JAM: April/May 2003 Issue: Jam Session Etiquette

Jam Session Etiquette:
A User's Guide
Special to JAM by Paul McKee

In nearly any city where there is live music there can usually be found some kind of jam session. Kansas City is no exception with several fine sessions offered in various venues.

The jam session has many valuable functions. It provides a forum for musicians of all ages and levels of skill to congregate, play and exchange ideas. It is a means to introduce new musicians to the jazz community, whether they are established players who might be new in town, or younger players who are just getting started. It provides the jazz listener with an opportunity to experience a cross-section of local players, hopefully leading to increased support of live jazz in other venues. The jam session also represents a sample of local "flavor" where visiting guest artists and tourists can come to sit in and interact with local players and fans. Most importantly it creates the opportunity to experience jazz at its most basic and ideal level of spontaneity and creativity within a relaxed and casual setting.

Achieving this last goal requires from the participants a certain amount of preparation in addition to a spirit of cooperation. The host of a jam session has an important and demanding job -- to keep the session moving along smoothly while accommodating as many players as is possible. The success of the jam session is not only the responsibility of the host, however. Every participant needs to be aware of some basic guidelines. These guidelines are not intended to be rigid rules that inhibit the spontaneity and enjoyment of the session. They are, however, fundamental aspects of good musicianship, which include respect for both the music and fellow musicians.

The primary responsibility of the session participant is to come prepared. And the first and most important goal in preparing to participate in any jam session is to learn the tunes in the jazz repertoire. This is an ongoing process that continues for the lifetime of the musician and can't be started too early. Any player who calls a tune should be prepared to play it without having to consult the fakebook. This includes being able to find an appropriate tempo, count the band in, play the head accurately, solo with conviction over the form (without getting lost!), determine if there is to be any trading of fours, eights, etc. with drums or other players (or any other kind of special ensemble event), play the head out and end the tune.

It is often helpful to have a simple arrangement in mind -- how the tune should begin (rhythm vamp, last few bars of chord progression, drum intro, etc.) and end (repeat or "tag" last phrase, closing vamp, abrupt or sustained ending, etc.). Any specific desires should be communicated in simple and concise instructions to the rhythm section before starting the tune. Most rhythm sections appreciate a player asserting him/herself and will reward the confident and competent performer with an increased level of supportive accompaniment. If another player calls a tune that is too unfamiliar it is often best to sit out and listen, maybe following along in a fakebook and making a note to learn that tune for next time.

"The musical freedom inherent to the jam session is what makes it great, but this freedom comes with a certain amount of responsibility."

It is helpful to keep a tune journal -- a small, portable notebook consisting simply of a list of all the tunes known by the player. When a tune can be performed from memory (head and changes) without using a fakebook it can then be added to the list. The tunes contained in the journal can be separated into categories (such as Blues, Ballads, Latin, Medium Tempo, Up Tempo etc.). This way each player can monitor their own development and keep track of stylistic balance. For example, one might notice from their journal that they know 12 blues heads but only one ballad, indicating a need to balance out their repertoire accordingly.

One important point to remember is that the tunes listed in the journal require regular and ongoing maintenance. A tune, once added, may not be performed for a period of time, so the list should be reviewed (usually as a regular part of the practice session) and heads and changes practiced to keep them fresh in the memory. The journal also comes in handy when choosing what to play at the session. It helps to minimize time wasted standing around trying to think of a tune to play -- a problem that tends to increase as 1) one knows a greater number of tunes, and 2) advancing maturity starts to affect the memory! Come to the stage with multiple requests in mind -- it might take a few suggestions to pick something that everyone knows or wants to play. Being flexible is part of participating in a jam session.

One of the most valuable lessons to be learned by players is to respect your rhythm section and they will respect you! Enthusiastic and focused support from the rhythm section is one of the greatest joys of playing jazz. Keeping the rhythm section happy is normally not a difficult task; it most importantly requires a reasonable amount of consideration. Consider this all-too-familiar scenario: Two or three horn players are on stage and someone calls "Blue Bossa." The tune begins and suddenly every horn player in the room, realizing that they too know and like to play "Blue Bossa," decides to join in, and suddenly we have the makings of the dreaded marathon performance, every rhythm player's worst nightmare. The sight of hordes of horns rushing the stage en masse is, to the rhythm section, not unlike what General Custer must have experienced at the Little Big Horn. Unfortunately horn players too often seem not to realize that while THEY can rest when not playing, the rhythm section must play ALL THE TIME.

Rhythm section burn-out is a potential hazard at any jam session, especially when there isn't an abundance of rhythm players to rotate in and out. It's very difficult to sustain sufficient levels of interest and energy from both players and audience when a tune exceeds a reasonable length. It is for this reason that it is best to limit the number of horn players per tune to 2-4 (or whatever is recommended by the leader of the session). Even if a tune happens to be a favorite, one must sometimes resist the urge to join in. It's also considerate to occasionally let a rhythm section player solo first instead of always having to wait until the horns are through. Treat your rhythm section with love and kindness and they will take good care of you!

The history of the jam session is rich with legends of marathon battles, often continuing until one player literally drops. The jam session provides an opportunity for players to stretch out, experiment and play longer solos, something they aren't able to do as often within the confines of a big band. That being said, it is nevertheless important to exercise a reasonable amount of restraint -- perhaps by not playing long solos at every opportunity. One player playing a lengthy solo does not mean every subsequent soloist should necessarily follow suit. It is always better to quit a chorus too early than too late. Knowing how long to play is a skill that comes from a combination of experience and sensitivity to the moment. There often comes a point in a solo where a sense of imminent conclusion becomes obvious. It might be a cue from the rhythm section (such as a decline in volume or intensity) towards the end of the chorus; a natural ending of a phrase or idea (quoting the melody of the tune is often a good way to communicate that the solo is ending); or perhaps the appearance of a giant hook which proceeds to yank the player offstage. In all seriousness, it is important to know when to quit. When one plays too long there is a risk of "wearing out your welcome" and losing the support of the musicians as well as the audience.

One particularly annoying occurrence is when a player finishes a solo, moves off the stage and proceeds to "practice" or engage in a loud conversation during another player's solo. Part of the education of attending a jam session is listening to and learning from others, or at the very least not creating a distraction, which interferes with the other players' opportunity to express themselves.

The musical freedom inherent to the jam session is what makes it great, but this freedom comes with a certain amount of responsibility. By putting into practice these guidelines of good musicianship and considerate behavior, the musical experience can be enhanced for all involved.

Note: This article contains opinions humbly submitted by the author, a trombonist who has had considerable and varied experience with jam sessions both as a participant and as a leader. He always tries to treat his rhythm sections with respect and promises not to call the same tunes each time he sits in, especially "Blue Bossa."

Paul McKee recently moved to Kansas City when his wife, JoDee Davis, joined the faculty at the UMKC Conservatory as the trombone instructor. Paul has been a member of the Woody Herman Orchestra since 1984, and has also been on the jazz faculty at DePaul University, Northern Illinois University, Youngstown University and most recently the adjunct faculty at UMKC.