Mastering Jazz Music: Expert Tips & Advice From 4 Established Musicians

Four renowned musicians share their wisdom on mastering jazz—offering tips on improvisation, gear recommendations, and insights into navigating the modern challenges of learning this timeless art form.

By Magesh MageshContributing Author

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Jazz music is difficult to play on any instrument. It has polyrhythms, complex harmony and is heavily based on improvising.

I spoke to some professional musicians from New York to Australia to get their take on this enigmatic style of music.


Gregory Hutchinson

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Greg Hutchinson is a world-class musician. He has worked with Betty Carter, Joshua Redman, Dianne Reeves, Wynton Marsalis, Diana Krall, and Harry Connick Jr.

Jazz Times magazine referred to him as 'the drummer of his generation'.


Magesh, Musicngear: Since you're a native of Brooklyn in New York City, can you talk about how the jazz scene has changed in the last 30 years?

Well, yes, I am from Brooklyn, New York, and I grew up going to music High School, Erasmus Hall High but I also spent a lot of time up at Music and Art High School with a great teacher, Justin to Chocho. At that time, a lot of the masters were alive in the music. So you had Freddie Hubbard alive. You had Ben Riley alive. You had all the masters alive, Tommy Flanagan, everyone. So you got to learn from those masters, and that was really important for me growing up, going to see those guys play live.

Also at that time, we were doing a lot of jam sessions, so all the young cats were getting together and playing pretty much all the time, and the older cats would come out and support, support us playing. So we got to hear and see what we were doing correctly or not correctly. I think the difference also was back then, the older guys weren't afraid to criticize younger guys. Sometimes I feel like today, we don't criticize the younger generation enough and tell them what they're doing wrong. So that's one of the biggest changes.

More clubs to play at, more jazz clubs to play at, more authentic jazz music being played, not a crossbred of the music. So all of those things create change. But change is also good. You know, we need young, innovative minds in music, and I think music has always changed over the years, so it needs to keep changing.


When people hear the words jazz, they think of Miles Davis, Dizzy, Gillespie, and Charlie Parker. In your opinion, who are the modern innovators of this style of music?

Well, yeah, those, you know, those were those guys. But I think nowadays you could look to, there's so many. We can go from Wynton Marsalis to Branford Marsalis to Joshua Redmond to Diane Reeves to Brad Mildauer to Brian Blade to, you know, Christian McBride to Kurt Rosen Winkle to Johns Goldfield to Brill Frisell.

There are so many modern innovators to myself, and I think the music keeps moving forward. And that's kind of the great thing, as I said before, because we had the tutelage of these old masters, and we understand that nothing can stand still and needs to move forward.


Can you talk about the equipment you endorse and how having an endorsement helps touring musicians?

Well, yes, drum-wise. I endorse Pearl drums, Paiste cymbals, and Vic Firth drumsticks. Things have changed a lot. Endorsing a product is great, but now we can get our instruments on the road so those same products, so we don't have to take them with us.

I came up during the period in the '90s when we did take everything with us, and it was actually kind of cool. I enjoyed having my own drums with me. But like I said, now things are different, and you can get your product, your endorsing company, on the road.

So it makes life a lot easier to have your own sound, to have your same sound. The only things I will take with me on the road are my cymbals and my drumsticks. Those are the two things I always take.


You have to learn this music by playing with other musicians


Μany young musicians are learning from video tutorials that are on YouTube. What elements of jazz can you learn from a video lesson, and what things need to be learned playing with other musicians?

Well, first of all, you can't learn to play this music on YouTube. I'm sorry. You have to learn this music by playing with other musicians. Do you want to learn something the academic way, or do you want to learn something from the spiritual side of it?

And I think this music needs to be taught to you by listening to the records. That's a, b, having a great teacher, and C, playing with other musicians. This is not AI. It'll never be that. Maybe in pop music, you get away with that, but in jazz, you need real interaction, social interaction, to make the music become what it is, and to learn.

You cannot learn how to play jazz music on any social media outlet. Now, you can get lessons on Zoom. Now I teach on Zoom. That's different, but if you really and still, even with that, I tell my students that you must get in and play with other people. You can't get it from just studying with me online.


Improvising is such a big part of jazz music. What do you recommend people to become better at improvising?

Well, the only way you become better at improvising. You have to listen to the music. Everything boils down to this. It's simple. You have to study. You have to listen to the music. You have to listen to the music, you have to listen to the music. And you have to play.

If you listen to the music and you play, you will be able to learn how to improvise. You have to study what it means to play over changes to be able to do all these things.

And like I said, this is all based on understanding what you were trying to do in the music. So, yeah, studying and listening to all the music that was created before you, that'll help you to improvise.


What projects are you currently working on right now?

We're getting ready to start working on my next record. My first record is out now, called The Bang D, A, B, A N, G on Warner Universal. Go get that.

And the next record we're going to do is going to be an upcoming tribute project to Miles Davis, and that should be out sometime next, next year.

So thank you for the interview.

Connect with Gregory Hutchinson
Instagram


Rob Swift

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Professional guitarist Rob Swift is an expert at making ambitious goals fun, easy, and obtainable.

His YouTube videos are shot in HD and are great at explaining musical concepts to all levels of students.

He has a staggering 926 thousand subscribers on YouTube!


What do you think is the most common misconception about Jazz guitar?

I think jazz music, in general, has a reputation for being full of strict “rules” that dictate what players can and cannot play. While many conventions can help players achieve an authentic sound, this incredibly diverse genre is still an open forum for free expression and experimentation.

So many of the greatest jazz guitarist in history were rule breakers who adapted conventions to meet their preferences, abilities, and sometimes, limitations.


When people hear the word Jazz they think of Miles Davis, Dizzy Gillespie, and Charlie Parker. In your opinion, who are the modern innovators of this style of music?

I’ve had so many driveway moments listening to players like Julian Lang, who has an incredible ability to incorporate harmony into his lead lines.

I’m also a big gypsy jazz enthusiast, with Olli Soikkeli being one of my absolute favorite contemporary guitarists within that sub-genre.


Can you talk about your guitar/amp/pedal setup?

I’ve always been a purist when it comes to effects and rarely rely on pedals.

For me, I’m looking for an amp that has versatile overdrive, a warm tone, and realistic reverb - my trusty Fender Supersonic provides all this and more.

As for guitars, I generally lean toward warmer tones and reach for my 93’ Gibson Les Paul Studio, or 65’ Gretsch Country Gentleman. 


This incredibly diverse genre is still an open forum for free expression and experimentation


Many young musicians are learning from video tutorials on YouTube. What elements of jazz can you learn from a video lesson and what things need to be learned playing with other musicians?

We are living in the golden age of information, it has never been easier to pick up new skills on the guitar and beyond.

I recommend students use video lessons to build fundamentals and to learn the techniques behind their favorite songs.

Players can develop their repertoires, and overall chops from home, but playing with other musicians is where you learn about dynamics, sharing the sonic space, playing less, and performing under pressure.


Improvising is such a big part of jazz music. What do you recommend people do to become better at improvising?

Becoming a confident soloist is a multi-pronged endeavor. It begins with foundational elements like learning the notes on the fretboard, CAGED chord shapes, and overlapping scale patterns.

From there, it’s so much easier to internalize and apply new licks as you develop your vocabulary.

A truly proficient soloist plays with intention; they can imply the underlying harmonies, play through the changes, and most importantly, tell a story through their note choices, dynamics, space, and technical embellishments.


What projects are you currently working on?

Right now I’m gearing up to create a series of new Truefire courses breaking down my go-to blues and jazz lead concepts, and a new indie-rock single entitled “Keeper of Your Heart.”


Connect with Rob Swift
Instagram / Patreon


Daimon Brunton

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Daimon Brunton is a multi-talented musician, composer, and author from Melbourne.

His band the 'Daimon Brunton Quintet' has released 5 albums and has performed at sell-out shows throughout Australia.

His book Playing The Trumpet - The 3 Zones Of Compression received positive reviews.


You're a native of Melbourne. Can you talk about how the jazz scene has changed in the last 15 years?

Hmm. Great question. The biggest change I have noticed is in the running costs for venues. Public liability insurance, rental costs for venues, and goods and services costs have all gone up exponentially. Far more than CPI.

This has resulted in far more ticketed, less free entry shows, and consequently, the pressure on all parties (bands and venues) to promote has increased substantially.

Gigging more frequently to build a fan base in the resultant climate has become more challenging I would say.


When people hear the word Jazz they think of Miles Davis, Dizzy Gillespie, and Charlie Parker. In your opinion, who are the modern innovators of this style of music?

Undoubtedly, Snarky Puppy and Jacob Collier have been influential innovators on the worldwide jazz scene in the past 15 years, but more experienced players like Herbie Hancock and Terrence Blanchard are also not resting on their laurels and are still moving things in new directions.

Having said all of this, I still think the genre is crying out for a figure similar to Freddie Hubbard in the early '70s. Works like Red Clay, Straight Life, and First Light moved jazz in new directions and garnered it a new audience as well, without the loss of any musical integrity or sophistication.


Jazz is ultimately a conversation. Not just a dialogue between the musicians and the audience, but a dialogue amongst the musicians on the stage as well


Can you talk about the equipment you use, also if you have any endorsements?

I am not endorsed by anyone, but I use AR Resonance Mouthpieces and play a Stomvi Mambo Titanium trumpet.

I use earplugs a lot in practice and on the bandstand and have recently tried the Loop earplugs. I can highly recommend these.


Many young musicians are learning from video tutorials on YouTube. What elements of jazz can you learn from a video lesson and what things need to be learned playing with other musicians?

Jazz is ultimately a conversation. Not just a dialogue between the musicians and the audience, but a dialogue amongst the musicians on the stage as well.

There’s no doubt that there are a plethora of excellent resources on the internet (YouTube included), and learning the fundamentals of theory, harmony, song structure, and chord progressions is easier now than it has ever been.

But there is no substitute for the experience you get on a stage with other musicians. Negotiating reharmonizations on the fly and picking up on each other’s cues to create a resultant sound that is larger than the sum of its parts.


Improvising is such a big part of jazz music. What do you recommend people do to become better at improvising?

Oooo! A thesis could be written on this answer! And many have been!

The short answer is that it really depends upon where a musician is in their improvising journey. But having said that, almost all improvisers; from beginners through to advanced professionals; can benefit from transcribing a solo from one of the greats by ear and analyzing their note choices against the harmony that was presented to them.


What projects are you currently working on?

In 2022, I recorded a live, full-length album of a six-movement suite I wrote for my jazz quintet and 60-piece Symphony Orchestra. This was one of the most exciting things I have ever done musically and I genuinely think it was utterly new and groundbreaking.

Now I am working on an inspiring retrospective! The goal is to reimagine and rearrange one work from each of my past 7 releases but with the addition of French horn, euphonium, mallet percussion, and orchestral trumpet bringing about something entirely new!

And yet inspired by a 'Birth Of The Cool' meets 'Headhunters' concept. I think it’ll be totally rad!


Connect with Daimon Brunton
Facebook / Instagram / Website


David Tweedie

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David Tweedie is a highly sought-after musician from Melbourne. He has worked with many of Australia's top artists such as Guy Sebastian, Delta Goodrem, Aloe Blacc, Anthony Callea, Lupe Fiasco, Tina Arena, Samantha Jade, and Shannon Noll.

David has recently completed his Master's degree in music and has also been working in musical education for nearly 15 years in schools.


What is the most common misconception about Jazz guitar?

I think many people misunderstand what makes a great jazz guitar solo. There’s this idea that the most important thing is to spend all your time practicing technique—scales, modes, arpeggios, and all that stuff. Don’t get me wrong, those things are important, and they help. But for me, they’re not the heart of what makes a solo truly amazing.

The best jazz solos, in my opinion, are all about "telling a story". It’s not about showing off or cramming in as many flashy licks as possible. Instead, it’s about creating something that feels alive—something that takes the listener on a journey.

A great solo has a flow like it’s building up to something meaningful, with tension and release, and a sense of direction that keeps you hooked from start to finish. That’s what I love so much about players like Django Reinhardt and Wes Montgomery. Their solos aren’t just a bunch of notes strung together—they’re like watching a great movie. They start simple, draw you in, and then build up intensity until they hit a big climax near the end.

By the time it’s over, you feel totally satisfied, like you’ve experienced something special. For me, that’s what jazz is all about. It’s not just technical skill (though Django and Wes had that in spades)—it’s about creating something emotional, something that connects. It’s what makes this music so inspiring, and it’s the reason I keep coming back to it.


When people hear the word Jazz they think of Miles Davis, Dizzy Gillespie, and Charlie Parker. In your opinion, who are the modern innovators of this style of music?

There’s so much music out there right now, and when it comes to what’s “good” or “innovative,” it’s subjective. Everyone has their tastes and preferences, so it’s tough to pin down. That said, I’ll throw a few names out there that I think represent some of the most exciting modern innovations in jazz.

For me, the crossover between jazz and R&B that’s been happening with some of the American artists is probably one of the freshest things happening in the jazz world today. People like Kamasi Washington, Thundercat, Robert Glasper, and Chris Dave have really pushed the boundaries of what jazz can be, blending genres in ways that feel new and exciting.

It’s not just jazz anymore—it’s jazz with elements of funk, soul, electronic music, and hip-hop. The way they incorporate these influences while still staying rooted in jazz traditions is incredibly innovative and opens up a whole new world of possibilities for the genre.

Now, I’m not saying I love everything these guys do, but I think they’re at the forefront of shaping jazz in the modern era. They’re taking risks and challenging what we expect from jazz, and that’s something I always respect.

It’s a kind of innovation that’s less about perfection and more about exploring new territories and pushing the boundaries of what jazz can sound like.


Can you talk about your guitar/amp/pedal setup?

I’ve got a few different guitars I like to use depending on the artist I’m playing for and the style of music we’re doing. My main go-to guitars are my Fender Custom Shop Ltd Ed 1955 Stratocaster and my Gibson ES-330 VOS. The Strat was way more than I’d usually spend on a guitar, but as soon as I picked it up, I knew I had to have it. It’s been my main guitar for live shows and touring ever since.

For studio work, I usually keep my Gretsch Electromatic and Custom Shop Telecaster close by. Between those four guitars, I can cover just about any sound or vibe I need.

When it comes to amps, my trusty Fender 65 Deluxe Reverb is the one I keep coming back to. I bought it off a mate, and it’s been modded so one channel has more of a Marshall-like sound, which is super handy. Over the years, I’ve tried a ton of amps, including some insanely expensive boutique ones, but this one just works for me. It’s also lightweight and not too loud, which I’ve come to appreciate a lot more as I’ve gotten older. These days, it’s pretty much my go-to for everything.

Pedal-wise, I still lean toward analog effects. I know digital stuff has gotten a lot better (and I’ll occasionally use it for recording on the road), but I always notice a difference when I plug into digital gear. It just doesn’t feel the same, and I find my playing isn’t as good because of it.

For my core pedals, I use the Strymon Sunset Dual Overdrive, Strymon Timeline, and Strymon Flint, along with an Ibanez TS808. The 808 into a Vertex Steel String Supreme (SRE) is probably my favorite tone when I want something with a bit of edge but still clean. I’ve also added a Boss DS-1X Distortion recently for when I need to get filthy tone-wise. It’s been a fun addition to the board.


The best jazz solos, in my opinion, are all about "telling a story". It’s not about showing off or cramming in as many flashy licks as possible


Many young musicians are learning from video tutorials on YouTube.  What elements of jazz can you learn from a video lesson and what things need to be learned playing with other musicians?

You can definitely learn a lot from video tutorials online—there’s so much great material out there now. There are probably 10+ different videos on any musical topic or song you want to learn about.  You can pause, rewind, and take your time working on the technical stuff, which is a huge advantage. There are also some fantastic teachers breaking down solos, teaching comping techniques, and explaining how to navigate changes, so it’s a great way to build a solid foundation.

But there’s a big part of music that you just can’t get from a video. The stereotypical phrase “music is a language” comes to mind, and like any language, it’s best learned by actually interacting with other people. When you play with other musicians, you’re learning to listen, to respond, and to be in the moment. It’s where you develop feelings, dynamics, and unspoken communication that’s such a big part of being a musician.

You can’t really learn how to lock in with a drummer, how to comp behind a soloist, or how to build a solo that fits the energy of the room from a video. Those things happen on stage, in jam sessions, or even just playing with friends. That’s where the magic is—when you’re reacting to what’s happening around you in real time.

So, I’d say use YouTube to build your chops and learn the basics, but make sure you’re also getting out there and playing with people as much as you can. That’s where you’ll start to understand what jazz is all about.


Improvising is such a big part of jazz music. What do you recommend people do to become better at improvising?

A simple way to look at creativity is to think of it like a muscle—the more you work it, the stronger it becomes. So, in that sense, just get in the habit of practicing improvising as much as you can. But if you want something a bit more practical and specific, here’s how I approach it:

Learning licks and phrases that you can throw into your solos is a solid way to build your improvisation skills. It can help you sound like a more polished improviser, even if you’re not quite there yet. But the real game-changer, in my opinion, comes down to three key concepts: transposition, variation, and recombination. I learned about this from the Berkowitz text “The Improvising Mind” and wrote a lot about it as part of my master's degree so here is a quick recap.

First off, transposition. When you learn a new lick, don’t just stick with one key—practice it in every key. This might sound a bit tedious, but it’s crucial. Each key brings its own nuances and forces you to learn the fretboard more deeply, making you way more versatile as a player. Once you’re comfortable with a lick in different keys, it becomes part of your musical vocabulary that you can call upon in any situation.

Next, variation. This is where you start to get creative with rhythm and harmony. Take that same lick and experiment with altering the rhythm. Maybe you make it swing a little harder or play around with the timing. You can also try changing up the harmony behind it—whether it’s altering the chords or adding substitutions. These variations keep the lick fresh and help you build a deeper understanding of its potential.

But the most powerful part is re-combination. After you’ve transposed and varied the lick, start mixing it with other phrases you’ve learned. The trick here is not just memorizing one phrase and repeating it in your solo, but learning to weave it into a larger musical idea. It’s like taking words you’ve learned in a language and putting them together to create meaningful sentences and, eventually, full conversations.

Once you reach this stage, you’ve gone from simply knowing a lick to being able to use it in the context of a musical story. Instead of just repeating a memorized phrase, you’re able to craft solos that are dynamic, creative, and responsive to the moment. That’s how you start to make your improvisation truly expressive and spontaneous.


What projects are you currently working on?

Right now, I’m still working a lot with the well-known Australian singer Guy Sebastian. We’ve been playing together for almost 11 years now, and he definitely keeps me on my toes! As I’m writing this, we’re actually about to hit the stage for a duo performance in Kuala Lumpur. It’s been a real ride—every gig feels fresh and exciting, and Guy always brings something new to the table and is an incredibly well-rounded musician to share the stage with.

On top of that, I’m producing an acoustic album for Casey Donovan, which has been such a blast. Normally, I’m her live musical director, but this project has put me back in the producer’s chair, and it’s been a great change of pace for me. Getting to shape the sound of the album and be a part of the creative process has been a lot of fun.

I’ve been fortunate over the years to work with some of my favorite singers, and every project feels like an opportunity to learn and grow. Lately, I’ve also been working on a new collaboration with Quino from Big Mountain and the Black Sisters from West Papua. They released a song I wrote called “Vision” about 10 years ago, and we thought it was time to get back in the studio and create something new.

Connect with David Tweedie
Instagram

About Magesh Magesh

Magesh is a musician and producer who has worked with Rihanna, Lionel Richie, Ricky Martin, Chris Brown, The Pussy Cat Dolls, Nelly Furtado, and Vernon Reid of Living Colour. He released an instructional drumming DVD called "Unique Beats" where he mixed the drum kit with electronics and Indian hand percussion. He recently moved from Australia to the UK to explore new musical opportunities.
Website: mageshdrumteacher.co.uk

Contact Magesh Magesh at magesh.magesh7@gmail.com

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