[Dixielandjazz] What I've noticed at Festivals

[William ♫Sharp]

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