Esteem

Papas Midnite Hop

Quirks

Kitty Malone

Cliches

the final trio

ickle

garbage can blues

5 duos & a trio

On one end lies a point entitled “spontaneously composed”.

On the other end lies a point called “pre-conceived.”

Here’s the rub:  All music is improvised.

Yes, all of it.  Improvised.  That is “made without preparation.”

Even the pre-conceived?  Yes, because you can’t prepare for every eventuality.  It’s simply impossible.  Life will intrude.

But the beauteous part is that it’s all of a piece.  Whether thought up here on the spot, or conceptualized at an earlier instant.  It’s all “good music.” (or the converse)

And the more this notion is embraced, the more both ends of the continuum are enriched.  The end called “spontaneous” is made sharper and lent more concision.  It’s made more like a “composition.”  And the end called “pre-conceived” is made more life-like and surprising.  It becomes like something thought up right here and now.  Both ends benefit from the presence of the other.  Because practically speaking, everyone just wants to hear good music.

So who’s to say ‘improvisers’ shouldn’t play something that sounds familiar?  or something short?  or something that sounds ‘pre-thought’?

And who’s to say ‘interpreters’ shouldn’t “take liberties”?  or play a familiar piece in a way that renders it strange or ‘incomprehensible’?  or play someone else’s piece in such a way that it sounds like the performer wrote it?

Not to be trite, but isn’t life an improvisation?  And if that is the case, then isn’t everything emanating from life/us, also an improvisation?

when a composer writes something exciting.

something so exciting that the people playing it just HAVE TO GIVE IT UP.  THEY CAN’T BELIEVE THAT FINALLY, FINALLY, they get to play something this cool.  and all they can do is play it with every ounce of energy and life that they can muster.   because they know they’ve been offered this shining moment on this beautiful platter and that’s all they’ve ever really wanted.  and they can’t believe their good fortune.  IF THEY JUST PLAY THESE NOTES IN THIS ORDER AT THIS TIME THEY KNOW THAT GOD-DAMMIT NO PERSON CAN DENY THE POWER OF THIS STATEMENT.   and they don’t know why they feel this way, but for the moment it just seems best to go with the feeling and to play the feeling….

and playing George Russell’s music felt like this.  like the most RIGHT(eous) thing ever laid down.  EVER.  and that’s a huge gift.  by anyone’s standards.

When I stand up in front of people with a baritone saxophone, before I’ve even played a note, they already ‘know’ what I’ve played.  What have I played?  Quite simple, the bottom six notes of my instrument (F down to C) very loudly.  When I don’t play this, then I’m ignored or told that I’ve made a mistake.

This upsets me.

Hence the essay.

All of the above are inarguable facts.  That is, they are physical realities which I can do little about.  My job as a professional player of this instrument is to simply accommodate myself to these facts and respond creatively to these limitations.

The instrument I play is inherently loud and incapable of playing softly.  It’s rather cumbersome and inflexible.  While it can be played with enormous power and velocity, clarity of pitch is sacrificed the faster it is played.  It’s a poor choice for quiet or lyrical music.  It does not blend well with instruments from other families.  It is a graceless and non-delicate member of the woodwind family.   It makes a perfect substitute for a bass instrument.

All of the above are opinions and stereotypes.  Their only basis is in people’s biases.  While I am aware of these opinions, I am free to disregard them (I often do).  Giving them credence uses up valuable energy that the music demands.

What it comes down to is that a baritone saxophone is a musical tool, no different from any other musical tool except in its physical dimensions.  Like any musical tool, it can be used to express any desired musical idea.  Rejecting the instrument out of hand is akin to hating wrenches or hammers  (“Stupid hammer!  I hate it!  all it does is . . . hit things!  so stupid!”).  Sitting in its case, a baritone saxophone is an inert, silent object.  It requires agency.  It requires a human being to sound it.  A human being with thought, imagination and intent.  I agree that most of the humans standing behind baritone saxophones for the past 30 years have played it in a remarkably similar way, but that fact speaks to cultural norms, not imaginative possibilities.(1)

There is a larger issue at stake here.  It’s the issue of aesthetic compassion.  Letting a piece of music be itself is paramount not just to the music, but to the listener.  Too many times people shut down at the sound of a particular instrument (2) and they miss out.  Miss out on an opportunity to hear what’s happening.  I certainly don’t think that everyone is required to like every piece of music they  hear.  But there is a difference between listening and not enjoying versus rejecting out of hand.  The former I can guarantee will not hurt you.  Cause discomfort, anger, sadness, boredom, sure, those are possibilities.  But it won’t physically harm you.  And unlike a bad movie or t.v. show, unenjoyable music almost always takes up way less time.  But when music is shut out without any consideration, then an opportunity is lost.  An opportunity to see how large human imagination is.  An opportunity to hear all the different ways a human being can hear.  An opportunity to experience the world in a changed way.

Ultimately, it’s pretty simple.  A poorly played instrument is a problem with EXECUTION not TOOLS.  If I don’t like Sonny Rollins’ solo on the Rolling Stones’ “I’m Just Waiting on a Friend” (and actually, I like that solo quite a bit), it doesn’t mean that saxophones suck or that they don’t belong in rock music (3), it means that I DON’T LIKE THE MUSIC.  Generalizing beyond that point is understandable, sure, but not really logical, compassionate or sensible.

FOOTNOTES:

(1)  Just to be clear here, I have ABSOLUTELY NO PROBLEM with the way the baritone saxophone is generally played today.  I have the utmost respect for Pepper Adams and the many players who have adopted his style and approach.  I’ve had my ass handed to me far too often trying to learn one of his solos or keep up with one of his adherents. However, while I want people to feel free to play whatever they like, I’d like the same opportunity myself.  Put simply, Pepper Adams built a beautiful wardrobe of clothes that never quite fit me.

(2)  I have to admit at this point that I do harbor a little bit of instrumental bigotry: wind chimes (not the real ones mind you that you find out on someone’s porch).  can’t stand ‘em.  the moment I hear that tell-tale twinkle I can feel myself mentally hoist my middle finger in the air in a heart-felt salute to the perpetrators of such happy-horseshit.  I’ll just say it:  if it weren’t for wind-chimes, I’d probably be a little less disturbed by power ballads.

(3)  Nice to see that people got such a kick out of this, but hey, fair’s fair, right?  I propose a parallel list: “10 Great Songs Nearly Ruined by Guitar.”  Oh, that’s right, 10 IS BEING OVERLY-GENEROUS…COUNTLESS SONGS HAVE BEEN SCREWED UP BY TRULY STUPID GUITAR PLAYING.  So how’s about this: “10 Great Songs Nearly Ruined by Breathless Hyperbole”?  I’m just saying…

Steve Lacy version

Josh Sinton version

All tracks were composed spontaneously in studio and no over-dubbing was used.

Blivton 1

Blivton 2

Blivton 3

Day 1

I.
Oh.  well, it makes sense to me.
Stealing someone else’s music makes sense?
Excuse me?
Well, aren’t you just stealing Steve Lacy’s music with this project?
Define what you mean by stealing.
Misappropriating.  Taking something that doesn’t rightfully belong to you.
O.K., let’s go one step at a time here.  What is it that I’m ‘taking?’
Well, Lacy’s music.
Huh, that’s funny, I thought we were just trying to play Steve Lacy’s music.
You’re not just playing it, you’re trying to sound like Steve Lacy playing it!
Well, first of all, if we wanted to sound like Lacy, shouldn’t one of us be armed with a soprano saxophone and second of all, are you implying that we’re trying to steal Steve Lacy’s ‘sound?’
I’m not implying, I’m stating.
Well that’s just nuts.  How on earth do you steal a sound?  It’s vibrating air molecules!  Based on that logic you should be able to charge me for the air I’m breathing.
O.K., maybe I’m over-reacting a little bit, but you must admit that Ideal Bread’s arrangements don’t differ significantly from Lacy’s recorded versions?
I assume you’re talking about the statements of the notated material, correct?
Correct.
Well, yes, what we play there is quite similar to pre-recorded sounds that we’ve all heard.  But that’s why they’re called COMPOSITIONS, because they are COMPOSED (i.e., pre-formed) pieces.
But I thought that Jazz was about putting your individual stamp on something.  And besides, whenever I hear other people playing Lacy’s pieces or dedications to him, they do stuff that sounds totally different from him.
Again, first things first.  When the improvising starts, do we sound like Steve Lacy’s band or like Steve Lacy?
No, not even close…
Thank you.  Have you stopped to think that we’ve DECIDED to place our ‘individual stamp’ on the IMPROVISING, not the NOTATED material?
Well, when other people…
O.K.  When John Coltrane plays “My Favorite Things” does he play the melody?
What…?
Does he explicitly state the melody?
Yes…
Is what he’s doing ‘playing jazz?’
Well, yeah, but the ‘jazz’ begins when he starts improvising…
I think you’re agreeing with what I just said.
But isn’t that treating the legacy of the 60’s in a really reactionary way?  All you’re doing is taking a very old formal model and applying it to material that was never meant to be in that mold.
Whoa, whoa, whoa.  #1 – is the legacy of the 60’s merely to be exhibited in it most surface manifestations (i.e. just sound like someone from the 60’s)? #2 – In case you hadn’t noticed, I’M NOT FROM THE 60’S.  I have to find my own solutions to the puzzles left in front of me #3 – Who are you to decide how Steve Lacy’s material is ‘supposed’ to be played?  Last I checked, your name was not ‘Steve Lacy.’
Well, you don’t have to get so nasty.  And anyway, when other people play…
Look, once again, I’m going to find MY solutions to these questions, not use other peoples.  And I’d be careful about generalizing.  More people than you think play Lacy’s music in a very ‘straight’ manner.

II.
Steve’s music ‘fit’ me well.
Oh, you mean like the way Thelonious Monk’s music fit him?
I suppose, but I’m not Steve Lacy, so I don’t know.  But it’s interesting you bring up that point.  In the back of my head I was thinking that it would be good to try and do for Steve Lacy what Steve Lacy did for Thelonious Monk.
Are you referring to the ‘School Days’ band he had with Roswell Rudd?
Yeah, and Dennis Charles.
But didn’t he do that band exclusively for several years?
Yeah, something like 3 years.  But work’s hard enough to come by and rent’s higher, and you know what?  You can call me a dilettante, but I have more than one musical interest.  I work best when indulging several of them simultaneously.
So the music ‘fits’ you, does that mean it lays easily on the baritone saxophone?
Actually no.  It’s unbelievably awkward on this instrument.  But somehow, it just made sense.  I could tell that playing this music would lead me to places on the horn that I wanted to get to.
And what about the rest of they guys?
You mean Kirk, Reuben and Tomas?
Yes.
Well they were the right men for this work.  They are extremely talented, but more than that, they were committed to this music.
How so?
Well, Kirk, Reuben and I played together for 6 moths before there was any sign of a gig.  And Tomas was with us for two months of that as well.  They never asked me or pushed me to get a gig or exposure.  We just worked at the music every week for a decent amount of time trying to get it right and figure out what it’s about.
Well, what is it about?
I think you can hear the answer to that in our playing.
O.K., fine, but I’m asking you to tell me using words.
Well if I could express it in words, then I would have done that.  These thoughts were best expressed in a musical format.  Besides, I never said we resolved these questions…