tag:blogger.com,1999:blog-8357633862224808465.post660745615135305363..comments2023-10-10T06:03:56.723-04:00Comments on Bottomless Cup: Give the people what they want?D0nnaTr0yhttp://www.blogger.com/profile/01398839588769109257noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-8357633862224808465.post-75309626719586014492008-05-13T00:57:00.000-04:002008-05-13T00:57:00.000-04:00Great Post. Yeah this is an interesting topic, an...Great Post. Yeah this is an interesting topic, and one that I return to every time I play a standards gig. With the right attitude, it can be a lot of fun to even go for cheese. I hate "Satin Doll", and so does everyone else I play these gigs with, so we play it every time just to see what happens. At a Sunday Brunch gig with 2 guitars and trombone (?), we played standards and often stretched them out into free playing and/or hymns or drones, and the audience loved it just because of the energy. They didn't even notice when we ended by playing "Waterfalls" by TLC, "Heart Shaped Box" by Nirvana, and "Say it Ain't So" by Weezer.<BR/><BR/>No matter how much thought goes into a song's conception, if it comes out sounding cool, than it worked. If not, then you should probably re-examine...or something like that.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-8357633862224808465.post-41995237014536521792008-05-12T22:14:00.000-04:002008-05-12T22:14:00.000-04:00When this debate comes up, I think of something Gr...When this debate comes up, I think of something Greg Osby said out at the Banff Centre, that jazz has become music for musicians, often losing sight of the fact that music is meant to communicate. Duke's well-known ballads - "Mood Indigo," "I Got It Bad," "Sophisticated Lady," Strayhorn's "Lush Life" - are communicative but they're far from simple, easy tunes. As Osby said, "If I wanted to hear people stick the Giant Steps matrix everywhere, I wouldn't leave my practice room!"<BR/><BR/>Restaurant gigs are funny, and it's interesting what grasps people's attention. Anytime I do my poor white-boy impression of Richard Tee's two-fisted gospel piano, people take notice, even though they probably don't know who Richard Tee is and I'm not particularly good at it. There's a certain energy in it that cuts across any intimidating boundaries and preconceived notions of what jazz is supposed to be.Ryshpanhttps://www.blogger.com/profile/07008400121978741507noreply@blogger.com