Shaun Sarvey Jazz 520 04/28/04 Semester Project : Influence of the Jazz Idiom in the Playing Style of SidemanGuitarist

Drew Zingg Jazz was the popular music in America for much of the first half of the twentieth century. Jazz was then supplanted by what began as another blues-based youth dance craze, Rock and Roll. With the advent of Rock and Roll came various technological advancements, which included the perfection of the electric guitar. In the instrument of the electric guitar, both jazz and rock (as well as other styles), developed a unique relationship and continue to influence one another in numerous ways. One result of this relationship between jazz and rock (as well as other styles) is evident in a tradition of numerous electric guitarist innovators. These innovators develop unique voices and have come to the music in a variety of different ways. Some guitarists (or even other musicians) develop directly out of the jazz tradition and fuse their sound with other styles as part of the development of their own unique individual voice. Other guitarists seem to have embarked on their musical journey of self-discovery by first developing a strong voice in the style of rock, blues, soul, and rhythm and blues. These players seem to continue their development largely in two different ways; either by delving deeply into the jazz tradition before severing, in some ways, their former relationship to popular music genres, or through assimilating jazz elements into their own playing as a part of developing into flexible, expressive improvisers.

2 The relevance of the electric guitar's relationship with jazz is evident and continuous. This relationship is best exemplified with John McLaughlin's work with Miles Davis, Buzz Feiten's work with Joe Farrell, Robben Ford, Larry Carlton, Pat Metheny, Steve Khan, Mike Stern and John Scofield, to name just a few. However, the relationship between the jazz idiom and the electric guitar is very complex, and for some, hard to understand. This is due in part to western culture's incessant need to precisely categorize. Regardless of how one might categorize particular guitarists, the guitar has produced some of the most unique musical voices in the twentieth century. While blurring and transcending traditional stylistic lines of demarcation, these innovators have proven very influential and each has made unique contributions to both jazz and popular music. At present, many of these "hybrid" stylized guitarists have produced some notable efforts as leaders. However, many have also utilized the combination of jazz and popular elements in their careers to transcend stylistic parameters as sidemen and studio session players. One sideman of considerable note is guitarist and New York City native, Drew Zingg. Zingg has received a considerable amount of attention, primarily due to his work with The New York Rock and Soul Revue and Steely Dan. His involvement in these two projects appears to have been a major stepping stone for Zingg, and has provided numerous new opportunities including tours with bassist, Marcus Miller, tours and television appearances with pop vocalist, Boz Scaggs, appearances with David Sanborn, studio work with pop singer, Michael McDonald, and studio work for singer songwriters, Lucy Kaplansky and Alana Davis. In addition, Zingg performs and records frequently

3 with numerous NYC locals and recently has been the guitarist for the Broadway production of "Smokey Joe's Cafe." Drew Zingg is today's quintessential sideman. His playing may seem, to the average listener, founded in blues, rock and R&B elements. However, Zingg further engenders his own versatility (making him one of today's most demanded New York sidemen) by seamlessly blending the path of popular music's mainstream guitar traditions with elements from the jazz idiom. Drew Zingg's playing exhibits an advanced approach to harmony and a strong working knowledge of the jazz vocabulary. Zingg's use of bebop and contemporary jazz elements make for exciting guitar playing in a popular music format, and are evident in several transcribed solo examples from a live recording of undetermined origin with Steely Dan from St. Louis, Missouri, September 4, 1993. It is this author's intent to provide insight on the influence that jazz has on Zingg's playing. This influence is evidenced by this author's descriptive analysis of excerpts from the aforementioned transcribed solo examples (utilizing some of the contemporary standard in analytical terminology established by jazz educator, Jerry Coker) for jazz devices, characteristics, and vocabulary.

Peg, solo I example

This solo is a single chorus in length over the [A] section of "Peg," which is structurally organized on the twelve bar blues form in the key of G major. Evident in this solo, the following excerpt (fig. 1.1) (as well as in most of Zingg's playing), are some elements of phrasing and articulation typical to the jazz idiom. Some of these elements

4 include the beginning and ending of phrases on the upbeat, accentuation of the upbeat with an avoidance of the accentuation of the downbeat through the slurring of the preceding (upbeat) note into the downbeat, use of chromaticism to metrically align chord tones on the downbeats, employment of be-bop style turns, and the use of an active sixteenth-note melodic line. Here the influence of jazz in Zingg's style is obvious in his use of jazz vocabulary and note choices in a phrase-segment beginning in ms. 4 and ending in ms. 7 (fig. 1.1). This phrase begins, on an upbeat of one, with an ascending root position G triad (tonic). What follows is an elaboration, by use of color tones, of a G seventh chord sound. This begins (beat two) with a flat fifth, ascending to a sharp fifth, seventh, flat ninth that resolves downward to tonic (beat three). The descent of the line continues downward through the fifth, flat fifth, and then the third of the chord. The line continues with a fragment, which has the fifth of the G chord as its goal on the first downbeat of the next measure. This fragment begins on the thirteenth, descends to the flat fifth, then makes use of surrounding tones both a chromatic step above and then below to enclose the fifth of the chord (beat one, ms 5). At this point the line moves chromatically from D down to C, where it is embellished with a be-bop turn, then continues to chromatically descend beginning (on beat two) with B natural until reaching G (beat three). On G, the direction of the line changes (ascending) with a 1 - 2 - 3 - 5 (G,A,B,D) digital pattern. The final note of the ascending digital pattern (D) descends by a semi-tone into D flat (beat four). D flat is the first note of a descending arpeggiation of an E flat half-diminished chord (b7, b5, b3,1)

5 which serves as chromatic passing harmony between the previous G digital pattern and a D minor seventh sound on beat one in the following measure. In the final two measures of the phrase, the harmonic content of the line changes. The sound that Zingg uses to reflect this change is that of D minor in what may be interpreted as a D melodic minor scale choice. This choice provides a very audible focus on the color tone of the ninth in contrast to the underlying harmony of "Peg" that correspondingly changes to C major. This segment begins (ms. 6) with a descending arpeggiation of a D minor seventh chord, is followed by a change of direction (beat two) that first begins with a diatonic approach above (E) and a chromatic approach below (C#) to D, then proceeds upward through the scale. This phrase's final measure begins with a very common be-bop figure that begins (beat one, ms. 7) with a descending triplet (F,E,D) that is slurred into a chromatic approach tone below (C#), leaps to a diatonic approach tone above (E), and then descends to D (beat two). From D (beat two), the line leaps downward to G and ascends through the scale back to D ending this phrase on an upbeat of beat three.

fig.1.1 Another point of interest contained within this solo chorus is a phrase segment that immediately follows the one previously reviewed. This segment, (fig. 1.2) (ms. 8-9),

6 is comprised of a descending chromatic chain of fourths that alternate between ascending and descending leaps (begins and ends on G after traveling the range of an octave).

fig. 1.2

Peg, solo II example The second solo on "Peg" is on the changes from the bridge section of the tune, consists of a repeated eight-measure section, serves functionally in this case as an "outro," and is a total of twenty-four measures in length. The character of the bridge differs in ways from the [A] section since it has a fast harmonic rhythm (one chord for every two beats), and seems somewhat ambiguous and open harmonically, but like the [A] section is still tonally most suggestive of the tonic key (G). This solo in terms of overall character, phrasing, and articulation, as mentioned earlier and like many of Drew Zingg's solos, is very reminiscent of be-bop. However, in these choruses there are two areas that exhibit patterns of wide intervallic playing and are very contemporary stylistically. The first segment (fig. 2.1) (ms. 9-10) is diatonic and contains wide intervallic play predominately between the intervals of a fourth and fifth. This idea begins with pentatonic material comprised of the pitches A,C,D,E,G (ms. 9, beat one and two) (could be construed as A minor Pentatonic, C major pentatonic or other variants) and, starting with the "and" of beat three, reverts back to diatonic material with the inclusion of F# and B natural. In the Following measure (ms. 10) a distinct pattern emerges which lasts

7 through the first three beat groupings. This pattern is comprised of an alternation of a descending fifth followed by a descending second and then an ascending fifth followed by a descending second. This is repeated with a slight alteration when the intervals following the descending fifths are enlarged from a second to that of a minor third.

fig. 2.1 The second example, (fig. 2.2, ms. 17) of wide intervallic playing contained within these choruses on "Peg," is also diatonic. This single measure example begins first (beat one) with a descending minor sixth and is followed by two descending perfect fifths. This is followed by a different fragment, which begins with an appogiatura (between the last note of beat group one and beat two) when the line leaps an eleventh (beat two) and is followed by a descending second. Beat group two is finished with a descending fifth and an ascending minor third. Next there is an ascending leap of a major seventh (between the last note of beat group two and beat three). Beat group three nearly has an identical intervallic relationship to that of beat group one. However, since the pitch content in ms. 17 is entirely diatonic, beat group three only differs from group one because it begins with a descending major sixth. Between beat group three and beat group four is a leap of an ascending tenth. Beat group four then proceeds by a descending major sixth and then the arpeggiation of a D major triad (dominant).

fig. 2.2

8 Bodhisattva, solo example

Bodhisattva is similar to a "Bird blues." It is sixteen measures in length. The first eight measures are that of a blues and there are different changes for the last eight measures of the form. However, the solo sections are different since a two measure extension is added to the end of the form and, in terms of harmony, every other chorus utilizes the "confirmation sequence" to reach the IV chord in the fifth measure of the form. In this example, Drew Zingg plays a total of three choruses. In this solo, the first full phrase on the form (fig. 3.1, ms 3-8) begins and ends on an upbeat, contains some be-bop oriented material used frequently by Zingg, and is very similar to what is found in fig. 1.1, ms. 6-7 of "Peg." This phrase begins in the third measure of the form on the upbeat of one and makes use of G melodic minor scale material against a G seventh chord. On beat three and four the line begins to descend in motion. In the following measure there is a change of direction that is established by a diatonic approach above on beat one (A) and a chromatic approach below (F#) that resolves upward to G on beat two. At this point (beat two) the line proceeds upward through the scale reaching F sharp on the "and" of beat four. The line leaps a minor third to A on beat one of the next measure. The underlying harmony in measure five changes to C7. However, the use of G melodic minor as the material for the line continues as well and produces the color tones of 13, 9, #4 and b7 against C7. Measure five commences with the same figure (an octave higher) that began the preceding measure, a diatonic approach above on beat one (A) and a chromatic approach below (F#) that resolves upward to G on beat two. Beat two encompasses a be-bop turn that proceeds downward

9 to F sharp (beat three) and continues to descend an F# augmented chord sound through the fourth beat group. Measure six is almost identical to measure four (diatonic approach above {A} chromatic approach below {F#} resolving upward to G). In this case the only exception is that the ascending eighth note momentum stops briefly at beat four with a quarter note on the pitch D. In the next measure (7) the underlying harmony returns to G7. Also, the sound of line changes and might be interpreted as D melodic minor or G lydian dominant material (once again yielding the color tones of 13, 9, #4 and b7). In ms. 7, the line continues with a very common be-bop figure and, if this solo were sixteenth note based, is identical to that of ms. 7 of "Peg" solo I. This figure begins (beat one, ms 7) with a descending triplet (F,E,D) that is slurred into a chromatic approach tone below (C#), leaps to a diatonic approach tone above (E), and then descends to D (beat three). What follows is a leap of a descending fifth to G on the "and" of beat three. Beat group four begins a chromatic ascent (A, A#) toward the downbeat of measure eight and the pitch B. From this point (ms. 8, beat one) the phrase is finished with an upward

arpeggiation of a G major triad (B,D,G) and a common guitar-oriented figure that restates the previous pitch (G) with a slide upward from one whole step below (F).

fig. 3.1

10 The next segment (fig 3.2, ms. 9-11) immediately following the previously discussed phrase, is on the beginning of the second eight measure (actually ten in the case of the solos) section of the form, and the under lying harmony appears to function as a minor ii-V-i progression. However, in this case what would usually be a minor or halfdiminished ii chord is replaced by an E flat major seventh chord. This segment begins on the upbeat of four in ms. 8 with the pitch D and resolves upward to Eb on beat one in the next measure (9). Commencing on beat one, there is an upward arppegiation of an Eb major seven-nine chord encompassing both beat groups one and two, reaching the ninth on beat three. From the ninth (beat three), the line descends chromatically to Eb (beat four), on the "and" of four leaps downward to C, which moves upward a semi-tone chromatically approaching the third of the next chord (C#) on the downbeat of ms. 10. On the A7 chord the line proceeds upward 3 to b9 (C#,E,G,Bb) resolving downward a semi-tone to A, is followed by a be-bop turn, then continues through the scale downward into the downbeat of the next measure, and reaching the pitch D on the downbeat of the next measure.

fig. 3.2 The next example (fig. 3.3, ms. 19-23) coincides with the beginning of the second chorus of Bodhisattva and exemplifies the utilization of the "confirmation sequence" in the underlying harmony to reach the IV chord in the fifth measure (in the second chorus, ms. 23) of the form. Drew Zingg, keeping in faith with the tradition and

11 the origin of this harmonic sequence, constructs a be-bop style line that honors the harmony with an audible and very transparent navigation of the chord changes. The first measure (19) of this phrase begins with an ascending and descending arpeggiation of the G major chord. This is followed by a four note upward arpeggiation of a F# minor seventh chord (F#,A,C#,E) that encompasses beat groups one and two (ms. 20). Next, the pitch E moves downward one semi-tone to D# (the third of the next chord {B7}) on beat three, then proceeds upward through B7 with a 3 to b9 (D#,F#,A,C) fragment, and resolves downward to B on the downbeat of the next measure (21) into the E minor seven chord change. In beat groups one and two of measure 21 the line descends an E minor triad (B,G,E) and then leaps upward to Bb on the "and" of beat two. The previously mentioned Bb ("and" of beat two) serves as a chromatic passing tone that moves downward to the pitch A on beat three. Beginning on beat three is a descending D minor triad (A,F,D) into beat four, which is an anticipation of the change on the downbeat of the following measure. The direction changes on the "and" of beat four and here the pitch E serves as a stepwise connection to the beginning of measure 22. Measure 22 begins with a triplet figure (beat one), is part of an upward arpeggiation of a portion of the upper structure of the D minor chord (F,A,C,E). This begins on the third of the chord (F), reaches the ninth (E) on beat two and is followed by the flat ninth (Eb). Next, the line continues to push forward conjoining another be-bop fragment to the phrase to carry into this sequence's destination of C7 in ms. 23. This fragment, beginning on the upbeat of three in ms. 22, proceeds downward through the pitches C,B,Bb,Ab, reaches G then F on the downbeat of ms. 23, leaps downward a minor third to D (beat two), and proceeds chromatically upward (D,D#,) to E on beat three.

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fig. 3.3 Reelin' In the Years, solo example

Drew Zingg's solo on "Reelin' In the Years" serves as part of an "outro" segment for the tune, is predominately sixteenth note based, and is on the chord changes from the chorus, which is essentially a modal vamp of alternating two measure segments between G major and F# minor sonorities. This solo example is very scalar in nature. Zingg makes almost exclusive use of F# natural minor (or minor pentatonic) and G lydian scale types. These scale types are a logical choice to bridge these two sonorities since they share many tones in common. Within this solo example is a phrase (fig. 4.1, ms. 17-24) that is contemporary in nature and contains some areas of key interest. The underlying harmony of ms. 17 is G. This sound (G) is related through an intervallic pattern constructed from G lydian scale material and continues into the next measure (18) with a more scalar, stepwise melodic curve. This phrase begins on the upbeat of one with an ascending leap of a perfect fourth (B to E), is followed by a descending diatonic step into beat two (D). Beat two proceeds with a descending leap of a perfect fourth (D to A), followed by a diatonic step downward (G), and an ascending leap of a tri-tone (G to C#), which is followed by a diatonic step downward into beat three (B). Beat three proceeds with a

13 descending leap of a perfect fourth (B to F#), followed by a diatonic step downward (E), and an ascending leap of a perfect fourth (E to A), which is followed by a descending leap of a major third into beat four (A to F). Beat four is constructed of a descending major third and then a diatonic step downward. In the next measure, the melodic curve of the G lydian material becomes scalar in character and the line makes its way to G# on the "and" of beat four. This G# is tied across the bar line into the downbeat of ms. 19 where it becomes the ninth of the F# minor chord. What follows, beginning on beat two (ms. 18), is a pattern-like figure that is common to fusion guitar players and contemporary improvisers and is comprised of F# minor pentatonic material. Beat group one begins with a slurred (pull off) descending third from E to C#, returns to E, reiterates the pitch E once again, and descends again to C# on beat two. From this point beat group proceeds downward by a leap of a perfect fourth (C# to G#), down by step (G# to F#), leaps upward by a perfect fourth (F# to B), and the line slurs a minor third downward (B to G#) into beat four. From this point (beat four) the line descends a major third (G# to E), a minor third (E to C#), and then leaps upward a perfect fourth (C# to F#). In the phrase's final measure (ms. 19) the line follows a more stepwise and scalar melodic curve that finishes on an upbeat of four.

fig. 4.1

14 Black Friday, solo example

The solo choruses on "Black Friday" are constructed over what is essentially an E vamp with a blues-like rock shuffle time feel. Throughout this solo Zingg is able to break up some of the monotony of the extended vamp. This is achieved by employing chromaticism, the color tones available in the fully extended sonority of E, and by playing outside the underlying harmony. In "Black Friday" there is an example (fig. 5.1, ms. 12-15) that is easily identifiable as "outside" playing in which the sound of Bb7 is superimposed against the tonic. Commencing with beat group four in ms. 12 the Bb7 arpeggio is outlined with a descending common overlapping four-note pattern that proceeds through beat group two in the following measure (13) ((D,Bb,Ab,F/Bb,Ab,F,D/Ab,F,D,Db). The pattern is broken on beat three (ms. 13) with the pitch Db and the line shifts into a short blues oriented fragment for beat group three and four of ms. 13. In measure fourteen, Zingg easily slides back into E major. This is achieved in beat group one, which begins with a descending third (Db to Bb), then moves up semi-tone to B natural, leaps upward a minor third to D natural. The following material in measure 14 and 15 ( beginning on beat group two) finishes the phrase, is largely E major, scalar in nature, and contains a little chromaticism.

fig. 5.1 Green Flower Street, solo example

15

The key of "Green Flower" street is A minor. The solo section is over a sixteen bar section in C major that serves as a shout chorus for the tune, moves to F major in measures 14-15, and in the final two measures finishes with rhythmic kicks on a melodic fragment from the end of the bridge section. The first complete, independent phrase of the solo (fig. 6.1, ms. 4-7) utilizes a lydian-dominant sound over C producing the color tones of #4,b7, and 13. This phrase begins in ms. 4 with a motivic fragment that encompasses beat groups one and two, and is then reiterated on beat groups three and four to fill out the measure. The next measure (5) begins with a melodic fragment very similar to the motive established in ms. four. On beat four the line picks up momentum beginning a steady sixteenth note scalar passage that ends on beat four of the following measure (6) with a quarter note and the pitch C. The phrase is then completed with a punctuating comment comprised of a very brief falling minor third (Bb to G) on beat one of ms. 7.

fig. 6.1 The next example is a small antecedent phrase segment (fig. 6.2, ms.9-11) in which Zingg emphasizes the return to C7 from the preceding two measures of G7. This is exemplified in his employment of a very common device known as a line clich, or to some, as a CESH (contrapuntal elaboration of static harmony). This fragment commences with a slight anticipation of the change, which begins with a sliding approach note Eb on

16 beat four into E natural on the upbeat and this is followed with two attacks on G by short but even eight notes (beat one, ms. 10). What follows is a CESH from the root (C) down to the minor seventh (Bb). This starts with two sixteenth notes, C and G, on the upbeat of three and is followed with B natural on beat four, which is tied across the bar line into beat one. Then, on the upbeat of two the two sixteenth notes, C and G, are repeated again and, this time, are followed by Bb on beat three. This phrase segment is finished with an eight-note triplet containing the pitches C, Bb, and G. This phrase is followed by an answering segment (ms. 12-13) over the F sonority. Here the line makes its way to the statement of melodic material with the whole ensemble (ms. 13-16) bringing this solo to an end.

fig. 6.2 Conclusion and suggestions for further research

In addition to the examples which were isolated in this study for analysis, there are many more examples of jazz elements in Drew Zingg's guitar playing contained within these transcribed solo examples. The examples chosen are, in the author's opinion, the most relevant and evidence that part of Drew Zingg's development as a player has included an engaged study of the jazz idiom. Overall, these solo examples demonstrate in Zingg's playing the following: use of jazz vocabulary, be-bop inflected articulation, jazz phrasing, a strong working knowledge in the application of the melodic minor scale and its related modes, chromaticism to align chord tones on strong beats (be-bop attribute),

17 the use of chromaticism as approach notes and surrounding tones, use of sequential motivic and pattern like playing, and the employment of wide intervals (including fourths and fifths with pentatonic material). In addition to, as well as contained within the aforementioned attributes, the following jazz devices are also evident; CESH, 3 to b9, harmonic superimposition, digital patterns, and arpeggiation (or change running). All of these characteristics are exciting to hear in a pop music format and contribute to Drew Zingg's strong, versatile and commanding voice as a player and sideman. These solos of Drew Zingg with Steely Dan from St. Louis, Missouri, September 4, 1993, in comparison to some of Zingg's other recorded output, were chosen for their great frequency of jazz elements. Some of these jazz elements do appear in the rest of Zingg's playing, but within the recordings and performances sampled by this author, not as frequently. The other recordings, if acquirable, may warrant some investigation. Discussion of pitch content and stylistic inflection really is not enough to adequately describe a player's personal sound and ability, however. This mode of analysis should be viewed as only the beginning of a continuing study in an attempt to gain insight and understanding into a player's approach to music. One of the most important elements in music, and in investigating a player's personal identity, are rhythmic, which have been given some attention in these solo examples, and timbral. Often, these two elements coincide with one affecting the other. Zingg's attack and articulation are both rhythmic elements that could be afforded further given attention through more research, and both elements affect his overall sound. Zingg's picking technique would obviously have to be witnessed first-hand, since, to this

18 author's knowledge, there is little or no existent video footage of Zingg available to the public. Although most believe that tone production comes almost entirely from the hands (and it would seem likely that this is scientifically provable), an investigation into Zingg's choice in equipment for sound production may uncover some ideas behind what makes up his sound. Zingg's equipment seems to vary frequently. To the best of this author's knowledge, on the Steely Dan 1993 tour, Zingg played an ESP stratocaster-like body style guitar with a humbucker in the bridge position, probably fitted with an active preamplifier. His amplification was a pair of Matchless amplifiers and cabinets, and it is with this company that he is still listed as an endorsee. He is also listed as an endorsee of the Fulltone line of hand-built analog effects, including the Fulltone Fulldrive II. Ultimately, in order to gain any further insight into these and many other aspects surrounding Zingg's playing, one would need to contact Drew Zingg himself and pursue some form of information exchange or in order to solicit an interview. This author made an attempt to contact Zingg, but was unsuccessful. It is hopeful that this research may continue, and that more information should be discovered as resources and opportunities become available.

19 Discography

Anel, Lili. Hi-Octane Coffee. OJB records Bock and Blu. I Hide My Face Like This... Hybrid Records.1996. Davis, Alana. Blame It on Me. Elektra/Asylum. 1997. Greenstein, Robin. Slow Burn. Windy Records. 1995. Holzman, Adam. Overdrive. Lipstick Records CD: LIP 89 25-2, 1994, Compact disc. Jackson, Sherri. Catalyst. 2000. Kaplansky, Lucy. Tide. Red House. 1994. Kaplansky, Lucy. Flesh and Bone. Red House. 1996. McDonald, Michael. The Voice of Michael McDonald. WEA International. 2001. Miller, Marcus. Live and More. GRP Records. 1998. The New York Rock and Soul Revue. Live at the Beacon Theater. Giant Records 9 24423-2, 1991, Compact disc. Rangell, Nelson. Nelson Rangell. 1990. Smokey Joe's Cafe. Songs of Leiber and Stoller. Atlantic. 1995. Steely Dan. Alive in America. Giant Records 9 24634-2, 1995, Compact disc. Strecker, William Hart. Keep On Lovin'. WHS Music. 2001. Various Artists. House On Fire. Red House. 1995.