When I have performed music in public, it has never been my objective to “get house.” There are those who choose to serve the music, and there are those who perform music in public (or on social media) with the objective for music to provide something for them.
"Getting house." I haven't heard that one in a while. But I do understand that it can be a very strong temptation to resist, especially on one of those long tours, or when you see someone in the audience you want to impress.
this is a brilliant article (again), thank you. it reminds me of an interview with the late ralph towner. if you allow to share the very end of it: "You’ve said one of your key goals as a musician is to transcend your instrument. Elaborate on that.
A great example of that is Miles Davis. When you listen to his music, you never say “That Miles Davis is such a good trumpet player.” That’s because when you hear his music, it puts you in a difference space. He was a master storyteller. The distinct atmospheres he created ensured you’re never worried about whether or not he could play the trumpet. Rather, you’re thinking about the feelings the music is conjuring up. So, my goal is to play the instrument well enough so people pay attention to the music and forget about the fact that they are listening to a guitar. When people are too conscious of what a good guitar player you or how clever you are, it puts things into the realm of a circus for me. Your cleverness should be used to make people be non-judgmental about the instrument and how it’s played, and become swept away by the story you’re telling." (https://www.innerviews.org/inner/towner-3)
in contrast to maestro towner, sir miles dewey davis III. usually did not play solo, but in bands full of “monsters”, the absolute cream, young, thirsty, usually handpicked by the trumpeter in the way of a squadron leader, mafia boss or championsleague manager prior. which makes his music the ultimate example of well balancing the principles as described in SN’s article above (and playing a RT tune solo also brings me to my guitaristic limits to be fair).
Some view the use of the descriptive phrases like “killing it”, “nailing it”, etc. as reflecting a gender bias in the scene, too much testosterone on display. Or is it just something about the New York scene and its influence. It is interesting to note that the brilliant musicians who formed the AACM in Chicago were committed to community and education. When some of them moved to New York, their efforts at community building diminished relative to building and maintaining a career (see George Lewis, “power stronger than itself”.
Yeah, I imagine community building is lot easier outside of New York. Other places seem to give cats more time to think, rather than always being on autopilot. Just my observation.
This hits home, and I think about it often. I’m guilty of both cowering before the technically dominant solo, and at times of overplaying myself. Most readers will assume this is applicable only to “straight ahead,” but I’ve also cowered before those who have mastered extended techniques in more freeform music. For me, it’s important to remind myself, “That’s great for them. What can I reasonably do?” It usually begins with allowing more space, and listening and interacting. I think there’s a societal gender norm aspect to this (where the boundaries of who exercises these norms are fluid) that many still don’t want to admit. But Wayne is a perfect example of the alternative, even though he often “killed it” (I hate the term as well).
It is true the Wayne killed it. But I often think of it as him having thoroughly satified the musical moment. And regarding what you said about space, I find my self doing something similar. If I'm on stage with people who are killing it, I tend to tap more into my texutal side, or I might focus on introducing a different kind of musical architecture.
Totally agree with you Sam, thanks. Art without a touch of poetry and sensitivity is meaningless. As a teacher I see the students tend to go in the opposite direction because they are immersed in this Youtube culture of playing fast lines and showing technique. It's importance that us teachers & older players remind them that they have to find their own way of expression
I don’t think other players have made me want to quit, so much as *I* made me want to quit because of my own insecurities and stupid need to compare myself. I just projected my hangups onto them.
I would like to believe some of this could be remedied through the education of young musicians.
If educators spent less time on improvisation/standard bebop, post-bop, and improv from the early 1960s, where the soloist is often only using the other musicians as their play-along, and more time on improvisational settings where interaction, deep listening, and sound, not licks, were promoted, we might be on a pathway towards a more creative, open-minded individual.
Music as a sporting event will probably never go away.
We live in a very competitive society that holds "winners" and "losers" as the benchmark for success. I have to believe that this permeates so many areas of our lives in ways we don't often even realize.
Perhaps for most young people, focusing on speed, technique, and "perfection" is something they have to go through with the hope that they will eventually grow beyond those narrow boundaries.
I do understand that instrument battles and cutting contests are important parts of the musical culture. They can be very engaging, inspiring, and a lot of fun to listen to.
But I guess I'm talking about music that comes from a place that represents the human condition: joy, vulnerability, sadness, exuberance, restraint—all of the qualities that make someone sound human, not perfect.
And all of the things you mentioned can certainly be effective pathways to arriving there.
OMG, thank you for putting this into words. Of course there are other things at play here, relationship between musicians, the whole scene and business angle of things. Sometimes saying, “I just want to quit”, is a way of giving a perceived hip compliment in a certain situation. Not really meaning it. But the combative versus communicative approaches are an excellent observation. Sometimes I used to feel after seeing a live performance that either I suck or they suck. I think I’ve grown out of that. And I will name names and say that every time I’ve seen Kenny Garrett live, I’ve walked out of the room, feeling joyous, and that I wanted to play music the next day.
You make a good point about how saying, "I just want to quit," can also be a high compliment, and not just an expression of frustration or insecurity. Kenny Garrett is a great example of someone who brings an incredibly high level of skill to the situation while still leaving everyone on the bandstand feeling inspired.
Opening up, inspiration, meaning, beginning, poetry is the whole point. If that’s not the point, put down your horn.
Right on!
Thank you Sam!
When I have performed music in public, it has never been my objective to “get house.” There are those who choose to serve the music, and there are those who perform music in public (or on social media) with the objective for music to provide something for them.
"Getting house." I haven't heard that one in a while. But I do understand that it can be a very strong temptation to resist, especially on one of those long tours, or when you see someone in the audience you want to impress.
this is a brilliant article (again), thank you. it reminds me of an interview with the late ralph towner. if you allow to share the very end of it: "You’ve said one of your key goals as a musician is to transcend your instrument. Elaborate on that.
A great example of that is Miles Davis. When you listen to his music, you never say “That Miles Davis is such a good trumpet player.” That’s because when you hear his music, it puts you in a difference space. He was a master storyteller. The distinct atmospheres he created ensured you’re never worried about whether or not he could play the trumpet. Rather, you’re thinking about the feelings the music is conjuring up. So, my goal is to play the instrument well enough so people pay attention to the music and forget about the fact that they are listening to a guitar. When people are too conscious of what a good guitar player you or how clever you are, it puts things into the realm of a circus for me. Your cleverness should be used to make people be non-judgmental about the instrument and how it’s played, and become swept away by the story you’re telling." (https://www.innerviews.org/inner/towner-3)
Well-said.
One gazillion likes.
Thank you for this.
in contrast to maestro towner, sir miles dewey davis III. usually did not play solo, but in bands full of “monsters”, the absolute cream, young, thirsty, usually handpicked by the trumpeter in the way of a squadron leader, mafia boss or championsleague manager prior. which makes his music the ultimate example of well balancing the principles as described in SN’s article above (and playing a RT tune solo also brings me to my guitaristic limits to be fair).
Some view the use of the descriptive phrases like “killing it”, “nailing it”, etc. as reflecting a gender bias in the scene, too much testosterone on display. Or is it just something about the New York scene and its influence. It is interesting to note that the brilliant musicians who formed the AACM in Chicago were committed to community and education. When some of them moved to New York, their efforts at community building diminished relative to building and maintaining a career (see George Lewis, “power stronger than itself”.
Yeah, I imagine community building is lot easier outside of New York. Other places seem to give cats more time to think, rather than always being on autopilot. Just my observation.
This hits home, and I think about it often. I’m guilty of both cowering before the technically dominant solo, and at times of overplaying myself. Most readers will assume this is applicable only to “straight ahead,” but I’ve also cowered before those who have mastered extended techniques in more freeform music. For me, it’s important to remind myself, “That’s great for them. What can I reasonably do?” It usually begins with allowing more space, and listening and interacting. I think there’s a societal gender norm aspect to this (where the boundaries of who exercises these norms are fluid) that many still don’t want to admit. But Wayne is a perfect example of the alternative, even though he often “killed it” (I hate the term as well).
It is true the Wayne killed it. But I often think of it as him having thoroughly satified the musical moment. And regarding what you said about space, I find my self doing something similar. If I'm on stage with people who are killing it, I tend to tap more into my texutal side, or I might focus on introducing a different kind of musical architecture.
Totally agree with you Sam, thanks. Art without a touch of poetry and sensitivity is meaningless. As a teacher I see the students tend to go in the opposite direction because they are immersed in this Youtube culture of playing fast lines and showing technique. It's importance that us teachers & older players remind them that they have to find their own way of expression
So true. Internet has made aiming for likes and share the new norm. Which doesn't leave much room for longevity.
I don’t think other players have made me want to quit, so much as *I* made me want to quit because of my own insecurities and stupid need to compare myself. I just projected my hangups onto them.
Good point. Ultimately, how we feel and what we take from a situation is up to us.
Agreed Sam.
I would like to believe some of this could be remedied through the education of young musicians.
If educators spent less time on improvisation/standard bebop, post-bop, and improv from the early 1960s, where the soloist is often only using the other musicians as their play-along, and more time on improvisational settings where interaction, deep listening, and sound, not licks, were promoted, we might be on a pathway towards a more creative, open-minded individual.
Music as a sporting event will probably never go away.
We live in a very competitive society that holds "winners" and "losers" as the benchmark for success. I have to believe that this permeates so many areas of our lives in ways we don't often even realize.
Perhaps for most young people, focusing on speed, technique, and "perfection" is something they have to go through with the hope that they will eventually grow beyond those narrow boundaries.
I do understand that instrument battles and cutting contests are important parts of the musical culture. They can be very engaging, inspiring, and a lot of fun to listen to.
But I guess I'm talking about music that comes from a place that represents the human condition: joy, vulnerability, sadness, exuberance, restraint—all of the qualities that make someone sound human, not perfect.
And all of the things you mentioned can certainly be effective pathways to arriving there.
OMG, thank you for putting this into words. Of course there are other things at play here, relationship between musicians, the whole scene and business angle of things. Sometimes saying, “I just want to quit”, is a way of giving a perceived hip compliment in a certain situation. Not really meaning it. But the combative versus communicative approaches are an excellent observation. Sometimes I used to feel after seeing a live performance that either I suck or they suck. I think I’ve grown out of that. And I will name names and say that every time I’ve seen Kenny Garrett live, I’ve walked out of the room, feeling joyous, and that I wanted to play music the next day.
You make a good point about how saying, "I just want to quit," can also be a high compliment, and not just an expression of frustration or insecurity. Kenny Garrett is a great example of someone who brings an incredibly high level of skill to the situation while still leaving everyone on the bandstand feeling inspired.