is fraught with arbitrariness because that meaning is so subjective.
I am in love with a fair amount of Brazilian pop music without knowing what they are saying a lot of the time. Well, maybe the best political songs are also great love songs. For at least six months I had a whole story in my head about that. When we went on car trips on the interstate freeway, I would play the song in my head, look into the fast lane, and picture myself there on my Schwinn star-spangled bike with the banana seat, whizzing past all the cars.
I feel that what they bring to the music in the performance here is inseparable from the tunes themselves. It was music I wrote to play with them specifically. Most of the time I have a rough idea of a direction one of my tunes will take, and some of that may be on the page. Often, though, I am not very sure about how the tune should unfold as far as playing it together. How concrete or abstract should the harmonic movement be stated throughout the improvisation?
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Is it a tune that will stay close to the feeling of the opening thematic statement, will it traverse all over the place as we improvise together, or is it something in between? What amount of activity do we want from the bass: constant movement that propels the whole band forward; very little movement, thinking and playing more sporadically; or some mixture of both at different times? What about register on the bass: Where will a melody I wrote for him speak the best in the context of everything? Kelvin Grove.
Podolian Air. Fra Tante Angoscie. Au Clair De la Lune. Dutch Air.
Portuguese Hymn. Air by Gelinek. Pyrenese Melody. Polish Air. Scotch Air. Pleyel's Hymn. Auld Lang Syne. Vive Henri Quatre. Air from the Ballet of Nina. Post Horn Waltz. Old German Air. Swedish Air. Rule Britannia. An Alexis.
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Je Suis Lindor. March by Gallenberg. Rousseau's Dream. Chanson Des Marseillois. Old Saxon Air. Sul Margine D'un Rio. Venetian Air.
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