Artists Interviewing Themselves - The New Standard In Jazz Journalism.

The following are excerpts from an online interview (one of many) that I did last year. I deliberately obscured the source and publication, as not to appear that I'm attacking them directly. I'm merely providing this as an illustration of this recent phenomenon...

On 0X/0X/2015, at 9:53 AM, Greg Osby wrote:

Dear XXXXXXXX,

Here you go. I finally found a break and a little bit of energy to do this.  As you know I've been on tour and traveling lengthy distances every day. To be entirely honest with you, I'm not necessarily a fan of survey-type interviews, and it's far easier for me to talk than "compose" my thoughts and answers to basic questions. With this new form of internet-based transmissions, the artists do all of the work and the journalist simply affixes their name to the article and gets the credit - as if they verbally asked the questions and transcribed the answers themselves. Not good. Also, this should have been taken care of weeks ago while I had plenty of time to do it while I was still in the US, fully conscious and in my own time zone. Now you tell me that the deadline is approaching...

When artists are on tour, there are full days of attempting to function in a jet lagged stupor, endless amounts of activities, ridiculously early travel departures bad food and mostly sleepless nights. Still jet lagged and fatigued, I barely had the brain cells to complete this. I appreciate your efforts, but answering questions via email after arrival to foreign destinations isn't recommended. I prefer to be as thorough as possible and to hopefully make good sense when doing interviews. With this in mind, I'm hopeful that my answers don't reflect my still foggy mind state. Perhaps we can speak via phone or Skype next time.

Respectfully,

GO

==================================================================

On 0X/0X/2015, at 2:07 PM, XXXXXXXX <xxxxx@xxxxx.com> wrote:

Hi Greg,

Sorry to be a nuisance, but when you get the time would you be able to fill out the below Q&A and send your answers back to me? We are nearing the deadline.

Have a great day~!

Kind regards,

XXXXXXXXXX

==================================================================

On 0X/0X/2015, at 2:07 PM, XXXXXXXX <xxxxx@xxxxx.com> wrote:

Hi again Greg,

I hope you're well,

I've had a great request for a Q&A with yourself from XXXXX XXXXX from XXXXXXXX.

I have attached his Q's below, if you could kindly fill out your answers when you get the chance and send those back to me that would be fantastic

Kind regards,

XXXXXXXXX

1.     After a 16 year tenure and 15 albums for Blue Note, in 2007 you launched your own record label ‘Inner Circle Music’.  How has this turned out for you and is the direction you’re heading in changed over the last six years?

It was the best decision that I could have made. Having complete control in every stage of the production of my releases is best for me at the moment. Of course, running a label requires a great deal of time and energy, but the end results feel much more satisfying when we get good responses for our efforts, knowing that no compromises were made in the creative process. 

2.     Jazz or improvised music is one of the most purist forms of personal expression but with that, comes a certain vulnerability because each night you’re putting everything on the line in a very public way.  I’m thinking that it would be easier for you to deal with criticism these days given your success and stature as an artist but how did you deal personally with criticism in the early days when critics might have had negative opinions on your jazz-rap fusion?

"Critics." The very term and everything that it represents is somewhat pointless. No other profession allows non-practitioners to determine the value of it's participant's work or their worth. The medical profession, for example,  doesn't allow people who have never studied or practiced medicine to offer commentary about the particulars of the practice. How did we as musicians become so fortunate, to have people whose only reason for living is to get free CDs, DVD's and admission to our shows - and then go on to write and publish misquoted and sometimes bitter commentary? Their very existence is pointless, and I don't know of anyone who has acted in any way whatsoever as a result of being influenced by a review. And frankly speaking,  I have never had any need to "deal" with reviews because I don't normally read them. And when or if I do, I'm not disturbed by unfavorable ones because I know the mentality of many of those who write them. We have totally different agendas. But to be fair, sometimes the observations, complimentary or otherwise, do hit their mark.

My hip hop projects and tours were actually very well supported and received at the time, which was over 20 years ago. The only real issue was that there was no precedent to compare my band with because none existed. Musicians didn't collaborate with rap artists before my project, so there was no way to define or market it with any successful blueprint. All in all, I considered it a departure and an experiment and by no means did I set out to extend those projects beyond their natural course. Above all, I'm an improvising artist and composer first. 

3.     How does it make you feel when you see the younger artists such as Jason Moran or Sara Serpa whom you’ve given significant opportunities to, become such successes in their own right?  Would you say this approach stems from the opportunities you received yourself from artists such as Jack DeJohnette?

       

The success of younger artists whom I've hired is exactly what I was planning for when I hired them. It validates my reasons for hiring them when no one else would. The entire point, by design, is for our successors to so well and hopefully, go farther than we have. I've always done, and will continue to do everything that I can to insure that anyone who passes through my bands or studies with me will succeed. I will give them all of the information and guidance that I'm able to provide. I'm obligated by the laws of the music to guide them as I was guided by the elders before me. That's the way it is. Touring in Jack's band for 6 years provided me with a great model for leadership and organization. 

4.     The world lost one of the great modern jazz guitarists in Dec 2013 in Jim Hall.  You made a lot of great music with Jim Hall.  What is your lasting memory of the great Jim Hall?

Aside from being one of the greatest humans beings and artists that I have ever known, I learned a great deal from Jim about space, balance, phrasing, color, dynamics and good decision making. Not to mention that he was also very funny, warm and incredibly thoughtful. 

5.     In 1993 you were on the cover of Downbeat with Lester Bowie under the title of ‘Jazz Rebels’  Would you consider that title still appropriate to your approach to music?  If not what would your preference be?

That was an unfortunate and inappropriate caption for that magazine and article. It was an obvious ploy designed to incite and to sell copies of their publication, and is entirely why many artists are distrustful of the media. We were not advised of that decision. There is nothing rebellious at all about being determined and staying true to your mission as an artist. What is there to rebel against? 

6.     You have on a number of occasions written for Downbeat with interviews  of artists of the calibre of say Ornette Coleman.  While some artists prefer to let the music speak for itself, you obviously feel it is worthwhile providing verbal insight from the artists perspective.  What are your thoughts on that?

Much that is written and covered about music comes form the perspectives of frustrated and unqualified individuals, many who feel empowered by their positions as journalists. I feel that it is very important that artists not continue to allow their work to be recklessly defined by others, many of whom have hidden agendas or are covering work only by assignment and not out of passion. Failure of artists to state their relative cases results in their music being miscategorized or classified by ridiculous terminology, like 'Bebop." I do not believe that the definition of creative works should be relinquished to the authority of persons who are not in tune with the complete intentions and aspirations of the artists themselves. This is why I chose to write articles for publications myself or to make regular postings to my blog. 

7.     In XXXXXX and I assume in XXXX you’ll be performing with pianist XXXXX XXXXXXX, one of our most consummate and lyrical players.  What type of approach can audiences expect to witness with this collaboration?

They will enjoy a healthy collaboration between artists who, although are from dissimilar backgrounds are hopefully, in pursuance of similar goals.

Tineke Postma with Sonic Halo, Buma Boy Edgarprijs 2015

Listening. Responding. Reacting. (and Borrowing.)

December has been an exceptionally busy month for me so this month's blog post is being brought to you by .... my own post that I "borrowed" from the Inner Circle Music (INCM) Blog Page. Enjoy.


http://innercirclemusiclabel.blogspot.com/
Listening. Responding. Reacting.


More new topics and observations in 2016. I absolutely don't expect anyone to agree with me on some or any of them. However, alternative viewpoints are exactly what is needed (and even necessary) to turn ideas into actions. 

Everyone Deserves a Chance

Here's my answer to a question that's asked of me practically every time I'm invited to appear on a music panel:


"What advice could you offer to concert promoters/organizers who want to bring about a major change and some fresh new music to the audience?"


For starters, promoters should be willing to take a risk, ignore trends and sometimes trust their instincts, and book new or emerging artists that have little or no track record who have created a buzz on the jazz underground. Everyone on the scene usually knows who they are already, and a short polling of insider's opinions would easily reveal who these new talents are. They can regularly be found working for peanuts in every dive bar or playing for free at jam sessions in every major city. They're not difficult to find at all and by presenting them regularly, it would stimulate interest in the music substantially. They're young, eager, and ready to give their best. I always keep my ear to the street (on an international level) and I know scores of amazing young players who already perform in an incredibly advanced and mature capacity.

I strongly recommend doing this, instead of offering the same, tired line ups of uninspired musicians who never raise the artistic bar for themselves nor produce anything provocative. Most of them have settled into complacency much too early in their artistic journey and have set the pace at which they will operate for the remainder of their careers. And yet, their ilk dominates the bookings at every major jazz festival and important venue. It's actually an issue of laziness on behalf of the promoters and reveals how uninformed they are of who is actually relevant on the scene. Many of the common names most often placed on performance rosters are not necessarily held in too high esteem by the hard core players. History has shown that many of the most provocative players are regularly and unjustly ignored time and time again, while the "stars" enjoy the attention of a public who, I am certain, would respond favorably and enjoy more diversity in the festival/concert programming.

I know that my answer is an opinionated one, but I am certain that I am not exclusive in my perspectives on this subject.

Bring it Back Home

This month, I'd like to provide a link to a blog entry that I did for Inner Circle Music, the recording label that I started in 2007. I began this blog in an effort to encourage my fellow artists to share their thoughts, ideas and perspectives with our broad range of music supporters. It isn't a simple task to get musicians and performing artists to express their feelings in words (unless they're singing them). I'm very aware of the numerous demands on everyone's time as well as the challenges of the lifestyle. However, I happen to be a huge fan of artists' tales when expressed in their own words, with no filter. There's something very genuine about it, even if it's not delivered as artistically as their music may be. That's not really my concern - this isn't a spelling bee nor an essay competition. I'm in it for the observations and the stories.

This month's topic covers the idea of self-supported alternative performance spaces for the large numbers of exceptionally talented musicians that all endure the daily frustration of soliciting interest in their work and seeking bookings. In short, the absence of clubs and paying work has made it necessary for artists to look elsewhere for support and receptive audiences.

Inner Circle Music Blog

 

Responses to Sounding “Young” (from 9/14)

    1.     Negrodeath says: 
May 27, 2015 at 4:39 am 


Personally, I enjoy both approaches (exhuberant and zen-like) – it depends on what it comes out of it. Maybe it’s just because of my fondness for rock music and its theatrics. Still I think your advice has been good, because a young musicians should first of all focus on the development of his solo. You can overplay later, if you want too, but don’t concentrate on pleasing with overplay while learning.
One nasty question: what’s your take on James Carter? Personally, I love his music and playing as much as yours, and I couldn’t think of two more different musicians!  




    2.     Greg Osby says: 
June 4, 2015 at 8:47 pm


I’ve played extensively with James with the World Saxophone Quartet and can honestly say that he is absolutely the loudest saxophone player that I have ever heard or played with. He certainly knows how to project his sound. James has also put in a considerable amount of time studying the styles and approaches of several masters who are completely overlooked these days – Ben Webster, Illinois Jaquet, Gene Ammons, Arnett Cobb, Coleman Hawkins, etc. Knowing these styles gives him broader reference and a sonic and conceptual advantage when playing songs from specific eras and especially ballads. He’s a true fan of the instrument and I have a great deal of respect for him.




    3.     Negrodeath says: 
June 18, 2015 at 3:47 am 


Great! I was asking ’bout James since I often read complains about him, that he’s an exhibitionist and an overplayer etc. Complains that sound superficial and superficially may remember the advices you’ve given the young sax player.
About James’ study of Webster, Ammons Cobb, Byas, Thompson: that’s the first reason I loved his music the first time I heard it. I love the big-toned Hawkins-rooted saxophone players, a way of playing which is a bit too much forgotten nowadays.




    4.     Peter Wisely says: 
August 7, 2015 at 11:54 am 


Hi Greg, I’ve read trough your posts and each one is awesome, I find myself taking a step back after reading them and reevaluating my own playing. I don’t play the saxophone but I do play and certain times when I feel that I am lacking the “words” to say I revert to a showboat tendency. But I’ve also noticed that seasoned players can do this as well what would be a way to avoid this or avoid playing to many choruses, should one replay a part that they have already done? I know that the ideal answer would be learn and practice more parts, but at times I can find myself blanking out and not knowing what to play.



Banned in New York - The Story

On occasion, I will revisit my older recordings just out of curiosity or to reinvestigate the measures and approaches that I may have been working on during a given period. Recordings are wonderful markers that chronicle an artist's progress, attempts at experimentation, and aesthetic awareness. Recently, at the suggestion of a visitor who is also a prominent music journalist, I sat and listened to the full CD version of "Banned in New York" in it's entirety. I hadn't heard it in many years and I must admit that afterwards I felt like I'd newly emerged from an intense live show. The immediacy of the recorded performance was, at times, quite startling and I often didn't even recognize myself in the whirlwind that was emanating from the speakers. Those guys were playing. REALLY playing on an extremely high level. And, as a result, they elevated my output as well. I can truly say with all humility that it was most certainly a shining career moment, and I am extremely proud at what we, collectively, were able to develop and share. 

"Banned" was recorded in New York at the now defunct Sweet Basil (later renamed Sweet Rhythm) in 1998 with a single mini-disc recorder placed on a table in front of the bandstand. We were booked there for a week's engagement after many weeks of domestic and international touring. The group was Jason Moran, piano; Atsushi (Az'shi) Osada, bass; and drummer Rodney Green, who was only 18 at the time and was the newest member of the band. After having so much success on the road, of course my young musicians wanted to make the best possible impression at home in New York. All eyes (and ears) would be on this new group, as much had been written and said about the (yet another) young band of unknowns that I'd assembled. I was more than confident that we would make a strong statement. However, artists in their efforts to be flawless, can sometimes be excessively critical of their work. This is actually what led to the documentation of our playing that week.

 "Banned" Band

Throughout the week's engagement, Rodney made it a point to record every set each night, so that he'd be able to pinpoint areas in his own performance that he felt may have required adjustment and improvement. I am normally not one to listen to recordings of my groups during residencies or when on tour, as they may compel me to micromanage and nitpick actions made by my band members. I prefer not to offer too many comments or suggestions to musicians as eventually it serves to work against the objectives of the group itself. Musicians who have been admonished or counseled too much eventually "tighten up" in fear of making mistakes or displeasing the bandleader. I feel that it is far better to allow the personality and identity of the ensemble to define itself without excessive coaching. I was told, many years ago by a wise elder that "If you have to say too much to the cats that you hired, then you hired the wrong cats." These words, I firmly stand by.

 

Listen to "Banned" in New York here:

However, Rodney was more than overwhelmed from listening to the recordings night after night.  He was quite relentless in encouraging me to have a listen, which I didn't submit to doing until the final day of our week. At that point, I too was taken by the rawness of the playing as well as how seamless our connection and interaction with one another was. Many weeks on the road tends to have that effect on musicians - their environmental awareness and sensibilities are heightened. Unfortunately, bands don't develop a solid group sound and character in this way very much anymore due to the lack of steady touring opportunities for most as well as the challenges of maintaining a consistent musician lineup. This reminds me of another wise quote that was told to me years ago: "The best way to keep a working band, is to keep the band working." More wise words from a cherished elder. (I'll cover this subject in a later entry.)

After having listened to the recordings several times, I then took a copy to Blue Note president Bruce Lundvall and told him that I wanted to release a set of that week's music as a live CD, which I hadn't done at that point. Previously, I objected to the unnatural staging that took place during most live tapings when the audiences were aware of what was happening. Many patrons know that during a live recording quite possibly, their shouting and applause could also be immortalized on the very recording itself. Many iconic live recordings have been ruined by an errant whistle, holler or otherwise during a sensitive moment in the music. This, just so someone can brag "Hey, that's me right there!" That fact that no one actually knew that we were recording, coupled with the fact that WE didn't either, made for a much more natural and uninhibited documentation that is full of the atmosphere, realism and ambiance that was present in the venue during those evenings. You can hear the cash register, the bartender making drinks and the buzz of the crowd. There is no overzealous applause (actually, sometimes there was NONE at all, which is honestly what happens. A LOT.) and I didn't stop to address the audience until I announced the band at the end of the set. We were "keeping it real" before keeping it real became a thing.

I strongly felt that the collection of those live recordings more realistically captured the urgency and raw connection of the band than on my most recent studio release. We listened together in his office and Bruce agreed, even though we had only just released "Zero" a mere 3 months before. It was quite an unprecedented (and risky) move to have 2 recordings in circulation at the same time, but the sales of "Zero" were really slow because the music on that project was possibly too conceptual for most people. At that point, very few "got" it. But when "Banned" was released featuring us playing primarily jazz standards, people realized that we actually were on to something fresh and that we DID know what we were doing and as a result, the sales of both "Banned" and "Zero" shot through the roof. Brilliant marketing strategy, if I do say so myself. We’d modified and personalized those standards that we'd been playing to the degree that they almost sounded like originals as a result of the band having been on the road for almost a year straight. So we had an intensely special, almost telepathic connection with one another. The transitions and segues exhibited on the recording clearly exhibit this. I also employed sonic cues and signals that we'd worked out amongst ourselves, so there was no need to count off songs or to mention what song was coming up next. Everyone knew the cues and knew where the music was going based upon the content and non-verbal direction of my playing. Our sets flowed like a continuous suite of music - full of sweeps and unexpected turns and transitions. It was a very fertile and exciting period, and can only happen as a result of mutual respect, awareness, consistency and dedicated playing together and when all are thinking as a unit.

My other idea was to issue it as a sanctioned "bootleg" recording. So, we deliberately gave the cover art a washed out look and hand wrote the credits to make it appear as amateurish as possible. The only giveaway that it wasn't a truly underground release was the presence of the Blue Note logo (which was hand-drawn as well) on the package. In an effort to add to the mystery, we also choose not to list where it had been recorded, even though the venue was still paid an agreed-upon fee.

So, to anyone who has not heard the project, I humbly invite you to look it up and have a listen. Hopefully you will get a glimpse into the collective mind of a “working band” that is truly playing in the moment with absolutely no reservations, and perhaps you too will emerge inspired and impressed by the work. After listening to it again, I most certainly was  - and I’m ON it!