[Dixielandjazz] What I've noticed at Festivals

[Marek Boym]

Hello,
I am on the other side - the audience side.  And  I couldn't agree more,
even if I don't understand all the "key" stuff.  I have been complainig of
boring repertoire, with different bands  playing the same warhorses the
same way.  True, there are reasons why some numbers have become standards
and others have not, but that can be changed.  And should.  I remeber
having the feeling Bill described many times.  Only recently, at a jazz
festival, I made a point of hearing a band I have heard many times live and
whose records I cherish only to find that it sounded but a pale copy of
itself.  Back in 1976, my wife and I went to a Dutch pub feturing jazz.
She was tired and wanted to go to bed.  I accompanied her - and didn't go
back, despite the stamp they made on my hand so as not to charge entry
again - the quality of playing did not justify it.
Luckily, it is never the problem with our own Isadixie Band, which  all the
time comes up with new tunes and wonderful arangements.  The band features
two octogenarians - Merton Cahm and Jacqes Sany, and they always sound
great!
Cheers

On 28 October 2014 17:42, 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
> ______________________________________________
> To unsubscribe or change your e-mail preferences for the Dixieland Jazz
> Mailing list, or to find the online archives, please visit:
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
>
> **--------------------------------------------------------------------**
> **  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
> **--------------------------------------------------------------------**
> _______________________________________________
> To unsubscribe or change your e-mail preferences for the Dixieland Jazz
> Mailing list, or to find the online archives, please visit:
>
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
>