...re-learning, not so much. Recently, having retired from active gigging, I have been 'jamming' once a week with a couple of (VERY proficient) older musicians, a guitarist and a sax player. While this has been enjoyable, it has also put a lot of pressure on me to learn (or re-learn) some of THEIR favorite tunes. What started out as very causal jamming has now turned into something more akin to a JOB. This is not true for the other guys as they are much better musicians and MUCH better sight readers, so learning a new tune for them and even improvising a totally spontaneous solo based solely on the chord structure , is a piece of cake. The good part (for me) is that I have learned more about basic jazz playing in the last couple of months than I have in the last 15 years.

My deficiencies, however, force me to go down and practice the new tunes we assign ourselves each week (repertoire building). This means findind a suitable drum pattern on the BK7m (we rarely have a drummer), playing it over and over until I've committed it to 'muscle memory', then coming up with a suitable organ trio-type arrangement, then working out a unique solo. After that, I have to play it every day so as not to forget what I did (old age). Oh, and yes, it often involves a lot of Youtube watching if I'm not familiar with the tune or if they want to cop some existing arrangement they may like. All of this, of course, replaces the time I used to spend playing all my old familiar tunes strictly for pleasure. Now I admit that learning a new tune and playing it well is very satisfying, but the process of getting there (when not motivated by 'getting paid') can be tedious.

So my question for you 'home players' or retired or semi-retired 'pro' players is, WHAT DO YOU USE TO MOTIVATE YOU TO LEARN NEW MATERIAL (when you don't have to). Also, for those of you that do something similar (jamming with friends), do you spend any time preparing for it? I don't want to bail on these guys because I really enjoy the jam itself, just not the preparation for it. For the record, jazz tunes are harder to fake, so you'd better know the changes if you're going to play with professionals.

Side question; how many new tunes have you learned (to a performance level) in the last three months?

chas

I don't quite fit the criteria, but I seldom ever learn a song without it having been a request from somebody, or I just happen to hear one that inspires me. And, when I do, I seldom memorize anything except the chord structure, the words, and a signature "lick" if there is one.
All my solos are just improvised on the spot, for better or for worse.
I think after I quit getting paid, I won't be learning any new songs, after that being an important part of my life for more than 50 years. That's sort of sad. I'm proud of you for the work you're doing with your friends. It will keep you young!

Don, I wish that were true but "keep you young" implies that you're young to begin with . As much as the heart may want it, that train has left the station (boo hoo!).

chas

It will keep you FEELING young-ER!

I'm a home player....the love of the music I like to hear played. And for that to happen the sounds on the instrument MUST be super high quality....as I play mostly considered the slower type music.

I would be inclined to learn or relearn old tunes the way I have done for more than 50 years.... I used fake books... They offered the chord progression, lyrics and a melody..

Use the melody line as a reference, the chords as the foundation allowing chord changes and bass lines..
Improvise within the chord progression in realtime..

If I have to learn a tune via an audio recording I try to work out the bass progression first, then chord structure..

Melody is not as important in your situation (other then reference), you have a sax player and possibly the guitar plays lead too..

Well, Elvis may have left the building, but you are still here with us, and still jamming with "much better musicians" (?!?), so obviously that train has NOT left the station ...

Now back to your OP ... A number of years ago a very talented musician friend - he plays multiple instruments - and I started jamming one night a week, playing songs from the 'Real Book' ... soon a guitar player, bass player, and another sax were added ... I was BY FAR the least talented/accomplished musician in the group, which forced me to work on tunes I had never or rarely ever played before ... I got to the point where I could at least lay a good basic chord foundation for them ... unfortunately, various situations eventually brought an end to the sessions ...

Now, my motivation for learning 'new' songs is just my love for music ... of course the songs I am working on are MUCH simpler than those I worked on during the sessions, but there still is a good feeling of accomplishment when a song becomes 'performance worthy' ...

Keep at it, chas ... the 'pain' doesn't last long ...

BTW ... in a recent travel to NY, listening to the Real Jazz station on Sirius radio I heard Charles Earland's version of "More Today Than Yesterday" ... very reminiscent of your version which I have on my iPOD ...

Tony, you know I stole that arrangement (well, concept) from Charlie. I knew Charlie very well; I used to play in his Aunt's club back in the day and he would frequently stop by. He was a super nice guy and although not the greatest jazz organist, he WAS a great 'funkmaster' and could really get a crowd going. His emphasis was always on the 'grove'. Charlie would play one tune for 15 minutes but the groove was so tight it was almost hypnotic. He was a lightweight at that time though 'cause all the local clubs in Philly and So. Jersey were featuring guys like Groove Holmes (before he moved to the west coast), Wild Bill Davis (already a 'dinosaur', style-wise), 'Brother' Jack McDuff, Don Patterson, Johnny 'Hammond' Smith, occasionally Jimmy McGriff, and about once a summer (in Atlantic City), the great Jimmy Smith. When Jimmy Smith (the acknowledged 'king') was in town, every organ player (they were never referred to as 'organists') within 50 miles would be there to see him. Boy, those were great days, but for me just a summer thing (I was either teaching or in grad school at the time) as I was off active duty but still in the Reserves. Can't believe how long ago that was. Oh well. Some people had better 'wild oats' than others.

chas

I try to pick songs that would I once listened to regularly but have forgotten about the work on those. Having a few gigs also helps it keeps me motivated to learn some new tunes. I can sight read pretty well so when playing a senior facility it isn't a problem playing the instrumental part, for me it's trying to work on vocals, something I've been doing for a little over 5 years. In the last 3 months i've probably learned 8 new tunes, concentrating on the vocal side of it.

To me the process of learning new things is fun,
Improving your skills and broading your horizon is the reward.
As another reward learning keeps you young,
nothing is a better training for your brains then making music.
On top of that being in full concentration learning a new piece of music makes me relax, and feel zen.

Aside from powerhouse horn sections, organ trios are my favorite sound. I never tire of listening to the subtle changes that the drawbars and the pedal can make as you back up a great melody. Swing me, baby. 8 to the bar.

Learning is tough, tedious and humbling. Made a big mistake of listening to some top jazz on my 4 hour drive home past weekend. I am quite confident on my theory and playing, but after listening to the 'pro', it made me want to quit. I got over if fast though....

For me just learning to play keyboard is a challenge since I started to learn to play one at age 63, five years ago.

🤔

Zuki, interesting observation but one that we've all had. But here's the thing; it's usually their out-of-this-world technical ability (playing proficiency) that makes us feel so completely inadequate, BUT, it really shouldn't. Technical proficiency only provides a means of expressing what is REALLY important; that's the ability to communicate, musically, from one soul to another; the ability to stir deep emotions in yourself and others. If you have nothing to say, if you're an empty vessel, then all the technique in the world isn't going to mean much more than being able to dazzle someone at a house party. Just worry about what YOU have to offer and don't worry about how fast that other guy can make his fingers move. If I didn't believe that, after watching say, a Hiromi performance, I'd never go near a keyboard again . In fact, after watching a 13 yr. old Joey Alexander, I almost DID give it up .

It would be nice if everyone had the same degree of playing ability; then it would just be a matter of who had the most musical soul. Look, if you can play a blues and create a dark mood, or 'Sweet Caroline' and get everyone singing, or 'Anniversary Waltz' and get a loving elderly couple up on the dance floor, then you've done your job as a musician. DON'T WORRY, BE HAPPY.

chas

I use Don Mason! He hits me with a challenge, usually about one a month, but sometimes more often, I look up the song on you tube, download the lyrics, then dig into my keyboard and find a style file that is as close to the original song as possible. Sometimes, but not always, I learn the song in a day or two, and some, seem to take forever. Then I post then on the https://www.keyboard-player.org.uk/? forum in their various, often monthly challenges. There are some incredibly talented players and performers there, most of which far exceed my best efforts. They have, fortunately, accepted that I'm just an old hack entertainer, and never seem to criticize my lousy playing techniques - some really nice folks from around the world.

If you cannot learn new songs from Don Mason, you cannot learn anything at all.

All the best,

Gary

Funny you should word it that way. I think of BB King - not a great technical player, but soul for miles. Sometimes, the actual talent or proficiency is not enough to provide the essence, or the feeling that can touch someone. Some of the world's most loved songs are the simple ones.
"Crazy", for one. Couldn't be easier, couldn't be a simpler performance. My number one request of all time. It doesn't even have a happy ending - I don't get it!

Hi Charles: Learning while performing is a "bridge too far" for me to even consider. I do my own demos of the songs I write but never perform in public... so I can sure understand the tremendous pressure you feel. In my case, recording in my tiny studio... alone and unfettered, if I mess up... I simply start the whole process over. The keyboard has been set up in advance, all the instruments needed and multi-pads desired for crucial parts are selected and waiting to be used. Now if only I can muddle through the vocal and end up with a decent recording to play for a limited and ever-shrinking audience.

Hang in there. Practice makes perfect and you are very brave in my eyes. Regards, ----Dave Rice

www.ShowCaseYourMusic.com/DaveRice/