There are a number jazz cellists you will find if you run a search. I'm sure you have already. Early on, I was very impressed with David Baker (jazz educator) when I saw him live. You presumably come from a classical background so you might like (or already know about) Yo Yo Ma and the diverse kinds of music he involves himself in (Silk Road project, Tango and playing with many jazz players) which shows him at least in improvisational settings. Also some of the well known bass players also played cello. (It must have been difficult because of the different string intervals!) And there are other jazz musicians playing (the traditionally classical) french horn, harp and bassoon for instance.Originally Posted by Gboling
Jazz players listen to other instruments other than their own, including jazz singers and saxophonists probably because of their historical influence (and their musianship) as the jazz language developed.
As Bob has said, listen, because it is a large part of internalising the inflections and sound of jazz—the notes, the phrasing of the notes, and the way in which the notes and phrases are actually played or approached or ended, and how they relate to what the rhythm section is playing at the time. A soloist is always listening to the rhythm section, not only for timing, but there might be harmonic or rhythmic ideas coming from the other players, and they in turn are listening to them, accommodating the solo, supporting what the solo is doing, not getting in the way, but providing an appropriate backdrop. Unlike classical where the arrangement or the score is prescribed, in jazz (or improvisation) you are doing it instantly, but being aware of what else is happening with the other instruments as they play behind you is the same kind of concept as a composer (orchestrator or arranger) is doing at the time they write the notes for each instrument on their score.
The technique of transcribing solos is absolutely vital, because it develops the ear as it becomes accustomed to the notes, the phrases and timing (silences in-between) and how they relate to the chords (slow ballads are good to start with).
Often classical musicians will find notated jazz solos and try to replicate them as if it were a classical piece needing to be learnt. Unfortunately, this does not help much in them learning to improvise, because all that usually happens is that they can play someone's solo (with no reference to the internalised feeling the soloist had, no listening or reacting with the rhythm section). It would be similar to learning phrases in a foreign language without knowing what it means nor the background environment that evoked this phrase. (Yes, we have all studied and analysed notated solos, but the purpose in doing this is a little different.)
One idea is to start simply with one or two chords (scales) and get comfortable with improvising with this. A popular recording is Miles Davis's Kind of Blue album which was based largely on modal improvisation. Using just a few chords for most of the pieces, you can hear the instrumentalists as they develop their solos, use the language of jazz and create wonderful phrases ... to create wonderful solos, all on those few chord progressions. Transcribing some of these solos where they have not been encumbered by complex scales and chords can be very useful.
Ideas
* Use Anytune Pro (or similar) for transcribing;
* Create simple chord progressions as songs in iReal Pro or use loops to practice;
* Practice your improvisation using both pizz and arco because the notes sound different (decay time) and may inspire you to choose different notes for your phrases or come up with different ideas;
* If you become disheartened, find ways to become inspired instead. (When watching YouTube, practice learning to invert any disheartened feelings, replacing them with inspiration);
* Listen to great players play ballads because the notes and phrasing and inflections are going past slower. Playing ballads can feel very exposed, because each note has to sound gorgeous. (Check out Chet Baker for instance as he sings and plays trumpet.) As you improvise, make sure each note of yours sounds gorgeous also;
* Sometimes don't be scared to stop your improvisation phrase if you played something which did not sound the best and could be improved on. I will often stop and practice the phrase slower or more deliberately many times, just so it might be there under my fingers spontaneously another day;
* Start with small steps toward your goal, then continue on with small steps;
* Use the recording function within iReal Pro every few months, just so you have a comparison over the course of a year or two. (No one else needs to hear them necessarily—it is a reference just for you.) Sometimes you lose sight of where you were and how far you have come;
* A useful book might be Improvising Jazz but there are many others that would be useful
https://www.amazon.com/Improvising-J.../dp/B00B0L3E6A
* Get together with others to practice improvising so you get used to listening while soloing (and listening while someone else solos);
* A good teacher, not necessarily a jazz cellist would be able to help you also. (Perhaps an upright bass player who could also accompany you as you learn.)
Hopefully something here will be useful. Others might like to reply and give you further ideas.
Best wishes, and always have fun!
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