tromj

I also thought of the Louis Davidson book when reading this post. I always assumed that the articulation style required by old time Jazz players as opposed to Classical players warranted different levels of freshness of chops. But after hearing so many great Jazz players who would be just as home in a Symphony Orchestra, I realized I was totally off base. Now I think I am going with Pat's theory, that for jazzers, there is an additional element of practicing changes and learning tunes, patterns, etc.
I also wonder how much we count rehearsals with practicing.
When I was in school, I would practice my lesson stuff for an hour a day, after warming up, which Doug Hedwig worked hard to make as quick and as efficient as possible. I could only practice an hour, because I would often have three hours of rehearsals (on tuesdays and thursday), and very often, a gig at night that might go five hours or more. In response to Clarence, I would just say that if you do club dates, (or casuals outside of NYC) You have to count on a minimum four hour gig. On a top 40 type date, the horns play for short bursts of intense playing, but have a lot of down time. On what are called Chasidic club dates, where you play a lot of traditional ethnic tunes and the horns carry a big melody load, you might play two 90 minute dance sets at insane volumes, and then cover ceremony procession and dinner music the rest of the gig.
On "society" gigs, like Lester Lanin or Peter Duchin, the horns also do long sets, although at not quite the same level of intensity as on the Chasidic gigs.

Ya gotta rest sometime.

Jordan

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