The Importance of Style and Active Listening in Jazz Performance
by Adrian Barnett
Date Posted: March 15, 2018

Adrian Barnett is a Vandoren Artist-Clinician. The goal of the Vandoren Artist-Clinician program is to enhance the quality of the music experience through educational clinics. Through the assistance of Vandoren, these highly-trained educators and performers will engage your students in fun, educational sessions that fit the needs of your program.
How are style and listening intertwined in the jazz world?
Adrian Barnett: Style is important in every genre of music – it’s not limited to jazz. And the place to start learning different styles of music is by listening. I encourage all of my students to listen to recordings of the music they are studying, whether they are learning a new tune in their jazz combo, commercial music ensemble, or studying a new piece of classical saxophone repertoire.
When a student brings in a piece of music to their lesson the first question I ask them is: “Did you listen to any recordings of this piece?” If they say yes, I inquire about which recording(s) they have listened to and follow up with another question: “What did you hear?” This creates a dialogue and room for conversation about listening. If they have not yet listened to a recording of the music the next step is to find one.
How do you recommend teaching style in a jazz band setting?
That depends on the music being played. Many different styles can be utilized in a big band setting, including swing, funk, rock, and Latin. Again, it comes back to listening. If possible, listening to recordings of the music being performed in the band is a great way to understand and develop concepts of style. Listen to music with other people in the band and talk about what you hear. Listen to individual instruments and understand what their role is in the band.
Regarding the saxophone section in a big band specifically, flexibility of sound is extremely important in this setting. It’s important in any ensemble.
Saxophone Section in a Big Band
If each player in the section plays like they are the soloist at all times, the section will sound dysfunctional. Blending of sound is key.
When doing clinics with jazz bands and ensembles, I suggest that players in the section try to fit their sound inside the sound of the person next to them.
- The lead alto player in a big band should have a more authoritative sound and lead the saxophone section.
- The baritone player needs to have the flexibility to blend with the saxophone, brass, and rhythm sections, or play independent lines at times.
John Thomas wrote an excellent article on jazz saxophone section playing. For a more in-depth discussion of the saxophone section in a big band setting I suggest reading John’s article.
So what is it like for you to transition to each new style? Was it all “on the job” training?
It has been a combination of “on the job training” while playing with many different ensembles, and listening. What I have learned from playing with a wide variety of different groups and ensembles has been invaluable. Playing with other people also helps develop musical communication. For me, every playing situation provides a learning opportunity. Along with making sure I do my job well I’m always open to the opportunity of learning something in every situation.
I have also learned a lot from watching directors work with ensembles in rehearsals, really listening to what they have to say at all times, and paying close attention to how they run rehearsals. This has been important in my development as an educator and musician. Just like listening to the master musicians of past and present, observing a master director or educator work with an ensemble is a great learning experience.
SUMMARY
- Listen. This is the key to understanding various jazz styles. Ask yourself, what role does each individual instrument play?
- Ask your students questions.
- “Did you listen to any recordings of this piece?”
- “What did you hear?”
- If no, find a recording together!
- Play with other people. This helps you as a musician to understand a breadth of styles and to learn from those experiences.

About Adrian Barnett
Award-winning baritone saxophonist and multi-instrumentalist Adrian Barnett has performed all across the nation at venues ranging from Carnegie Hall to Lollapalooza. He has been a featured soloist with symphony orchestras, jazz big bands, concert wind ensembles, and internationally touring rock groups. Adrian also leads hisown projects - The Questet (jazz/funk/fusion group comprised of a rotating cast of musicians throughout the nation) and Lakeside Effects (awe-inspiring, "stunningly skillful" Electro-Dance Fusion).
Adrian earned a Bachelor of Science (B.S.) in Music Education, a Bachelor of Music (B.M.) in Music Performance, Master of Music (M.M.) in Saxophone/Woodwind Performance from Minnesota State University, Mankato. After receiving his M.M., he returned to Minnesota State University, Mankato as part of the music faculty acting as Interim Director of Jazz Studies. Adrian then moved to Illinois to study with Chip McNeill and Glenn Wilson while completing a Doctor of Musical Arts (D.M.A.) in Jazz Studies at the University of Illinois at Urbana-Champaign. In 2011 Adrian won a Downbeat Award in the Jazz Soloist category for his featured performance on the University of Illinois Concert Jazz Band’s album “Freeplay.”
Adrian has shared the stage with Alma Afrobeat Ensemble (Barcelona, Spain), Bette Smith, Dave Barnes, Wayne Bergeron, Jeff Coffin, Denis DiBlasio, Dynamo, Everyone Orchestra, Pete Christlieb, Escort, Tom Garling, Kirk Garrison, Nachito Herrera, The Hornheads, The Jack Brass Band, JazzMN, Kevin Mahogany, Andy Martin, Chip McNeill, Nashville Composer Collective, Jim Snidero, Spoon, Sun Stereo, The Tempations, Fred Wesley, Glenn Wilson, Jim Widner, Roy “Futureman” Wooten, and many more.
Active not only as a performer, Adrian continues to be involved with music education. He has taught at every level, from beginning band students to advanced music majors. His students have gone on to participate in All-State Jazz and Concert Band ensembles, pursue music majors at universities, have successful careers as music educators, and perform professionally. His work in the music education field has also included directing small and large ensembles, composing music for a wide variety of groups and ensembles, adjudicating festivals, acting as assistant director and head percussion instructor for marching band organizations, and working with music programs throughout the nation as a guest artist and clinician. Alongside a steady performing and clinic schedule Adrian teaches saxophone and arranging at Tennessee State University, applied woodwind lessons at Nashville State Community College, and maintains a private woodwind lesson studio.
Adrian is a Yamaha Performing Artist, Vandoren Artist-Clinician, and Hercules Stands Artist.