Cornell’s Trommer Sextet jazz combo rehearses to develop as a group and prepare videos for the new JazzDesk Youtube series.
Six Cornell musicians, instruments in hand; four separate rooms scattered throughout Lincoln Hall; one professor, steering the ship; the Trommer Sextet is ready to play its first notes, and none of the musicians can hear one another in their headphones. After a tweak of the controls, Professor Paul Merrill, director of jazz studies, counts in the first tune and the musicians’ fingers are at work. In any other year, technology used in jazz combo rehearsals plays a minor role in connecting the musicians, but in the age of COVID-19, dozens of black coiled black wires flowing from room to room are an important ingredient to making the magical musical sounds come alive.
Long before the fall semester of 2020 began, Professor Merrill was resolved to make the 2020-2021 Cornell jazz combo program a success. As a result of his careful planning and a determination to simply make the best music possible, the Trommer Sextet had five rehearsals in the books just by the end of September, as well as a recording of Clifford Brown’s “Tiny Capers” on the Cornell Jazz Youtube channel as part of the new JazzDesk series. Before I get too excited about what is to come for the Trommer Sextet, first take a seat in the isolation guitar pod during our second combo rehearsal.
I unpack my Ibanez jazz guitar (the same brand used by jazz guitar greats George Benson and John Schofield), review the chord changes of “Alone Together,” and ensure that my camera, the visual passageway from the main room into my guitar pod, is at the right height. Guitar amp on, levels set, and Evan Kravitz (drums) counts in the tune. “Alone Together” by famed mid-century song-writing partnership Dietz and Schwartz was originally played as a slow ballad, but over time has morphed into an upbeat must-know for all jazz players.
This tune has an AABA form, which allows Samantha Rubin (alto) and Reed Landry (tenor) to split up the melody, and Edward George (piano) and myself on guitar to have equal opportunities to “comp,” or play chords behind the horn player’s melody or solo. As a result, the first and second halves of the song have vastly different types of feel; the tune begins with my lighter comping on Rubin’s softer sound and then quickly transitions to George’s forceful block chords in the spaces of Landry’s staccato-style playing. Throughout the whole piece, Teddy Rashkover (bass) keeps the rhythm locked and steady, which allows Kravitz to punctuate sections with creative fills and hits.
The time comes for Professor Merrill’s feedback, a critical and constructive part of this rehearsal. He challenges the horn players to diversify the punctuation in the melody with a mix of long and short notes, and for Kravitz to outline the sections of the form more distinctly. He also inspires George and me to not restrict ourselves to our predetermined comping organization and to listen to the soloist to know when to add a new color or accent a particular chord. While challenging at first, George and I begin to develop the feel of when to act upon an invitation to contribute rather than play every chord change. After a few takes, Professor Merrill’s advice begins to sink in, and the group loses its rigidity.
With the trio of drums, bass, and piano in one room, and guitar, alto, and tenor each in separate pods, listening to one another far outweighs what one musician plays at a given moment. As six selfless players, the Trommer Sextet is able to sound its best. At every rehearsal, our group continues to make progress musically both individually and collectively, despite the restrictions COVID-19 placed upon us.
Under the diligent instruction of Professor Merrill and our continued dedication to the music, the Trommer Sextet has the potential to develop into a force of nature. JazzDesk, filled with eclectic recordings from all four jazz combo groups, will serve as a hub for the fresh and exciting jazz music Cornell students create this year. Check it out, and you will feel the socially distanced vibrations.
Trommer Sextet:
- Samantha Rubin, alto
- Reed Landry, tenor
- Spencer Nachman, guitar
- Edward George, piano
- Teddy Rashkover, bass
- Evan Kravitz, drums
- Professor Paul Merrill, instructor