Let’s get something straight here; I am not even a semi-pro saxophonist. Having started up on the instrument five years ago after a 27 year hiatus, I sometimes entertain the notion that I’m pretty good. But taking lessons on and off for the last four years from three instructors, I know this isn’t true.

I’ve heard it said that many American’s feel like if they can’t be a pro at something, it isn’t worth doing. But I have say that I get very depressed when I can’t do something and don’t spend enough time woodshedding.

I love this quote from the KLRU Jazz Scene article referenced above:

"The term woodshedding in jazz means more than just practicing. It is a recognition of the need to sequester oneself and dig into the hard mechanics of the music before you can come back and play with a group in public. There’s something philosophical, almost religious, about the term. The musical treasures of jazz are not easily accessed. You have to dig deep into yourself, discipline yourself, become focused on the music and your instrument, before you can unlock the treasure chest." – Paul Klempserer

I spend anywhere from five to ten hours a week practicing with the Woodinville Jazz Ensemble, the Dissonance, Inspektor Gadget, and a one hours lesson with one of the best tenor saxophonists I know. And with all of this I’ve gotten better. My tone is a little better, my sight reading has improved a bit, and my confidence usually is better.

But I don’t spend enough time on the hard things. My son once noted that I seem to practice the things that I love to play (ballads, soft jazz, duets with Suzy) and not the hard parts. And all of my directors and instructors talk about studying smart. Practicing on the hard stuff in every session. Then there’s the need to put an instrument in your mouth at least a half hour a day, a rule I have never been able to follow through on.

I came to an understanding of my major deficiency about a year ago. I can’t count or sight read well enough. So I’m working with my instructor to improve in that space. I played first sax in high school, but never really needed to sight read that much. Maybe in two or three years of serious study I could work up to a level six player. And that is not only daunting, but depressing too.

"At the same time, woodshedding is a process of demystifying the music. The amazing solo, the intricate bebop melody, the complex rhythmic pattern, can be learned, if one is patient. It is a humbling but necessary chore, like chopping wood before you can start the fire. The term woodshedding, like the term "axe" (slang for your musical instrument), evokes images of rural, rootsy beginnings. It is a reminder, conscious or not, of the deep roots jazz has in the blues, gospel, and the merging of African and European musical traditions under slavery." – Paul Klempserer

So I am a four out of ten player, sometimes getting sub and theater gigs that require a level six or higher player. But there are those moments when everything comes together and you wow the audience. You live for those moments and that’s what keeps me going. A friend of mine, Cathy once told me, "You have great sound Jim and we love that. But we had to stop and help you with the rhythms more than we would have expected." Message received, mission accepted, and gauntlet thrown. :o)

"Any musician who wants to be part of the jazz tradition has to pay his or her dues. You still have to take your axe in hand, go to the woodshed, and chop that wood before you can light the fire.’ – Paul Klempserer