[Dixielandjazz] What I've noticed at Festivals

[Gary Lawrence Murphy]

(gary applauds jim's post, then steals from it for his facebook
profile quote-of-the-day ;) )

On 11/10/14, Jim Ivy <jim at jimivy.com> wrote:
> Great article. The only thing I would say is that I do not think it has
> anything to do with the age of the performers.  Rather it is related to the
> musical "intelligence" of the performer.  Regardless of age, there are
> plenty of "performers who will never look past the 'right notes' for
> expressive possibilities. Dynamics, articulation, tonal shifts,
> manipulation of pulse, and of course that most powerful of musical effects,
> SILENCE, may never occur to those of us more akin to Salieri than to a
> dixieland Mozart.  I would venture that if you suddenly restored 20 years
> to the "dixieland karaoke" machine, it would still be karaoke.
>
> Not that that is all bad.  Even karaoke is better than no music at all.
> Performing music is a different activity from listening to music and has
> value in and of itself.  Regardless of age and musicality, I would like to
> see more rather than fewer folks who make music. I may not want to listen
> to what they are doing, but I still believe that their effort is increasing
> the total sum of happiness in the universe.
>
> There will always be room at the top for those who do have the musicality
> and discipline to climb there. Those of us in the middle and bottom of the
> pack can draw inspiration and motivation from those at the top.  When, and
> if, we become weary of our own mediocrity, it only means that we, like
> Salieri, can recognize musical genius even if we do not possess it.
>
>
> On Tue, Oct 28, 2014 at 10:42 AM, Augustine Daniel <ds.augustine at utexas.edu>
> wrote:
>
>>     Bravo!  These (B#) observations have needed to be said for a long
>> time.  And perhaps for the bands here in the 'hinterlands' it is even more
>> true.  Austin and central Texas are not quite as 'hinter' as some other
>> places, but we still have our share of trad bands that play every old
>> chestnuts in the same key and tempo and in the same form (intro, head,
>> front-line solos, head, end) every show for decades.
>>     Even worse, as Mr. Sharp says, is that they rarely try to connect with
>> the audience and play as they as though they're still in their
>> living-rooms, sometimes even (gasp) with their heads buried in the music.
>> I like to watch the audience as i play, and if their feets or fingers or
>> heads ain't tappin' or snappin' or movin' in time with the music -- or if
>> the dance-floor is empty -- the band ain't doin' their job.  It's not
>> enough to play the notes.  You have to entertain.  Entertain the audience
>> and yes, entertain yourselves, 'cause if you aren't having fun, mixing
>> things up, taking chances sometimes, trying new things, stretching, what's
>> the point?
>>
>>     Dan
>>
>> bc: a whole bunch of folks, some who don't need this advice and some who
>> do
>>
>> ---------------------------------------------------------------------------------------------
>> On Oct 28, 2014, at 9:33 AM, William ♫Sharp <A1tradtrmpt at att.net> wrote:
>>
>> SETTING A STANDARD AS A BAND AND MUSICIAN
>>
>>  Should you still be playing?
>>
>>  I just spent one whale of a fine weekend in Pismo at their annual jazz
>> festival, and really had a marvelous time hearing some exceptional bands
>> and musicians.  A couple of months ago I attended the Hot Jazz Festival in
>> Rancho Cordova, and had a similar marvelous experience.  Why, in both
>> cases
>> were the experiences so marvelous?  Here’s why:  the bands were obviously
>> there because every musician and band were selected from the top of their
>> class.   They didn’t just play music, they performed it with a verve and
>> panache which so many bands and musicians don’t have or display on the
>> standard jazz club circuit.
>>
>> I’m beginning to realize that the senior musicians which are still pumping
>> out the best musical performances are those who are still keeping up their
>> chops and continue to display their love for what they do.  As the Musical
>> Director for the SJDJS for 3 years, I get requests from lots of bands that
>> want to play at our club, but I need to tell you that so many of them are
>> bands that have been around forever, and may play "pretty good", or “
>> decent” music, but the drive just isn’t there any more.   Many play songs
>> that are so predictable in the stylings, arrangements and tempos that they
>> are essentially dixieland karaoke.
>>
>> I suggest that in order to become “fresh" they  could, as an example,
>>  examine their tempos -  - change them up.  Who says that Chinatown is
>> always fast?  Make it part of a medley.  Do you even do medleys?
>>
>> Take a look at every song you play.  If it is nothing more than a copy of
>> the traditional way it is played,( once again: Dixieland karaoke) then get
>> more creative with things to do to the tune.
>> What about changing keys? ( even 2-3 times in a tune).  I’d say that if
>> you’re playing in group that doesn’t occasionally do that, there’s one
>> clue
>> that you’re not "fresh”.
>>
>> I can name multiple bands that, should a tune like Sweet Georgia Brown be
>> called, they would all play it at the same tempo as one another, starting
>> with a count- off, then head right into the tune, play a few solos, then
>> end it - - all with nothing new, interesting, or clever happening during
>> the presentation. Evidence that they are just a group of fellows that gets
>> together perhaps even as often as once a week because they still love to
>> play, draw up a tune list, give themselves a name, then start looking for
>> gigs. If you’re not heading to your next rehearsal with some ideas about
>> how to freshen up a tune, then why are you going?
>>
>> None of that happens with the really good bands you hear at the festivals.
>> Their "spice of life” is variety.
>>
>>
>> Examples of what they do: Play a song with a unique intro, add verses to
>> songs where the verses have not usually been played.  They don’t go down
>> the traditional front line for solos: Clarinet, Trumpet, Bone - - -
>> Boring.  They do some original thinking on instrumental combinations. For
>> instance, have only the banjo play behind a muted trumpet.  The brass guys
>> make more use of their mutes - - get their horns to “talk”. A very
>> important thing is that they relate to the audience and get the audience
>> to
>> relate to them.
>>
>> What the good festival bands do is so unlike many of the bands that apply
>> to play at our society - - many groups wanting to be booked at the clubs
>> may have their  their  library of songs, they collect the musicians, they
>> wanna play, which they do,but not in an interesting way -  - once on stage
>> there is no rapport with the audience because they bury their noses in
>> their books, look only at each other, talk a bit to one another between
>> tunes about “What’s up next? What key?” and forget that they have people
>> in
>> the audience they need to be relating to. These uninteresting bands and
>> players are a part of the network of surviving musicians who played trad
>> all their lives, and want to keep playing, but when they do get together,
>> the music played is no better than that which is played in some of the
>> better jam sets. Really.  If they were truly honest with themselves, they
>> too would be saying to themselves. “Yep, that’s us. Really!”   I think of
>> the once incredible musicians who just seem to now be in a band because
>> it’s "something to do”. They play “so-what” solos, put down their
>> instrument and sit back, as though what they just did interrupted their
>> nap.
>>
>> One thing every single one of the festival bands had was a strong and
>> entertaining M.C., one with short anecdotes and quips about band members,
>> songs, composers, gigs, and other miscellaneous topics. They get a few
>> good
>> chuckles from the crowd now and then.
>>
>> One of the Biggest Sins: One thing that almost always happens when the
>> “garage/living room bands” show up, is that they never ( and I do mean
>> never) make use of dynamics.  You could set a decibel meter on a table a
>> few strides away from the band, and the needle would show the same volume
>> level throughout the entire set, when the band is playing. Also, the
>> instruments aren’t being raised up in the air so that that a particular
>> musician shows definite pride in playing a solo -  - the old guys are more
>> than likely to have reached the point where they will probably be
>> directing
>> their solo at an angle down to the floor, rather than up in the air.  Once
>> finished, they have more of a look of “well, I made it through that one”,
>> rather than “ that was sure fun”, ( showing it with a big grin on their
>> face while looking at and recognizing the crowd that may be applauding.)
>>  Some festival soloists take a moment to wave an arm or bow to the crowd
>>  to say “thanx”.
>>
>> Just ‘cause you’re up there in years doesn’t mean that you can’t be a
>> musician the crowd wants to hear, as demonstrated at the festivals.  Chet
>> Jaeger comes to mind - -he announced that he’s turning 90 in a few weeks,
>> but the crowd loves him - - he loves the people, and when he plays a solo,
>> he puts something into it that shows the “wheels are turning”, still
>> trying
>> to play the song differently then the last time.  His playing attitude is
>> vibrant with the fact that he seems to be inwardly saying, “ Dammit all,
>> I’m gonna give these people the best I’ve got !  - -  Full speed ahead”.
>>
>> When so many of the types of bands I am so obviously “picking on” leave
>> the building, then 10 minutes later, if no one is still talking about
>> their
>> performance, then it was probably not a worthy over-all performance.
>> Chet’s
>> band leaves the the stage and people are still talking about them in a
>> highly positive manner many days later, recalling how well the band, under
>> his strong leadership comes across. You get the idea that every member is
>> not playing for the band they’re in, but for the audience.  It’s all about
>> the audience and how they perceive you, not only as a band, but as an
>> individual.
>>
>>
>> Many of the groups wanting to perform at the jazz clubs even have videos,
>> often numerous videos, on youTube.  They should take a look at them and
>> see
>> if the things I’ve described apply to their band. I can even name some
>> bands that, because they’ve been around so long, must be under the
>> illusion
>> that they are still at the top, when actually they have slid to bottom,
>> and
>> are unwilling to admit it.
>>
>> Some of the members should pack it up. When? When you can’t play 3 sets,
>> and run out of steam midway through the 2nd set. We in the audience see
>> it.
>> Fellow musicians see it. But you don’t.  If you can’t be as strong on the
>> very last note, on the very last song of the very last set ( and with a
>> smile on your face !), there’s your sign. Pack it up.  Become a member of
>> the audience, supporting the musicians onstage, especially many of the
>> fine
>> youth that are carrying the torch.
>>
>> Your own personal test that you can do if the safety of your own home - -
>> - Do this: Get out your instrument, find some videos on youTube, or dust
>> off your old albums, and play along with the bands for a time period
>> equivalent to playing 3 hard sets  of 45 minutes, with a 15-30 minute
>> break. See if you get any new ideas in your head regarding your solos.
>> Pretend you have a huge audience, and you communicate with them in some
>> fashion, visually and instrumentally. If you aren’t wiped out at the end,
>> then you’re still “good to go” and should continue to be apart of OKOM.
>> If
>> not, well, sorry, but the time has come to face dreaded reality. Give your
>> instrument to the jazz society to donate to a young musician.  I may be
>> talking about myself real soon, if not now. At least I know what the signs
>> are.
>>
>> Bet I made a lot of “friends” with this article.
>>
>> B. Sharp
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>> **--------------------------------------------------------------------**
>> **  Dan Augustine  --  Austin, Texas  --  ds.augustine at mail.utexas.edu
>> **     "Jazz will endure just as long as people hear it through
>> **      their feet instead of their brains." -- Louis Armstrong
>> **--------------------------------------------------------------------**
>>
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