[Dixielandjazz] Playing the same thing over and over

[Richard Broadie]

Does anyone remember Glen Gray's "No Name Jive?"   It was originally a "head
arrangement" that got out of control.  It finally reached the point,
according to the story, that the band had to by a stock arrangement of their
tune to figure out what the original melody line was.  The dynamics of the
head arrangement is a corollary of  Tom's analysis re: boredom on playing
the same songs night after night, exactly the same way.  I have considerably
less experience playing with big bands, but grow very weary of playing
things exactly the same way.  Fortunately, on piano, I ususlly have changes
to guide me so I can play them differently in every performance.  I'd hate
to get stuck on the horn parts where very little flexability may exist save
the ad lih solos that are sometimes allowed.

I agree that communicating with the audience is essential.  Sometimes, when
we hardly have an audience, it's enjoyable to stretch out as to entertain
our fellow musicians on the stand.  It may not feed your family but it sure
can be fun.  Perhaps you might even educate your audience to a higher level
of music.  It this possible?  Dick
----- Original Message -----
From: <TCASHWIGG at aol.com>
To: <dixielandjazz at ml.islandnet.com>
Sent: Saturday, June 28, 2003 10:01 AM
Subject: [Dixielandjazz] Playing the same thing over and over


> Hi folks:
>
> I would like to take the winging solos & improvisation thread in another
direction for a minute if you don't mind, but how it relates to another
common situation for many top star entertainers and musicians that I have
worked with.
>
> We all get bored playing the same song exactly the same way every time
which is why we head down the path of improvisation to get away from the
original chart or the way we heard it on a record etc.   I would suspect
that this is how improvisation actually became so popular long before my
time.
>
> It also could of course come about by beleagured song and tune writers
trying to find the right arrangement for their song by constantly changing
the format and the notes till they got what they liked.
>
> Anyway, if you folks get bored playing the same old book and arrangements
think about the poor singer or musician that GOD FORBID sells out and gets a
Mega Hit record worldwide.   They must learn to improvise quickly because
they will be required to perform that song incessantly for the rest of their
lives at every show they ever perform at.
>
>   It comes with the territory, and the fans that bought the recording and
made them famous will continue to pay their money to attend live
performances of the artist so long as they can hear that (those songs)and
the artist who made them famous.   Not to mention the countless bands that
add it to their performance repertoire and start to play it at weddings,
parties and clubs everywhere to please the fans who request it.
>
> And God Help the artist that only had ONE big Hit, although it will make
them a living for the rest of their lives, they will bore themselves to
heavy drink or worse and may never find another hit for twenty years or more
or even never.   When this happens they are quickly relegated to playing
OLDIES shows where they trot out all the one hit wonders that were created
by the record companies in an attempt to make a concert of former stars.
>
> So the next time somebody walks up to you at a gig or shouts out Play
Marchin the Saints!  just smile and improvise it to Hell and back and watch
the glow come across their faces, that's really what it's all about this
game of music and communication.
>
> cheers,
>
> Tom Wiggins
> Saint Gabriel's Celestial Brass Band
>
> I am having some problems with my computer today, so if there are spelling
errors in this please bear with me, I am accessing my mail from another
unfamiliar system and I can't find a spell checker in this program.   I am
not trying intentionally to sound illiggerent!! :)
>
>
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