Born: September 11, 1962
Bruno Leicht studied jazz trumpet in Cologne from 1985 to 1990 and is an examined music teacher. He is currently mostly active as performer in Cologne and Berlin.
He gives regular jazz history classes at the Cologne Music College.
Career (a rough overview):
After some gigs with local small groups he founded Blue Seven & The Ghosts which did several productions for the Bayerischer Rundfunk, the WDR, and some Polish radio station (1988 to 1992).
Blue Seven & The Ghosts was inspired by Leicht's private workshop group which he lead subversively parallel to the official International Jazz Workshop in Siena under master trumpeter Enrico Rava....
AwardsJazz Award Winner of the City of Mannheim, Germany
Bruno Leicht's personal encounter with Dizzy Gillespie (Cologne, October 1990)
BL Interview with Chris Rich, Brilliant Corners
Ich habe Bruno Leicht als einen sehr ernsthaften, engagierten und vielseitig kreativen Musiker kennengelernt. - - Prof. Jiggs Whigham/ Hans Eisler Universität Berlin
Jazz journalist Marc Myers/ JazzWax about Bruno Leicht's former jazz blog:
Bruno hosts a fabulous blog that's loaded with jazz insights and free music clips.
Willing to teach:
Advanced students only.
Thelonious Monk didn't think in scales. You won't even find chord-symbols in his original scores. He was a "melody man", since he was mainly interested in the melody of a song and what you could do with it.
Besides that did he always try to express the sounds he heard swinging in himself. Some notes which would have belonged to a certain chord, he left off intentionally, and added others which weren't supposed to be there, and which would have been considered as "wrong" notes by most academic intellectuals.
"Blue Monk" was his favorite composition among the ca. 65 pieces he wrote.
While improvising on a theme like "Blue Monk" you always should hear the melody inside your head. You can't get lost then. If you can sing along, and play along with the recording, if you have memorized a tune, you've made quite a progress already.
Then you eventually would play alone, by tapping the rhythm with your feet. You play the melody as written. Then you'd sing the theme. Then you'd start to improvise along the melody.
Keep your foot going, be your own drummer. Sing it, then take the instrument and try to remember what you've sung before.
Working on new tunes like that may be tough in the beginning, but it's - in my opinion - the best way to find your own style, your own articulation, your own sound.
The more often you'd do it, the faster you'll learn new melodies by heart. It's crucial to learn music by ear, especially jazz. It is good to imitate your favorite player. That's what all (!) masters did in the beginning.
It's always better for you to make your own mistakes, instead of looking up jazz tunes in fake books which not too seldom contain wrong chord progressions, wrong keys or even the wrong lines of common standards.
Go for the original before your own version of a tune is based on the false interpretation / transcription you'd find in the so called "Real Book".