Review

Massimo Morganti
IMPROVVISAZIONE IMPRO(VE)!: Un percorso ragionato per la pratica dell’improvvisazione a tutti i livelli

Milano, , Italy
Publisher: Volontè & Co
Date of Publication: 2019
Language: Italian

Jazz trombone improvisation method book. 189 pages.

Primary Genre:

I first met Massimo Morganti at the Arcevia Jazz Festival, (Arcevia, Italy) in 2011. Over the past eight plus years I have continued to be impressed with his work as an educator, world-class trombonist, outstanding composer and arranger, conductor and now as an author of an impressive jazz improvisation method IMPRO(VE)! I have written four books around various improvisation concepts and am somewhat familiar with the general jazz improvisation landscape. When looking at a book to purchase for myself or program I always ask, ‘has this information been covered in another book?’ - and in the case of Massimo's book, the short answer is no.

This release by Italian publishers Volontè & Co is well presented in terms of layout and enables the practitioner to easily dive into any number of musically rewarding concepts, with concise, clear examples, and come out refreshed, invigorated, and improved. Even though I come from another language base, the limited Italian text does not hinder the reader, as the book is filled with musical examples that present the topic at hand. Perhaps future publications are planned in English, and other widely used languages? Transposed editions in E-flat, B-flat and Bass Clef would be fantastic in classroom settings and for mixed instrument teaching. The on-line video section offers great insight with one hundred well-recorded demonstrations by some of Italy’s best instrumental jazz musicians covering topics presented in the book. This is an added value for the buyer seen in few methods that normally focus on one instrument or specific topic.

The 189 pages are broken down into sections that cover some of the most important and central components of music and jazz improvisation. The book is divided into three main sections: Melodia e Armonia/Melody and Harmony, Ritmo/Rhythm and Comporre Improvvisando/Composer Improviser. There is much to gain in each section, which moves from the most basic, such as fundamental chord structures and scales, to the more advanced in demonstrating multiple variations within each topic coupled with analysis. This same beginning to advanced pattern is applied to bebop scales and usage, pentatonic, scaler-playing, use of chromatics and its development and creating rhythmic interest through the use of syncopation. Massimo uses common frameworks as vehicles for jazz improvisation, which include the Blues form, 32-bar song structures, rhythm changes and Donna Lee, and the “Giant Steps” (Coltrane) 16-bar cycle. For the more advanced improviser, substitute triads are applied to these song forms offering another creative path for improvisation with a good dose of syncopation. Each example is spot on, clear and concise featuring intended goals for the player that are sure to work when applied in other contexts. The overall musicality of the examples are rarely seen in other methods and are most welcome in a jazz improvisation classroom setting.

Looking at other methods over the years that are filled with continuous eighth note, technically based passages, Massimo creates numerous rhythmic examples from melodic eighth note lines that are transformed into worthy lines and shapes. The use of syncopation cannot be stressed enough as an important tool for the improviser and is applied to song forms that are central to any player’s repertoire and development. This material comes out as ‘music’ in the broadest sense, thus making the important connection with the improviser as composer. The ‘jazz tradition’ connection is another thread that embraces forms from early jazz to the present while stressing the importance of the bebop language and understanding the use of functional harmony and practices while expanding basic chordal playing and use of passing chords, upper structures etc.

There is also much for the jazz pianist here with the use of block chords and passing chord based material that is not normally found in single line method books or other improvisation methods. The author shows the importance of understanding harmonic development with line writing giving clear examples of how to create melodic interest through the use of carefully placed chromatic tones. Numerous examples derived from common bebop scales are musically and melodically presented. Again, using the four common song forms as a basic thread, Massimo demonstrates yet another approach to chord change playing by employing associated scale tones rather than the common chord–scale approach. This approach ties into another important walk before you can run approach with a focus on creating a longer and stronger melodic line rather than the start–stop approach that is so often found in chord-scale playing.

This is a wonderful, rewarding book that will further enhance and broaden any serious improviser’s approach to creating ‘in the moment’ music. Get it now! Massimo Morganti demonstrates a keen compositional mind and ear throughout this book that is only found in the best improvisers. Grazie mille to publishers Volontè & Co. for their role in offering a first-rate jazz improvisation publication. With Morganti’s IMPRO(VE)!, you definitely will improve.