Over-saturation

I've spent this past evening completely tied to the computer sending out thank yous for all those who attended the BCJO gig last week.

This has taken several glasses of wine, and many, many hours. Why you ask? Not because I've been sending out individual thank yous, but because I, like so many of my contemporaries, have fallen into the trap of internet over-saturation.

First it was the thank you blog post, then the thank you website emailer, then the thank you Facebook fan page update, not to mention the uploading of tunes and video to ReverbNation, MySpace and YouTube. I sincerely feel bad for the people that in attempt to show support have signed up as "fans," etc. and have received my "Thank You" on repeat ad nasseum tonight (and to those people I offer my sincerest apologies)!

The problem is, in attempt to self-promote, it is easy to over do it. With all the available tools at hand, and with the trends ever changing (remember when Friendster was cool?), one finds themselves signed up to so many "communities" they begin to cancel each other out. My boyfriend laughs at me when I am online for long periods of time because I invariably keep a million tabs open at one time, each with one of my 3 active email accounts open, as well as Facebook, Sitemeter sometimes, and invariably some other community that I check with an OCD compliance every hour on the hour in addition to the one or two others that I am actually actively using.

One almost starts to equate their self-worth and confidence with the amount of activity generated by this internet socializing, particularly as it relates to one's music. Do I have another fan? Has anyone commented on this new post? Why not? How many plays do I have today? It can really create a false sense of security.

Not to mention confusion for those who truly want to support you as a "fan." Do they really need to be your MySpace friend, sign up to your mailing list, be a Facebook fan, a ReverbNation fan, and follow your every Twitter status update (which I found myself signing up for tonight!) to prove they support your music? Does one really expect these people to follow your every move, download your latest upload, and comment on every wacky status update you post? All in the name of promoting your music? And with so many reminders and updates from so many places, it wouldn't be completely unreasonable for said fan to start to ignore it all. Again with the canceling each other out.

And yet... I don't see myself cancelling any of my accounts. It's like an addiction almost. And a morbid curiosity to see which outlet will actually prove effective.

I suppose if one had the budget, one could do away with the generic Dynamod website and pay to have your music branded into a single website with a built-in blog, mailing list and downloading capabilities complete with trackers and statistics and filters galore.

But I know I am not there yet.

And while I could stand to cool it on the compulsive refreshing, I will continue to streamline as best I can under my given situation. This is the part where I point out the ReverbNation "fan collector" to the right of this post.

Do you want to receive emails with probably the same information you'll read on this blog? Do you want access to "exclusive" fan downloads for tunes you will most likely listen to just once? Then go ahead, enter that email address into the little green box and enable my internet addiction and false sense of popularity (as of the start of this post I had 14 fans on RN, let me check... sweet! I got one more!).

In all seriousness and impending hangover non withstanding, I am attempting to streamline what little fandom I have into ReverbNation. I welcome feedback and advice from those more experienced (and sober) in these matters and hope you will join me on this flighty dot-commy self-promoting ride (so drop that email into that green box)!

I now leave you for my warm bed and a tall glass of water with this last little bit of internet promotion:



That's Mike Fahie soloing on the second take of "The Injustice League" at the Brooklyn Lyceum this past Oct. 15.

Give the people what they want?

In all honesty, I can't STAND "Take the 'A' Train."

It grates on me almost as much as "Satin Doll," which is my #1 most hated song. I love me some Duke, but I could honestly live out the rest of my life never hearing either one of those two tunes again!

I was just raging about "A Train" the other day to Joseph. Which is why I sat in complete shock, giving him my dirtiest teacher glare, when the other night at his Garage hit, near the end of his second set, I heard the iconic piano intro to "Take the 'A' Train." "WTF?", I glared with my eyes. He gave me a "give the people what they want" shrug and launched full on into the opening melody.

"Yeah! Take the A Train!" exclaimed the boyfriend of my friend whom I was sitting with.

"Excuse me," I muttered, deciding this was the ideal time for a bathroom break.

A few minutes later I returned to the bar, and became cognisant of an increase in noise level. Why are these half drunk trendy twenty-somethings sitting next to me all of a sudden so rowdy? And my awareness was shifted back to the band, where the pianist, Brooks Hartell, was banging out a 6 chorus, perfectly crafted, fantastically inspired stride piano solo, and the people were actually cheering him on!

I shut my eyes and for half a second felt transported back into "the day." The day when the unknown pianist sat at the out of tune piano at the local speakeasy playing for the non-musicians who actually liked the blues licks and improvised solos, inspiring them to dance and become rowdy, giving "jazz" the reputation of being devil music. This is what is must have been like, when people liked jazz and appreciated jazz, and the music was more about the sounds as they happened and less about the harmonic analysis or intellectual composition techniques.

We jazzers certainly like to (dare I say) over-think our music. There has been a lot of discussion recently regarding the place of vocabulary (read the comments) and education (IAJE's bankruptcy) within the vast, yet vague world of jazz. These are complicated issues with circumstantial answers. And yet I can't help but feel that we as jazz musicians, whose very nature is intrinsic to making order out of chaos, bring on the complexities of our genre ourselves. Our world is very small, very young, and currently very under-appreciated. It's hard for us to just let music be music, be it bebop, third stream, dixieland, big band, avant garde, or any other sub-genre of jazz. We feel the need to understand and define every aspect of the creation of the music, the social impacts of the music, the education or "street cred" of the music, and the category that the music falls into. Our egos are easily bruised and we look to one another for validation.

It is because of this jazz trait that I can't let "The 'A'' Train" go. I can't help but ponder the popularity of the song. Is it because it's about a subway line (an unreliable one at that!) in NYC and everyone (including New Yorkers) are fascinated with anything NY? Is it because Duke did an exceptional job of promoting this song back in the day so that it became ingrained in everyday life? Perhaps it was the educational system who chose this song as it's token jazz tune, thereby brainwashing America into thinking it is the only good jazz tune. Or maybe it's because that opening line is just so damn catchy?

Why? WHY! my over analytical brain screams! Duke, and others, had so many great songs, why was THIS the one that is recognizable by almost every non-musical person out there?

And then I think...

What does it matter? Aside from perhaps wanting to discover a magic formula for making my own tunes so popular, does it really matter why audiences love "Take the 'A' Train?" At least it's a Duke tune and not some crap like "Yakkity Sax."

And the thing is, it does work like magic!

For the first set and a half, Joseph and his quartet played a great balance of standards and originals. It was wonderful playing, but they really could have been up there reciting scales over and over for all the patrons of the restaurant cared. No one applauded after solos, and no one acknowledged the band when they were introduced at the end of the set. That's not so abnormal, as the venue is after all a restaurant and bar, not a jazz hall. However, after hearing "'A' Train," the now drunk twenty-somethings were all into the music, cheering for all the tunes, and even staying for all 4 sets. All of a sudden the music was alive to them, and there was an energy and communication in the room. Isn't that what we as musicians, any musician regardless of genre, strive for? A connection to the listener?

Now I think it's safe to guess that the drunkards did not stick around because they were instantly transformed into active jazz listeners, eager to interpret the improvisations and arrangements of the tunes to come. But it is highly likely that the music created such an energy and vibe that fit the mood of the pending hook-ups, that the crowds stayed, if not for the genius of the music, but for the environment it created. I think we need to realize that our music does still serve that function. While we with our educated compositional minds do yearn to express and communicate various personal agendas with our music, we need to remember that if we want to call our music jazz, then we need to embrace the historical roots of jazz as (deep breath)... entertainment.

The word "entertainment" has a negative connotation these days. I hear "entertainment" and I think Britney Spears, cheesy chick flicks, and rag mags. But entertainment is defined as "something affording pleasure, diversion, or amusement, esp. a performance of some kind."

Our music is amazing in that it has the ability to be intricate, multi-layered, and in need of a (musically) intelligent listener to fully grasp the fullness and genius of the music. At the same time, the music can appeal to those who simply want to be diverted, pleased, and amused. We need not always have both goals within the same song, set, or performance. I do think there is a time for a more serious concert performance, and a place for the "lite" set. I also think it is possible to achieve both at that same time. Regardless of the your intent as a musician, I don't think we should value one goal above the other.

It is for that reason that I feel a bit ashamed of my elitist reaction to "the 'A' Train." My snobbery doesn't help the cause of jazz, or the essence of music for that matter. I won't quit trying to perfect the high level of expression and storytelling I hope to achieve through my compositions, but when it comes to playing for a young crowd, on a Saturday night, at a bar, after a long work week, isn't it okay, especially if it helps reel listeners in, to just count off a swing beat, and give the people what they want?

On a side note...

Does anyone else using Blogger have problems with the html and image formatting? I find their interface extremely frustrating and unreliable. What I see in the compose view, and in the preview view, is never what I see when I publish the blog. I am always forced to edit the post over and over trying to get spacing, etc. correct. It seems to adjust on it's own when I hit the "publish" button.

Anyone else have this problem? Thoughts? Suggestions?

Writer's Muck

photo by: fjordaan

every time. EVERY TIME.

I canNOT seem to be able to start a project without first spending a day or two suffocating from a thick mud of frustration!

I sit. I stare. I turn the keyboard on, then off (cats keep walking on it, messing up my Sibelius score), then on again. I play a note. Then another. I'm staring out the window.

Is it snowing? It's snowing in NC. And in VA. Why not here? It never snows there, it should snow here. I want it to snow. Why isn't it snowing?

Back to the score. I listen again.

This sucks. No it doesn't. Yes it does. What's missing? Let's write about it.

I open my journal.

Should I brainstorm with a blue pen? Too normal. Purple? No, the last page is in purple. Green and black? Perfect, I see Blaine as a very green and black character.

I'm drawing green and black stars in the corners.

Soon I'm listening to every tune I've written, critiquing them of course. Then in attempts to get my self esteem back up, I check every online outlet I have. Hotmail email. Yahoo email. Website email. MySpace. Facebook. Website stats. Blog stats (which have been extremely high today thanks to WFA linking to two of my comic related posts!).

Ugh! How narcissistic can I be?!?!

Back to Blaine.

What's missing? Why do I have so many 2 measure solos? Maybe if I watch another episode of X-Files my mind will clear and I'll know what to write.

...

The thing is, it's not writer's block, exactly. More like writer's muck. I know the solution is in my head somewhere. And I know it's gonna come, and then I'll write like mad for the next 48 hours, forgetting to eat, ignoring phone calls, ignoring the Internet, getting up only to pee. But every time, EVERY TIME I take a break from writing, even a small one, I have to pass through this day or two of sitting and staring, waiting for that special something to click into place, and waiting for the hours to pass so I can justify going to bed.

It's like a trial I have to endure before the muses will grant me inspiration to renew my writing.

No, it's an Amazonian contest I have to win so that the Gods and Goddess will bestow me with the gifts I need to make peace in man's world (no wait, that's someone else.)

I'm like an old boom box, drifting in the muck of the Thames, CD tray open to ideas, idly passing the time until I eventually bump up against the shore, and can move on.

Lesson to be learned? Never stop writing.

$20 to talk

Last night, I went with Janelle down to Smalls to hear the Gilad Hekselman Quartet. With Gilead (guitar) was Orlando Le fleming (bass), Ari Hoenig (drums), and Joel Frahm (t. sax). Now I'll be honest, I'm not always that into guitar, but I had never heard Ari before and I always enjoy hearing Joel. So I decided that despite how incredibly tired I was from this long week of teaching (more on that soon), I would go ahead and cough up the $20 to hear the show.

We got there at the end of the first set. As we descended the stairs and turned the corner into the bar, we were immediately hit with an insane amount of notes coming out of Joel's sonorous tenor, as well as an insane amount of... talking! Aghast, I scanned the room and sure enough, everyone in the back of the bar was chatting away, completely oblivious to the incredible music that was being created at the front of the room.

As the night went on, this obnoxious behavior continued. Even during extremely sensitive parts of the music, when it was just Gilead picking out a beautiful, melodic arpeggiation, the crowd at the back continued to talk, laugh, and be completely disrespectful. I was not the only one annoyed as several times members of the audience banded together in loud "Shhh"s and evil stares.

I found myself shifting through several emotions as I listened. First, I would become entrapped by the music. It was a really good set. Gilead's compositions were beautiful and it never came close to the smooth jazz line that I often begrudge guitarists for getting too close to. Ari was completely and pleasurably out. I found myself focusing on his playing all the time (even during the sax solos!) trying to anticipate where he'd go next. I just had to try not to look at him too often as, I'm sorry to say, his facial expressions reminded me at times of Steve Martin's portrayal of Ruprecht, the "clinically-barking brother," in Dirty Rotten Scoundrels ("you've been banging on your pots again, haven't you" ...hee hee). Joel, as always, sounded beautiful. I truly love his tone and his ability to not always play the million notes he is capable of all the while carefully inserting his deep-seated blues licks where appropriate. Janelle and I both agreed it was fun to hear him in this non-standard vein and that it was his playing that added a certain element, an aesthetic grounding almost, to this group that would skillfully avoid time, off in their own practice rooms, just to spontaneously (so it sounded) come together and land precisely on 1.

As I became absorbed in the music and my listening became more acute, I continued to pick up the ridiculous amounts of talking in the back. I simply cannot stand talking during live music. I find it to be one of the rudest activities possible. I consider it such an offense that I literally spend the first 10-15 minutes of each music class I teach (with the exception of band) having the kids practice "formal listening." Every class I remind them of the difference between "casual" and "formal" listening and we discuss when it is appropriate to talk or sing along to music and what we should be listening for when practicing "formal" listening. I take it very seriously and lower grades when students talk or act up during the formal listening.

The patrons at Smalls clearly had no understanding of "formal" listening. Try as I might, I just could not mute them out and became incensed by it. How dare they come to a jazz club and spend the whole time talking. I mean, this was not some cafe with recorded music in the background. They had to pay a whopping $20 to even get through the door! And come to think of it, so had I! Now I was getting mad at the establishment. How dare they allow this talking! I did not pay $20 to hear people talk! It certainly made me more appreciative of the clubs that enforce a no talking policy.

Not that this behavior is limited to expensive clubs. It's everywhere. At my elementary school's Spring Concert the talking amongst the parents was insane. It was so bad by the end that Francesca, the director of the Chorus and Advanced Keyboard Program literally stopped her performance and addressed the audience, requesting them, in essence, to shut the hell up.

Why is this such a problem? Why do people pay $20 to sit in the back of jazz club and talk? Why do they willingly attend live music just to not listen? And why must those who are listening be disrupted by these barbaric offenders?

Help Wanted

I'm having a MASSIVE ATTACK of writer's block.

Deadline is one week from Sunday (June 24th). Page is currently blank.

Someone help me... suggestions PLEASE!!!!!!

(I think I need another cup of coffee...)

Missed Marathon... AGAIN

Once again I am missing out! This time I do refer to a running marathon: the ING New York City Marathon, my running nemesis.

This will be the third year in a row that I have failed to be drawn in the lottery, the NYRR's system of keeping the number of participants from completely taking over the city.

The good news is that when a runner such as myself has lost the lottery three years in a row, said runner is given guaranteed entry for next year's marathon.

So ING NYC Marathon 2008, HERE I COME!!!

Missed Marathon

No, not another running marathon. This time I refer to Bang on a Can's annual Marathon. It was this past weekend and I had no idea. I am so sadly out of the loop.

As it turns out I wouldn't have been able to go anyway as I was up in Mount Vernon the whole weekend playing in the what had to be the world's most bipolar high school production of Dreamgirls. I say bipolar because the incredible lack of organization in the production which enabled the pit band to sometimes play, sometimes not, sometimes start just to stop halfway through a number did not matter to the audience who was there only to hear these quite talented high schoolers belt their way American Idol style through the plot. While a bit painful at times to play, it was mostly likely a pleasure for the community to watch.

While I did somewhat enjoy getting paid to play a continually out of tune flute (that auditorium was SO hot and I just could NOT control the pitch!) and smooth jazz saxophone licks (I actually prefer the out of tune flute!), I do wish I could have partook in the all night music down in the Financial District.

Lucky for me, Darcy James Argue chronicled the entire event. If you too were absent, check out his write-ups and photos here, here, and here. You'll be sad you missed it, too!

Child Prodigy

I'm speechless... and quite ashamed of myself for being annoyed. I just read a release about the newest prodigy to "grace" the jazz scene. Her name is Grace Kelly. She's labeled as a Singer/Songwriter/Saxophonist. She's booked at the Standard this week. She's 14.

. . .

I know my skin is turning an unattractive shade of green, but how bad is it that I was relieved not to care for her saxophone playing after listening to her newly registered myspace? Her vocals on the track "I Will" I found more convincing.

Maybe it's the shared name, or the instrument, or the career, but come on folks, the Standard?!!

Feminism in Venice

Who knew Venice was so chauvinistic? The New York Times reported this morning on Alexandra Hai, Venice’s newest gondolier. Except she’s not. Women aren’t allowed to be gondoliers, but one hotel, the Locanda Art Deco has hired the German Hai to navigate the canals for the hotel privately.

Apparently women aren’t allowed to wait on customers the Piazza San Marco either.

Read more here.

And I still want to go there.