Combos
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Groups of two to nine players are most common in jazz. They are usually organized as a set of horn players and a rhythm section. The conventions of this configuration allows the players to perform without detailed arrangements, although individual parts may still be written out if desired.
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A Jazz Improvisation Almanac Unit: Elements Of Jazz Chapter: Ensembles |
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This is a preview of the educational program A Jazz Improvisation Almanac which is under development for the Outside Shore Music Online School. Feel free to browse this preview and learn what you can from it. For a more completed product, though, check out the original freely browsable jazz textbook, A Jazz Improvisation Primer. InstrumentationThe most common ensemble in jazz is the small group or combo. These groups are often named according to the number of members - two is a duo, three a trio, four a quartet, five a quintet, six a sextet, seven a septet, eight an octet, nine a nonet. Groups larger than this are discussed in the next section. The usual instrumentation for a combo has changed over time but has generally included one to three horn players and a rhythm section consisting of a chordal instrument, a bass instrument, and percussion. This type of instrumentation offers the members considerable flexibility in that the players can improvise much of their own parts without the chaos that would ensue if a larger ensemble offered its members as much freedom. Yet because all the major categories or roles of instruments are covered - melody, chordal, bass, and percussion - a well-balanced sound can be achieved: 
Head ArrangementsIn a combo, horn players rarely play the whole time. They may play the melody in unison or in harmony at the beginning and end of a performance of a piece, as in the trumpet and saxophone in the following example: 
In between these statements of the theme, they usually take turns soloing. The musicians often employ visual signals to cue the next soloist or a return to the head. This approach is referred to as a head-solos-head arrangement, or simply a head arrangement. These are especially popular in combos because they can be put together during the performance without the need for prior rehearsal or written music other than for the head itself. Other types of arrangements are possible as well, but this general outline is most common. Depending on the number of horn players and how long they tend to solo, they may or may not all solo on each tune. While one horn player is soloing, the others rarely play at all. If they do play during a solo by another horn player, it is generally limited to unobtrusive background parts, which may be written or improvised. The brass instruments in the following example are playing a written background part: 
Sometimes one player will improvise a simple background riff like the one above, and the other players will then follow along, either in unison, or in harmony. Background parts such as these are more common during other horn solos than during solos by one of the rhythm section players. Horn solos usually go before any solos by the rhythm section, although most combos make an effort to vary the solo order from tune to tune. Rhythm SectionThe rhythm section traditionally contains a chordal instrument, a bass instrument, and percussionist. They provide both a pulse and harmonic support. The makeup of the rhythm section has seen the most significant change since the early days of jazz. Originally the banjo and tuba were among the more commonly used instruments:
These instruments are rarely seen in modern combos, however. The piano, or to a lesser extent the guitar, has become the chordal instrument of choice, and the acoustic bass has replaced the tuba:
Some combos use instrumentation usually associated with rock bands - electric guitars in lead roles, electronic keyboards, electric bass, and so forth. These combos often play jazz with a rock influence:
Regardless of instrumentation, the role of the rhythm section in a combo is primarily to provide accompaniment for solos. The rhythm section usually plays throughout a performance, but they do not tend to solo as often as the horns. Often, a pianist or guitarist will prefer to lead a trio with bass and drums. This enables the leader to take on a more prominent role than is generally possible if horn players are included. The pianist or guitarist gets to play the head and to solo on every tune. The overall sound of the group differs because of the lack of horns:
Melody InstrumentsAs I explained earlier, in a traditional jazz combo, the horns play the head and take turns soloing, and occassionally provide background parts. Combos including horn players may occasionally play without a chordal instrument. In these cases, they may use the horns to outline the harmony. This can be done by constructing the arrangement so that the horns form chords wherever possible: 
Bands without chordal instruments tend to make more heavy use of written background parts durings solos as well. In combos with only one horn player, or during sections where background parts are not deisred, the band may depend on the bassist to outline the harmony more strongly than if a chordal instrument were present as well:
Or they may be playing music that is harmonically free, in which case a chordal foundation is not necessary at all:
There are also combos play without a bassist or percussionist, either. In the absence of any rhythm section, they may use horn lines to provide a pulse and harmonic foundation:
Combos without a rhythm section may instead choose not to employ a steady pulse or harmonic foundation at all:
This type of music can be played even with groups containing pianists, bassists, or drummers - there is no reason those instruments must provide pulse and harmony:
Famous CombosJazz musicians may form a combo for a single recording or gig. It is not uncommon for such a combo to consist of musicians who have never played together before. Often, these are called pick-up groups. Playing in a pick-up group is possible because most jazz musicians are familiar with the same standard jazz compositions and head arrangements. Many of the most famous recordings in jazz history have featured such pickup groups, including Miles Davis' "Walkin'", John Coltrane's "Blue Train", and Thelonious Monk's "Brilliant Corners". Many musicians prefer to form regular working groups that allow them to play more challenging compositions and varied arrangements and to develop a unique group sound. Some well-known and distinctive jazz combos include:
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