[Dixielandjazz] The value of Theory / The value of Ears & Energy

[Steve barbone]

CAVEAT: This is long and involved and based upon personal experience. So if
you think it might be a brag and/or repetitive, PLEASE DELETE NOW.

IMO knowledge of musical theory is certainly important. Perhaps the most
important factor in one's being an excellent jazz musician or not, in this
day and age. And certainly ears are important.

Are they mutually exclusive? . . . No.

Can one succeed having one but not the other? . . . Yes.

How do we reconcile? . . . See below.

1) Playing at the Showboat involves me in a small but LOUD New Orleans Style
Marching Band. Basically an "Ears" band playing the "Dirty Dozen"/"Rebirth"
repertoire, plus some Stevie Wonder. Our mission is to excite the crowd, get
second line dancers to follow us, schmooze with them, and make gambling
losers feel that they got some ENTERTAINMENT for their money.

Does not involve much theory as the tunes are simple: Mix of Dixieland plus
"Goin To The Mardi Gras", "Bustin Loose", "Sir Duke" etc., some Zydeco
and/or Cajun. All learned by ear from 99 cent downloads of Dirty Dozen,
Rebirth, Olympia Brass, and Average White Band recordings etc.

ENORMOUSLY SUCCESSFUL WITH THE GENERAL AUDIENCE. (many gigs)


2) Playing as a sideman in various bands tilted towards OKOM Festivals and
Jazz Society audiences, involves me in arranged song formats. Obscure tunes
demand that I read a chord chart at least, and for some songs where I play
an intro, reading a lead line in the concert key and transposing to clarinet
key. Basic aim to please a specific audience, albeit small.

NOT SUCCESSFUL WITH GENERAL AUDIENCE. SUCCESSFUL WITH OKOM FESTIVAL GOER
TYPES. (few gigs)


3) Playing as leader of my own group, either Dixieland 6 piece, or as trio
or quartet leader of American Songbook tunes. This is also a mixture or ears
and theory. Basic tunes, learned long ago, some by reading lead sheets, some
by ear. Varied venues. Basic aim to please diverse audience in diverse
venues. Work with other professionals who must mesh immediately on the job.
MUST know some theory and MUST have ears to make this type of band sound
together. Many subs are used because of the heavy schedule and virtually ALL
of the subs are PROFESSIONAL MUSICIANS.

SUCCESS WITH GENERAL AUDIENCE AND WITH JAZZ SOCIETY AUDIENCES. (many gigs)


Point  being? That to be a successful, per my definition, (read making a
living at it) jazz musician in this day and age, one must have both ears and
theory in the background makeup. How you mix it, or how you define "Jazz
musician" is up to you, but with rare exception, both are necessary. And it
is what a band leader or musician, is trying to do that governs how much of
either he/she put into the equation. Caveat, "successful" is most properly
defined by the individual. Yours may vary from mine and that's fine.

Ed Metz's Bob Cats are an excellent example of what a good mixture of theory
and ears can produce. His latest recording, Prayin Humble, Payin Tribute is
a stunning showcase for a band with solid theoretical training, as well as a
band with solid ear facility. His arrangements are wonderful (theory) and
the band swings its collective ass off (ears) It could neither have been
produced by ear alone, nor by theory alone. The personnel are "COMPLETE"
jazz musicians. Buy the album to become aware of just how good it is. Ed is
a list mate so just ask him how to get it.

Further, to play or listen to the more modern forms of jazz, or classical,
one better damn well have some theory foundation, or LOTS of listening
experience. You just can't hear a lot of what is going on in music these
days without having one or the other. That doesn't make it or you bad, just
makes your ears not ready for it.

It depends what a musician is trying to accomplish. e.g.

a) Fame and/or Fortune; Appeal to the Mass Ear.

b) Limited recognition of "Dixieland Fans"; Play obscure or "listenable"
tunes to that small group.

c) Recognition as a Virtuoso Jazz Musician; Cram in all the theory you can,
practice 10 hours a day for 25 years. Learn ALL SCALES and ALL CHORDS from
ALL GENRES. from ALL PARTS OF THE WORLD. Remember though, no matter how good
you get, folks will run you down because they don't understand your music
and most of us have a deathly fear of what we do not understand and so we
put it down. IGNORE THEM. A very few will understand and applaud your
genius. BELIEVE THEM. Or, if we are really secure, just do your thing and
ignore everybody else because it is what YOU DO that counts.

There are many more goals to achieve then those 3 above, but enough said. I
apologize if this was boring and/or repetitive and/or otherwise pissed
somebody off. Just deal with it. ( Yeah, I know . . . arrogant? Not really
just saying the way it is from my perspective.)

Cheers,
Steve Barbone