Monday, March 9, 2015
Saturday, February 28, 2015
Monday, February 16, 2015
9 Responses to Ladies First (from August 2014)
9 Responses to Ladies First
1. St. Paul says: July 9, 2010 at 12:05 am Funny, but so true.
2. Jake Hansen says: July 13, 2010 at 12:49 pm well most girls i know would rather go to some other show besides jazz, truthfully i’m happy as long as i’m not going to see metal, screamo, or rap. most girls i know will only go to a show if its a band or artist they already know well and that’s the big reason teenagers only really go to auditorium shows (only every couple of years), and plus the fact that almost every other venue in the united states is a bar of some kind luckily there are a few bars (there’s a lot in Nebraska) that create all-ages shows, and i know some of my friends have gone to those
3. Greg Osby says: July 13, 2010 at 4:57 pm Thanks for your comments, Jake. Perhaps it’ll take patrons of music like yourself that are somewhat more open minded who could possibly serve to introduce the females that you mentioned to the particulars of jazz appreciation. We all know that they won’t attend the concerts voluntarily, so exposing them to some alternative listening occasionally could mix things up a bit? The all-age issue is an important one for sure. All of the clubs in NY have minimum age drinking policies but do not prohibit non-drinkers from attending shows, particularly if they are accompanied by someone who is responsible. Some clubs back in the day used to have “peanut galleries” where underage fans could enjoy sets of live music but were restricted to drinking juices, sodas and milkshakes. The revival of this policy would do wonders in terms of luring a younger demographic back to jazz shows.
4. Rick Louie says: July 19, 2010 at 11:02 am I think, in NY, it depends on the venue. There are plenty of females hip to jazz at places like Tea Lounge in Brooklyn, and even sometimes (though, depending on who’s playing) at 55 Bar and Smalls. There are always females at Fat Cat but that's not exactly the best place to watch (or play).
5. amr e. says: July 23, 2010 at 5:21 am Wow it seems to be a great subject keep on going and I hope to see more from you
6. Terry H. says: August 7, 2010 at 2:47 am Isn’t the problem you describe a subset of a larger problem with the state of the profession: there is a disproportionately small number of women in the field of jazz at all, and so no wonder so few women listen. Greg: hire two or three women in your band and see if the demographics of your audience changes.
7. Greg Osby says: August 13, 2010 at 1:33 pm Terry H. Perhaps you don’t know my history. I’ve always been equal opportunity. I’d had an amazing female vocalist in my band for the past 3 years (Sara Serpa) and had Terri Lyne Carrington on drums with us all last week at the Village Vanguard. I’ve always had talented women in my bands and recordings. Geri Allen, Terri Lyne Carrington, Michele Rosewoman, Renee Rosnes, Camille Gainer Jones, Megumi Yonezawa, Sara Serpa, Bemshi Shearer, Cassandra Wilson, Amina Claudine Meyers, Fusako Yoshida, Tracy Wormworth, Glenna Powrie, Haruko Nara, Marlene Rice, Nioka Workman, Judith Insell and several more.
(Since this was first published: Simona Premazzi, Melissa Aldana, Helen Sung, Tammy Scheffer, Linda Oh, Mor Ben-Yakir, etc...)
8. BigRonLove Dawolfman says: May 29, 2011 at 3:27 am Wow! How sad, I have seen performers every where in this large city I live in and never have I heard this type of crybaby mess, bro. you are on stage where so many of us go nuts to get to and when we do we do our thing for who ever shows up, and then give them all we got, Ive never seen a guy with balls so tiny as to get on a mic and cry to the people like its there fault that your band dosen’t have any female followers thats some real mess, I just performed this past week and we had so many women there that we couldn’t stop spinning around to thank them for there complements nope Im not bragging Im just wondering, why? any musician can’t find women to visit a show or a performance location that dosen’t have women visitors there even befor the band arrives, I did a show once when I was a kid no one came to but that was because the guy that booked it was already known for being a prick and he knew there more than likely wouldn’t be a turn out and that we were to green to check the spot out first. But never again, what the heck dude don’t do that again to yourself I won’t even stoop so low as to give you advice on how to get women to show up because I know any man has to have a clue on that one Im just going to say don’t be that way you have to be a better man than that come-on man.
9. Greg Osby says: June 2, 2011 at 11:47 pm BigRonLove Dawolfman, you're certainly entitled to your opinion and perspective. I'll leave your response for all to see, whether I agree with you or not. Apparently, you missed my point entirely or felt an urgent need to let off some steam. Either way, I'm fine with it. Especially your "crybaby" and "tiny balls" comments. Hilarious.
10. Jayn Pettingill says: August 16, 2012 at 12:58 pm This is the first time I have ever heard an artist of your stature mention this topic: it’s wonderful to see this fact addressed. Two brief facts about myself: I am female and I am a jazz instrumentalist. I used to go to jazz and improvised music shows a lot and was often the sole female in attendance. Or, if it was a more “traditional” billing, such as Shirley Horn, there would be women there but more often as dates. As an aspiring musician I was seeking to find a community within the audience I was attending a show with–if that makes sense. People with whom I could talk about the show; parse out what was going on with the compositions, with the band, with technique of the players. Often, I ended up feeling like the one woman who walks into a car parts store–guys notice you and kind of write you of as a) being lost or b) you won’t know what you’re talking about. So yeah, getting women into an audience to hear this music; to begin a discourse about this music; to feel that they are a “part” of the process from being initiators to receivers of this music–is really very important. Thank you for bringing this up. I enjoyed reading your post about this–and as always–have always loved what you do musically.
1. St. Paul says: July 9, 2010 at 12:05 am Funny, but so true.
2. Jake Hansen says: July 13, 2010 at 12:49 pm well most girls i know would rather go to some other show besides jazz, truthfully i’m happy as long as i’m not going to see metal, screamo, or rap. most girls i know will only go to a show if its a band or artist they already know well and that’s the big reason teenagers only really go to auditorium shows (only every couple of years), and plus the fact that almost every other venue in the united states is a bar of some kind luckily there are a few bars (there’s a lot in Nebraska) that create all-ages shows, and i know some of my friends have gone to those
3. Greg Osby says: July 13, 2010 at 4:57 pm Thanks for your comments, Jake. Perhaps it’ll take patrons of music like yourself that are somewhat more open minded who could possibly serve to introduce the females that you mentioned to the particulars of jazz appreciation. We all know that they won’t attend the concerts voluntarily, so exposing them to some alternative listening occasionally could mix things up a bit? The all-age issue is an important one for sure. All of the clubs in NY have minimum age drinking policies but do not prohibit non-drinkers from attending shows, particularly if they are accompanied by someone who is responsible. Some clubs back in the day used to have “peanut galleries” where underage fans could enjoy sets of live music but were restricted to drinking juices, sodas and milkshakes. The revival of this policy would do wonders in terms of luring a younger demographic back to jazz shows.
4. Rick Louie says: July 19, 2010 at 11:02 am I think, in NY, it depends on the venue. There are plenty of females hip to jazz at places like Tea Lounge in Brooklyn, and even sometimes (though, depending on who’s playing) at 55 Bar and Smalls. There are always females at Fat Cat but that's not exactly the best place to watch (or play).
5. amr e. says: July 23, 2010 at 5:21 am Wow it seems to be a great subject keep on going and I hope to see more from you
6. Terry H. says: August 7, 2010 at 2:47 am Isn’t the problem you describe a subset of a larger problem with the state of the profession: there is a disproportionately small number of women in the field of jazz at all, and so no wonder so few women listen. Greg: hire two or three women in your band and see if the demographics of your audience changes.
7. Greg Osby says: August 13, 2010 at 1:33 pm Terry H. Perhaps you don’t know my history. I’ve always been equal opportunity. I’d had an amazing female vocalist in my band for the past 3 years (Sara Serpa) and had Terri Lyne Carrington on drums with us all last week at the Village Vanguard. I’ve always had talented women in my bands and recordings. Geri Allen, Terri Lyne Carrington, Michele Rosewoman, Renee Rosnes, Camille Gainer Jones, Megumi Yonezawa, Sara Serpa, Bemshi Shearer, Cassandra Wilson, Amina Claudine Meyers, Fusako Yoshida, Tracy Wormworth, Glenna Powrie, Haruko Nara, Marlene Rice, Nioka Workman, Judith Insell and several more.
(Since this was first published: Simona Premazzi, Melissa Aldana, Helen Sung, Tammy Scheffer, Linda Oh, Mor Ben-Yakir, etc...)
8. BigRonLove Dawolfman says: May 29, 2011 at 3:27 am Wow! How sad, I have seen performers every where in this large city I live in and never have I heard this type of crybaby mess, bro. you are on stage where so many of us go nuts to get to and when we do we do our thing for who ever shows up, and then give them all we got, Ive never seen a guy with balls so tiny as to get on a mic and cry to the people like its there fault that your band dosen’t have any female followers thats some real mess, I just performed this past week and we had so many women there that we couldn’t stop spinning around to thank them for there complements nope Im not bragging Im just wondering, why? any musician can’t find women to visit a show or a performance location that dosen’t have women visitors there even befor the band arrives, I did a show once when I was a kid no one came to but that was because the guy that booked it was already known for being a prick and he knew there more than likely wouldn’t be a turn out and that we were to green to check the spot out first. But never again, what the heck dude don’t do that again to yourself I won’t even stoop so low as to give you advice on how to get women to show up because I know any man has to have a clue on that one Im just going to say don’t be that way you have to be a better man than that come-on man.
9. Greg Osby says: June 2, 2011 at 11:47 pm BigRonLove Dawolfman, you're certainly entitled to your opinion and perspective. I'll leave your response for all to see, whether I agree with you or not. Apparently, you missed my point entirely or felt an urgent need to let off some steam. Either way, I'm fine with it. Especially your "crybaby" and "tiny balls" comments. Hilarious.
10. Jayn Pettingill says: August 16, 2012 at 12:58 pm This is the first time I have ever heard an artist of your stature mention this topic: it’s wonderful to see this fact addressed. Two brief facts about myself: I am female and I am a jazz instrumentalist. I used to go to jazz and improvised music shows a lot and was often the sole female in attendance. Or, if it was a more “traditional” billing, such as Shirley Horn, there would be women there but more often as dates. As an aspiring musician I was seeking to find a community within the audience I was attending a show with–if that makes sense. People with whom I could talk about the show; parse out what was going on with the compositions, with the band, with technique of the players. Often, I ended up feeling like the one woman who walks into a car parts store–guys notice you and kind of write you of as a) being lost or b) you won’t know what you’re talking about. So yeah, getting women into an audience to hear this music; to begin a discourse about this music; to feel that they are a “part” of the process from being initiators to receivers of this music–is really very important. Thank you for bringing this up. I enjoyed reading your post about this–and as always–have always loved what you do musically.
Friday, January 30, 2015
Monday, January 19, 2015
Change Is Upon Us
Pianist Jason Moran (AKA JAMO) made a statement in a recent All About Jazz Interview that resonated with me quite deeply. We used to have many extended discussions concerning interpretation and approaches to new music. What he offers here reflects a sentiment that I too, often feel when playing the music of other composers or when I am invited as a guest artist to perform with ensembles that have a bit of history amongst themselves. Quite very frequently, I am presented with music that I find myself struggling to play upon first attempt. Most of the more complicated matters lessen after ample rehearsal and explanations are made, but many issues are somewhat more extensive than simply developing of an understanding of the composer's or band's artistic intent. If only it were that simple.
As music progresses through the continuum, and artists produce works that are borne and reflective of various backgrounds, perspectives, stimuli and resources, it is sometimes a very daunting task to simply immerse oneself in their world and expect to function normally without floundering or sometimes even faltering miserably. These days, the makeup of most compositions reflects a series of sensibilities that must be lived and experienced extensively in order to accurately interpret the music at hand to satisfaction.
It's often not necessarily even a matter of being uncomfortable or unfamiliar with the methods or techniques used, it is actually a matter of responding favorably and readily to a set or series of options that are particular to a different generation, lifestyle or stylistic sector. In several instances, I have found myself caught up helplessly in a vortex of sound and means while the entire rest of the band (usually age 30 and under) proceed with exceptional comfort and confidence, as they know exactly where the beats lie as well as what the sources are of all of the reference points. At that point, I would have to stop frequently to request an explanation of the finer points of the music or that the tempo be slowed down so that I can "feel it." In short, contemporary improvised music and all that it's made up of, has evolved by leaps and bounds and it's critical to every practitioner of the craft that they continue to make themselves aware of the developments as they occur, lest be left behind. Or worse, to allow themselves to get "caught up" in a situation that reveals their lack of awareness and ability to navigate unfamiliar (and sometimes unforgiving) musical terrain.
The full article is HERE:
http://bit.ly/1xIvNmI
AAJ: You articulated that very clearly in the listening session as well. How the music from that era had a very particular sound and can be used as this line of demarcation dividing jazz between pre and post civil rights music. But as you just said, a whole lot more comes after that. So I'm curious if you think we are in a new period now?
JM: Definitely we are in a new period. I was just talking with Ambrose Akinmusire and Walter Smith III after they'd sat in with Eric Harland's band at the Monterey Jazz Festival and they played this tune and I was like, [laughs] yeah, see my generation we weren't messin' with that. That's something that is just y'all. And all the cats in that generation know how to move into music like that. There's a lot of flexibility and flow within it and when I play a tune like that with y'all its like, whoo! I'm struggling to keep up.
"Already the new generation—them dudes and ladies are already out there making some pretty great, provocative work. I'm happy and I can already hear the shift. So even like say a Robert Glasper record or Jamire Williams, those are marks of what music emerged from the influences of the '80s and '90s. It is just starting to emerge out of that. And it is definitely a defined sound if you listen to enough of it. And it is not in Wynton Marsalis' generation. And it is not David Murray's generation. It's a different language."
Frankly, I couldn't agree more. Things have changed. Many things. Awareness is key and I, for one, refuse to allow myself to miss out on the advances as they occur. As the environments change and new and inspiring ideas are implemented, they will present some challenges that must be faced.
I'm looking forward to each and every one. The next level will not be attained through avoidance.
As music progresses through the continuum, and artists produce works that are borne and reflective of various backgrounds, perspectives, stimuli and resources, it is sometimes a very daunting task to simply immerse oneself in their world and expect to function normally without floundering or sometimes even faltering miserably. These days, the makeup of most compositions reflects a series of sensibilities that must be lived and experienced extensively in order to accurately interpret the music at hand to satisfaction.
It's often not necessarily even a matter of being uncomfortable or unfamiliar with the methods or techniques used, it is actually a matter of responding favorably and readily to a set or series of options that are particular to a different generation, lifestyle or stylistic sector. In several instances, I have found myself caught up helplessly in a vortex of sound and means while the entire rest of the band (usually age 30 and under) proceed with exceptional comfort and confidence, as they know exactly where the beats lie as well as what the sources are of all of the reference points. At that point, I would have to stop frequently to request an explanation of the finer points of the music or that the tempo be slowed down so that I can "feel it." In short, contemporary improvised music and all that it's made up of, has evolved by leaps and bounds and it's critical to every practitioner of the craft that they continue to make themselves aware of the developments as they occur, lest be left behind. Or worse, to allow themselves to get "caught up" in a situation that reveals their lack of awareness and ability to navigate unfamiliar (and sometimes unforgiving) musical terrain.
The full article is HERE:
http://bit.ly/1xIvNmI
AAJ: You articulated that very clearly in the listening session as well. How the music from that era had a very particular sound and can be used as this line of demarcation dividing jazz between pre and post civil rights music. But as you just said, a whole lot more comes after that. So I'm curious if you think we are in a new period now?
JM: Definitely we are in a new period. I was just talking with Ambrose Akinmusire and Walter Smith III after they'd sat in with Eric Harland's band at the Monterey Jazz Festival and they played this tune and I was like, [laughs] yeah, see my generation we weren't messin' with that. That's something that is just y'all. And all the cats in that generation know how to move into music like that. There's a lot of flexibility and flow within it and when I play a tune like that with y'all its like, whoo! I'm struggling to keep up.
"Already the new generation—them dudes and ladies are already out there making some pretty great, provocative work. I'm happy and I can already hear the shift. So even like say a Robert Glasper record or Jamire Williams, those are marks of what music emerged from the influences of the '80s and '90s. It is just starting to emerge out of that. And it is definitely a defined sound if you listen to enough of it. And it is not in Wynton Marsalis' generation. And it is not David Murray's generation. It's a different language."
Frankly, I couldn't agree more. Things have changed. Many things. Awareness is key and I, for one, refuse to allow myself to miss out on the advances as they occur. As the environments change and new and inspiring ideas are implemented, they will present some challenges that must be faced.
I'm looking forward to each and every one. The next level will not be attained through avoidance.
Sunday, December 14, 2014
Sunday, November 9, 2014
Live The Life
I recently returned from a great tour with my band. It was equal parts challenging, revealing and triumphant on many levels. In a very short time, my new band quickly transformed from sounding like four unfamiliar islands into one tight and unified musical continent. Each show was a progressive step towards the realization of what I now consider a dream ensemble - one that answers to the call of risk and responds with inventive fury. I was both inspired and impressed every night. However, on what was supposed to be a relaxing and much needed day off, a longtime friend of mine read over the phone to me a review of one of our concerts. The writer commented that the band sounded somewhat uninspired and misdirected, or something to that effect. Without making any excuses by defending the band nor reacting in opposition to the writer’s impression of the show (he was partially correct, by the way) I always ask myself, “How are statements like this useful and to whom do they serve – especially AFTER the fact?” We drove almost 8 hours to arrive directly to the venue that evening without so much as a decent meal, shower, change of clothes or any worthwhile rest. Traveling in an SUV van through the curvaceous and treacherous northern California roads was no less than absolutely brutal, and we did it all on very little sleep from each previous night. (Correction: I did it (the driving) all on practically no sleep and I was the only driver for the entire tour.) There was rarely ever any room for recovery, as this was practically our daily pace for a couple of weeks. As most road musicians will quickly admit, it is quite common for traveling musicians to perform in a semi-delirious state resulting from lack of decent rest and nourishment. Deprivation of sleep and lack of quality food or any of the niceties and comforts that "normal" persons require and often take for granted is a fact of the lifestyle. Again, no apologies or excuses – these are simply the facts and unavoidable realities of the touring life for those of us who have chosen to dedicate ourselves to taking the music directly to the people.
With this in mind, I’ve always figured that wouldn’t it be great if, in order to be a "certified" music journalist or reviewer, a writer would have to earn his or her bones by actually traveling with a band on tour for several weeks or longer- just to experience firsthand what life on the road really entails? How else would anyone know what “the life” really demands of us? Most laypersons have absolutely no conception of the many and difficult steps taken to actually get the music to the bandstand. It’s not all fun and games by a long shot and for those of us who don’t have adequate representation, financing or a solid business and support mechanism, it’s a lot of work, is certainly no pleasure cruise, and there’s little to almost no time for leisure (or rest) during our daily hectic schedules. Every day off has to be paid for by the leader, so in order to reduce expenses, it is common for groups to travel and work every single day, which takes it’s toll both physically as well as musically.
Imagine, if you will, the tremendous demand on one’s personal energy reserves that it takes to command your body and mental focus in order to function properly during a tour without adequate sleep and nutrition for days or even weeks at a time. Traveling to exotic countries and experiencing foreign cultures may sound glamorous and exciting… well, it is normally, but most of the time when on the road we’re required to visit a different country or city every day or two in order to meet the tour overhead. Travel to most destinations usually requires a lengthy train or bus (van/auto) ride or a flight with another connecting flight. These flights must be taken very early in the morning, in the event that if there's a cancellation or other aviation issue, there will be the possibility or rerouting or finding an alternative means of travel. So after the concerts there is usually a (very) late dinner, a hang of some sort and then an attempt to grab a couple hours of sleep - only to be required to depart the hotel for the airport, usually before daybreak. This is an everyday occurrence due to the demands of scheduling and routing of tours (especially in Europe.) Each day off drains the budget, so a touring band must keep moving. I’d love to have a journalist on board just so they could accurately chronicle the day-to-day schlep that we must endure in order to make it to each destination. It’s not always fun, but it’s very definitely a fact of the business.
Experiencing this kind of torturous pace, as we do regularly, would be the best indicator of what our daily trials demand, and how we must rise above them in order to deliver our best performances regardless of our physical or mental state. Musicians are always told that in order for their art to be considered authentic, they must deal with certain realities that the art form imposes on them (AKA, paying dues). If this is indeed the case, then the same set of standards and criteria should be engaged for anyone who considers themselves enough of an authority to comment intellectually on our craft. We’re not always perfect and are expected to occasionally deliver under extreme and extraordinary circumstances. It would be ideal if some of these factors would be considered before a reckless dismissal of our work occurs because unfortunately, once it’s been documented, it can’t be undone.
None of this is, by any means, a personal tirade against music writers. As I stated above, I somewhat agreed with some of the writer's less than supportive observations. The show was one of the first in the tour and the band was still finding their way and learning how to negotiate with one another, all the while experiencing the normal and expected ensemble growing pains. I can accept that. But for the life of me, I fail to understand how it is acceptable for people to write AUTHORITATIVELY about practices, disciplines and lifestyles that they have never participated in and only have a layperson's knowledge of.
I can't recall ever having read very often that "the band sounded tired or exhausted" Remember, that on any given night, this may be a distinct possibility for any touring band.
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