I left off the last blog with the notion of going to see the percussionist Rachael Bouch’s band Locura. I saw them last night and was absolutely blown away. They are influenced by Lila Downs and the trip hop flamenco jam band Ojos de Brujo. Just wonderful high energy music with a great rhythm section, and great tunes and vocals in Spanish. They’ve been together 5 years, and have their own tour bus. Which brings me to the subject of this blog: mentoring is a two-way street. The American Masters series on Joan Baez has a wonderful conversation with Dar Williams. Joan mentions that mentoring has to work both ways; you should learn from the person you are mentoring. This last week I worked with Rachael and the young alto player David Bullers. I don’t know if they learned anything from me (the art of non-rehearsal) but I certainly learned from them. I learn from the young violinist Emily Palen. And now that many, if not most, of the musicians I’ll be playing with are younger, I’ll have a lot of learning to do!
“Ah but I was so much older then, I’m younger then that now”
- Dylan, My Back Pages
Gregory James
Showing posts with label Dylan. Show all posts
Showing posts with label Dylan. Show all posts
Sunday, October 25, 2009
Monday, October 19, 2009
Number 17 October 19, 2009
“A lot of musicians worry about protecting what I call their musical foundation. They want to be on their Ps and Qs on stage, put their best foot forward, play their best runs, their best and try to impress people. But I’m at a point where I’m just going to say “To hell with the rules” That’s all I’m doing with the music now. I’m 76, I’ve got nothing to lose now. I’m going for the unknown”. Wayne Shorter
It’s no coincidence that Wayne Shorter played with Miles. Miles, who once fired a sax player he heard through a hotel room door practicing hard bop lines he intended to play that night. Miles, who could change what a band was playing by what he was NOT playing; just by listening. “I pay you to practice on stage” as Miles said to Coltrane.
I saw Dylan at The Greek Theater last week, and Wayne Shorter at Zellerbach Saturday night. There are some artists I see whenever I can. I’ve been going to Ravi Shankar concerts since I was 15. McCoy Tyner, Dylan, Eric Clapton, Shorter, Mariza. I saw Miles many, many times. Benny’s first show with Miles, he was shaking on stage. Miles had him take the first solo. It was a little rough, but the groove was fine after that. Bobby Scott (A Taste of Honey, One Is the Loneliest Number) once told me he’d rather listen to 5 minutes of Clapton than an hour of most other music. “Because at my age, I don’t have time for anything but the truth”. I saw Miles’ second to last show. A completely new band, very dark and moody. He was getting ready to do something new, that would doubtless frustrate his recent fans. My newest musical discovery, Emily Palin, busks on the street in front of Niman Marcus. She plays in a lot of different bands and contexts. I realize what I find so inspiring about her playing is that she is fearless. I think Mr. Shorter would appreciate her.
Gregory James
It’s no coincidence that Wayne Shorter played with Miles. Miles, who once fired a sax player he heard through a hotel room door practicing hard bop lines he intended to play that night. Miles, who could change what a band was playing by what he was NOT playing; just by listening. “I pay you to practice on stage” as Miles said to Coltrane.
I saw Dylan at The Greek Theater last week, and Wayne Shorter at Zellerbach Saturday night. There are some artists I see whenever I can. I’ve been going to Ravi Shankar concerts since I was 15. McCoy Tyner, Dylan, Eric Clapton, Shorter, Mariza. I saw Miles many, many times. Benny’s first show with Miles, he was shaking on stage. Miles had him take the first solo. It was a little rough, but the groove was fine after that. Bobby Scott (A Taste of Honey, One Is the Loneliest Number) once told me he’d rather listen to 5 minutes of Clapton than an hour of most other music. “Because at my age, I don’t have time for anything but the truth”. I saw Miles’ second to last show. A completely new band, very dark and moody. He was getting ready to do something new, that would doubtless frustrate his recent fans. My newest musical discovery, Emily Palin, busks on the street in front of Niman Marcus. She plays in a lot of different bands and contexts. I realize what I find so inspiring about her playing is that she is fearless. I think Mr. Shorter would appreciate her.
Gregory James
Number 16 October 19, 2009
“We never change the arrangements. Now we might change the tempo…” Bob Dylan
“You know why I never play ballads anymore? Cause I love to play ballads” Miles Davis to Keith Jarrett, after a disastrous attempt at Stella By Starlight with one of his late 60’s groups.
What separates good artists, even ones we love, from great artists (even those we don’t) is an almost insatiable desire for change. In an interview a couple of years ago, Dylan gave that hint as to perhaps how he is able to disguise some of his best known tunes until he’s halfway into them. And I thought, I should try that! But do I have the nerve to play one of my tunes at half tempo, or double time, so that my audience won’t recognize them?
Keith Jarrett hated electric piano, but he played it for Miles, because that’s what Miles wanted, and Keith loved to play for Miles. The fact that Miles would consciously give up playing something he loved, to make sure he changed, seemed an act of great bravery to Jarrett. When asked why he didn’t play All Blues, and other gems from the 50’s, Miles replied, “That’s why there are records”.
I’ve frustrated some friends in that I often don’t play pieces from the last record. In truth, as there is usually about a year lag between the recording and it’s release, even on my own label, I’ve often moved on to other things.
Gregory James
“You know why I never play ballads anymore? Cause I love to play ballads” Miles Davis to Keith Jarrett, after a disastrous attempt at Stella By Starlight with one of his late 60’s groups.
What separates good artists, even ones we love, from great artists (even those we don’t) is an almost insatiable desire for change. In an interview a couple of years ago, Dylan gave that hint as to perhaps how he is able to disguise some of his best known tunes until he’s halfway into them. And I thought, I should try that! But do I have the nerve to play one of my tunes at half tempo, or double time, so that my audience won’t recognize them?
Keith Jarrett hated electric piano, but he played it for Miles, because that’s what Miles wanted, and Keith loved to play for Miles. The fact that Miles would consciously give up playing something he loved, to make sure he changed, seemed an act of great bravery to Jarrett. When asked why he didn’t play All Blues, and other gems from the 50’s, Miles replied, “That’s why there are records”.
I’ve frustrated some friends in that I often don’t play pieces from the last record. In truth, as there is usually about a year lag between the recording and it’s release, even on my own label, I’ve often moved on to other things.
Gregory James
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