Thoughts on "Good Enough"

Darcy wrote a really nice recap of his IAJE experience, you can read the whole thing here, but there is one section that really stood out for me:

"The jazz tradition isn't about elements of style or a particular harmonic or rhythmic vocabulary, and it's not about some bullshit notion of "progress" in music, either, where "progress" = "increasing density" -- it's about having the fortitude to get out there and make a heartfelt personal statement that only you can make.  You want to honor the legacy of Bird or Miles or Trane or Mingus -- honor their searching, individualist spirit.  Study the past but make YOUR OWN music." [emphasis mine]

-Well spoken sir!

For a long time I put off making my own music.  At first, I felt it was more important to study the masters at the expense of all else.  I still feel this is a valid way to STUDY music, but not to be an active participant in the music.  I put off bringing my tunes/charts etc around to gigs and I would never program a whole set, let alone, a concert of my music.  My reasons for this were "it's not good enough".  I think I used to equate (and I still can if I'm not careful) "good enough" with "sounding like X".  I have come to terms with the fact that I will never sound like Trane/Wayne/Newk/Joe/Bergonzi/Lieb etc, but I can, will, and do sound like me.  As DJA says above, only I can do that.  

There was an interesting discussion going on in the comments section of my post "You're Doing it Wrong".  My Sister-in-Law, who is an author and has thoughts about this same type of thing, had a lot to say about the idea of "good enough".  Here is an excerpt:

 "Well I think getting to the point where I can say it is okay to be "good enough" - putting that enough on the end really helps.  But I think what helps me to get to that "good enough" point are two things - reading other writers and how they write - learning that there is no "right way" to do it - and reading many, many books and being able to see that I write as well as or better than a lot of authors who have already been published.  Although being able to see that means ignoring the emotional part of me that says how - horrible, stupid, idiotic, etc... - my writing is and getting to the more objective part that can assess those kinds of things."

What I am coming to realize is that waiting until it is good enough is important, but being objective about that point is MORE important.  It can be a double-edged sword as "good enough" can give one license to move on from or abandon the work before it is ready while "not good enough" can become a cop-out, shield to hide behind, and ultimately the sand that we bury our artistic heads in.

If we as artists put our minds into a quiet objective place, chances are we'll see that much of our work IS "good enough" and deserves to be put out there.  

As one final word about The Madness, I'll say that the most inspiring thing for me was hearing and seeing so many artists that, I'd guess have or continue to struggle with, this putting it out there.  It's time for more of us to do that.      

Back Home

It is nice to back after four whirlwind days.

Not much to say that hasn't already been said.  I want to mention the post by Carl Wilson (Zoilus).  Carl was on the panel that discussed Blogging.  He shares some good thoughts here.

Also, I just want to send out my respect on the anniversary of Michael Brecker's passing.  Much has been written and I won't add but to share my one Brecker Story:

My wife took me to see the "Directions in Music" tour in 2003 (I think).  We were living in Chicago and the group was at Ravinia.  We were on the lawn which is normally a bit noisy with picnickers etc.  Michael played the solo version of Namia and it went about 10 minutes.  At the end, the whole park was silent, it seemed like the crickets even shut up.  I had never been in an outdoor setting where the audience was SO tuned in to a performance.

Remember him in your own way today...

Day 4

OK, it took me three tries to log in...I must be tired!

Today was mostly about hearing music.  A couple of good sessions; at 9:00am (damn...) there was a research presentation on Blogging and the Jazz Community.  Ken Prouty did some good research, including blogs such as Greenleaf and Be.Jazz.  During the Q&A we had a good discussion about the vibe in academic circles regarding blogs as a valid research source.  Granted, he is one guy and can not speak for the whole of the academic world, but I was encouraged by his thoughts.  He feels that artist blogs are great resources for students.  I worry that some of the more conservatively minded will let the "Peer-Reviewed" thing get in the way, but if a student is researching, say, trends in contemporary classical composition, what better place to start than with something like Eighth Blackbird's blog?

The think I like most about this conference is how much new music I get exposed to.  The SOCAN/IAJE Composer Award performances piled on even more inspiration.  The emerging award went to Andrew Jones and the established award to Fred Stride.  Props to the Paul Read Orchestra on stellar performances.

This evening I caught a set by the DMB Quintet.  3/5ths of this group (Ian Froman, Mike Murley and Jim Vivian) was at The Rex last night with Lieb.  Add to that David Braid on piano and Tara Davidson on Alto/Soprano and you have the group.  With the exception of Froman, these are all cats I was totally unfamiliar with and probably would have remained so.  I am so glad they played here. The compositions were very interesting, utilizing sectional writing, different orchestrations away from the horn(s) with rhythm paradigm, and deep, deep playing.

The closing concert was very forward looking:  

Francois Houle Octet - I once heard Ellery Eskelin speak about the time feel in free music being more related to momentum than pulse and I definitely caught that tonight.

Les Projectionnistes - These guys were great, there was a bit of a Zappa vibe but they really reminded me of some bands I used to listen to in the 90s like Mr. Bungle.  I hate describing someone's music in the context of someone else; these cats were very original - as the bone player said "we don't play jazz, we play music".

Finally, Barry Romberg's Random Access Large Ensemble - I am totally repeating myself, but this killed too.  

All and all - I am exhausted, both physically and mentally.  Overall, I think IAJE did well with presenting creative music.  I really dug getting to know what I am sure is just the smallest bit of the Canadian jazz and creative music scene, I have a lot more music to check out and I look forward to learning more about all of these cats.  Safe travel to anyone going tomorrow...

Day 3 Addendum -Lieb's hit

Ok, let me get this off my chest first...I will never understand why a group of people would stand in line for 45 minutes, pay $20.00 and TALK through most of the set!!!!!  Sorry, I'm ok.  And to be fair it was just one person...but COME ON!

Rant complete, as you were.

The hit was very powerful.  The quartet of Lieb, Mike Murley, Jim Vivian, and Ian Froman have recorded together (Day and Night  -Live at the Atlantic Jazz Festival) and their empathy was very evident tonight.  Lieb always moves me.  If you know me or have been reading this blog with any consistency, you know that he is a former teacher, huge influence, and guru.  His commitment and courage to follow what he hears is a model for all.  If it's possible, I think his soprano sound is even becoming MORE expressive.  What really knocked me out, though, was the rest of the group.  I gathered that the trio is Mike Murley's working trio but I'm not sure.  Ian Froman was the only name I was familiar with.  This group KILLED!!!  The sensitivity to every musical stimuli was a wonderful model for the many students in attendance and the communication between Froman and Vivian was almost telepathic.  Can I just say, Ian Froman, DAMN!  He and Lieb got into it a couple of times and there were times I had the same reaction that I have at the 4:50 mark on Afro Blue from Trane's Live at Birdland...glorious tension and release.  Great night!

Day 3

The Psychosis is setting in earlier this year...

Another whirlwind day at IAJE.  I hear some great research presentations this morning.  Of particular note were Tyler Kuebler's presentation on Michael Brecker's improvisatory language and Matt Pivec's talk about Trane's motivic development c. 1959-63.  My favorite period of Trane's evolution was 1960- 67 and the elements Matt isolated translate very well into looking at Trane's language from that time.  Matt and I had a really nice talk after and I hope to keep in touch with him.  Tyler's presentation on Brecker was some of the best analysis I have ever seen.  He broke things down into the digital patterns, triads, seventh chords etc and was very organized.  I think I'll have to purchase the IAJE Research Proceedings this year just for these two papers.  On a slightly different note, we still have tomorrow to get through but other than Tyler's paper I have neither seen nor heard any discussion of any kind of remembrance of Mike.  I know that I will forever link his passing with this conference.  One can hope...

The next big thing was the panel discussion on blogging.  The panelists consisted of DJA, Carl Wilson, David Ryshpan, David Adler, and Neil Tesser.  There were good discussions and questions.  The major point I took away from the panel is that what I am doing here is an unqualified good thing.  Despite the, as Brother Carl would say, Billions and Billions of blogs out there, there are an obscenely few about jazz.  "From each according to his abilities..." I throw my hat into the ring.  I also met bassist, blogger, fellow traveler and all around nice guy Matthew Wengerd.  Check out his blog, 104 Weeks, here.  As for his very complementary comments about my content so far...wait until I get tired!  LOL cats will invade...

At 5:00 there was a very good arranging session on writing intros, shout choruses and endings. Mike Tomaro and John Wilson gave a nice advance look at their upcoming book.  It looks like a must get.  I know my students always have the hardest time with these elements because they require the most creativity.  Mike and John show some effective processes to get good material with a minimum of angst.

I'm currently back in my room; resting my ears and clearing my head.  I am sneaking away from the conference tonight to hear Lieb.  He is at The Rex @ 9:30.  If you are here, COME!!!  If you know Lieb's playing, the fact he is doing a gig should be all the persuading you need.  If David Liebman is a new name for you, you must hear this cat and his best work is always live.

Watch this space for a post-hang update on Lieb's hit... 

Day 2

Excellent day all around. 

 

IAJE has been referred to as "The Madness" by several in the blogosphere with good reason.  I have been to several and I am never fully prepared for the sensory overload.  Here are some of the highlights of day one:

Steve Duke's presentation on "Reducing Unnecessary Tension in Performance"

If you read my "favorite CD 2007" list, you know I am not above a little nepotism.  Steve was my Saxophone professor when I was in college, and remains a big influence.  The topic for his clinic today was a big part of my education back then (1990-1994).  The Feldenkrais Method is a wonderful way to learn about how the body organizes itself and by extension where tension "hides".  I have always found it very helpful and I still use it.  In speaking to Steve, I found out that it has been embraced by the saxophone studio.  This makes me happy, when I was there it had a bit of a polarizing effect.

The IAJE/ASCAP & Gil Evans Commissions

These pieces were absolutely astounding.  Ayn Inserto's piece with George Garzone, Tim Hagans' piece and Wil Swindler's piece were all amazing and all very different.  It is so inspiring to hear these compositions and explore the ideas and inspiration they provide me.  I just wish more of the membership would have stayed for Wil's piece.  Their loss...

Bill Dobbins' analysis of Brookmeyer's Willow Weep For Me

Dobbins demonstrated what most reading this already know -  both he and Brookmeyer are geniuses.  An informative and VERY detailed deconstruction of Brookmeyer's arrangement.  I hope that he someday publishes what he presented today. 

Exhibit Opening

This essentially functions as a big meet and greet.  Some photos below.

yours truly with Bob Cranshaw:  

yours truly with one of my gurus, David Liebman:

The HIGHLIGHT of the day so far has been Darcy James Argue's Secret Society.  I forget how I happened upon Darcy's wonderful blog, but I have been a religious reader for several months and it, in no small way was part of the inspiration for this blog.  One of the highlights is that he posts all of his concerts to listen to.  I dug his writing very quickly, it has an intensity and honesty that is almost, no it IS visceral.  Tonight was the first time I have had the pleasure of hearing his music live (and from the third row!!!) and I am BLOWN AWAY.  I actually had to leave the conference and go to my room to absorb and process everything.  The one word I have to describe everything is courage.

Musical courage, personal courage, moral courage.  Everything.  Darcy, if you read this...keep going!!!  You are inspiring.

IAJE Day 1

After a VERY bumpy landing in Toronto, I am here and settled at the IAJE conference.  Over the next few days I'll be posting about the sensory overload that is IAJE.  I'll also be posting photos; as a test, here is the view out my hotel window:

The CN tower puts on quite a light show at night, but that is not why we are here.  Onward to:

The Opening Concerts:

The evening started with my skin turning a lovely shade of green upon hearing the Clifford Brown/Stan Getz All Stars.  This is an all-star HIGH SCHOOL combo and they were KILLIN'!!!  Clearly there is growth will occur, but when you start from where these kids are, it is scary to imagine where the growth will take them.  Really a treat to hear these young people.

After that it was time for food/coffee (there is a really good coffee/sandwich/doughnut shop right outside the hotel, of course I can't remember the name of it now.  It's a chain, but it is good.

The Highlight was Nordic Connect with Ingrid Jensen, Christine Jensen, Maggi Olin, Jon Wikan, Mattias Welin, and special guest Emma Love.  RUN, do not walk, stroll, saunter or otherwise delay to Ingrid's website and purchase the CD Flurry.  This group was an absolute joy to listen to.  Ingrid's playing was a beautiful as ever and in addition to the great trumpet and harmonic playing, her very tasteful use of pedals/electronics brings a wonderful textural element as well.  A friend of mine that I'm traveling with said something along the lines of "her playing transcends the trumpet".  It's a good description and what we all aspire to.  The highlight of the set was a tune called At Sea where the group was joined by Emma Love on vocals.  I have been hooked on the textural use of voice since Kenny Wheeler's Music for Large and Small Ensembles and it is great to hear it in a smaller orchestration (Tpt/Flugel, Soprano, Vox)

A great beginning.  More to come...