Sacrifice

I stumbled across an old Jazz Times interview with John Zorn (I'm guessing - late 90's/early 00's) which includes some candid reflections on the state and future of the music and the biz. It’s a great read. Quite refreshing compared to a lot of the discussion going around on various music forums and blogs – where the topics tend to be centered on “how am I gonna get paid?” in the new digital age. Of course, he doesn’t bother to talk much biz, instead he rails against the greed and consumerism that steer us toward the corporate mass market and away from independence and individuality…

Many are rightly concerned that there is no way for a musician to make a living these days. It’s a topic I’ve touched upon before. And if you are considering a career in the music biz, I would agree that it’s a scary time.

What does this have to do with Zorn? Well… since you asked, I’ve cut out some (in my opinion) very poignant quotes from the interview, for anyone who fancies themselves an artist. We sometimes forget what it's all about. I think Mr. Zorn, more than anyone else I’ve read lately, hits the points that many – in the mad rush to find a “new 2.0 business model” – are missing.

Quote #1. It’s long but I don’t want to distill it by editing.

…That’s what it takes— courage. It takes more courage than most people have. There’s less than one percent of people like that, but the world could not exist without them. The world would not move forward without them, and I really believe that. I think the outsiders, the indi­vidualists, the people who have a messianic belief in themselves and are able to stick with their vision despite all odds—and be­lieve me, every day of my life I’m haunted and tormented by the voices of people that are saying in my ear, “Maybe you’re wrong.” But the people that can stick with that, they’re the ones that are re­ally going to make a difference in the world. And they will always be a small number and I’ve always aspired to be one of that number.

I think about the people that I admire, people like Jack Smith, who lived in a small apartment right over here on First Avenue and died of AIDS 10 years ago. I worked with him for about eight years in the late ‘70s helping him with his theater performances that never more than 10 people attended. And, I mean, this was some of the greatest shit I ever experi­enced. Here was a guy my age performing for 10 people. And I think about John Cage not getting an orchestra commission until he was over 50 years old. When he was my age he was still working as a dishwasher, you know? I think about that and I say, “Those are the models. I’ve gotta live up to that.”

Am I that passionate, driven and confident that I will wash dishes when I am 50, because that’s the only way to pay the bills? It just may come to that the way things are going. Music isn’t exactly a rare commodity....

…I do think that history is going to have to be rewritten in the next hundred or so years, as it always has been. People that were really popular in their time eventually disappeared and were forgotten. And people who struggled and did it the hard way and concentrated on the music and tried to make something great, eventually their work came to light. It’s often well after they’re dead. It’s rarely in their lifetime and if it is in their lifetime it’s at the end of it… That’s beautiful in a certain sense and a fucking tragedy in another sense…

Are you seeing the same theme as I am? The word that comes to my mind when reading all this is SACRIFICE. What are we willing to sacrifice in the name of art and expression? Is it a right or a privilege or a goddamn necessity?

I think about what the truly gifted musicians I know all have in common. Some basic beliefs… Music is sacred. EVERY NOTE is important. Every time you pick up an instrument is a performance – and it could be your last – so put everything you have into it.

Thinking of it this way... keeps things simple, and much more profound.

So here is my new mantra: You are a musician, no one owes you anything. You owe everything to the music. Do not think in terms of what you want to get (fame, fortune, recording contracts, free donuts for life) but in terms of what you are willing to give.

Now go practice…

What the Hell????????????????????

Well, there's that too...

When it comes to appreciating the finer points of our American musical heritage, there will always be something or someone that one just doesn't "get." Take Frank Sinatra. He's been held in high regard for a long, long time. But us young folks who weren't around to experience his magic first hand might associate him more with camp, kitch and all that Vegas/Rat Pack/Cannonball Run II stuff.. as opposed to what really made him great.

Via Grow a Brain, I found this discussion going back an forth about just what made 'Ol Blue Eyes the legend he was. One contributor put it like this...

...I value him for his phrasing. It's hard to explain until you listen to a bunch of Sinatra, but he has a way of constructing musical lines that sounds so easy and carefree. They say that the early beboppers listened to Sinatra and tried to copy elements of his phrasing. If you listen to early Sonny, Bird, or Dizzy, you can hear some of this.

And on another note:

And from a pop culture sense, well, he is "so great" for the same reason that any pop culture icon is "so great". He had sex with some hot women, he did drugs with some important people, and he had a famously large package, apparently.

Any questions?

More Miles...

Miles Davis interview, 1968

interviewer: Do you have any particular hobbies?

Miles Davis: Making fun of white folks on television. That's my main hobby. That's about it.

Poo-Tossers and Monkey Pirates

"So how many monkeys would it take before you stopped caring? That's not a rhetorical question. We actually know the number."

Another gem found thru Running the Voodoo Down…

This brilliant little piece of satire certainty made an impression on my monkey brain. “What is the Monkeysphere?” somehow manages to identify the root of disharmony in our society, why it is what it is, and what can be done about, in two seriously funny pages of text. I wonder what it says about my intellectual prowess - that I find writing like this to be as profound and thought provoking as anything by Nietzsche, Kierkegaard, or Dr. Phil?

Snippets don't do it justice. It’s the first time I’ve read anything by David Wong (at Cracked.com). More please…

Bitter Thruth and the Glory of Release

Don't ask me what that title means, I'm working stream of consciousness here.

Andrew Wilshusen isn't afraid to say what's on his mind. Sometimes the truth ain't pretty. Here's an excerpt from a recent post that discusses some of the negative sides of performance.

Performing by drumming in public is a pain in the ass that only fellow musicians can understand. First, you have to convince a venue to let you play there. Then you have to try to coordinate a time and place to get other musicians together to practice. Then you have to hope a miracle happens and that those musicians show up in time to make use of practice, as musicians are seemingly always running late. Unless the practice is taking place at my home, I have to get to the practice space, which requires: packing up my drums; loading them in my car; driving to the place; unloading my drums; setting up; waiting for everyone else to show up, set their stuff up and probably stop drinking and/or smoking weed; practicing; tearing down my drums; loading them in the car; driving home and unloading my car. This all must be repeated for every practice as well as the gig itself. I’ve driven to venues up to 6 hours away on several occasions, and have had to haul my drums ¼ mile to get them to and from the gig. At the gig itself: the room generally sounds horrible and is filled with smoke; the soundman, if any, usually has no idea what they’re doing; you almost never get paid enough to cover the gas it cost to get there; if there is any audience (usually limited to the bartender and the other bands playing that night, although they often show up late for their set and leave immediately afterward. Not to mention they often are unbearable to listen to…), most seem to not care about what you’re doing whatsoever which really makes one ponder why waste all this time doing it. After the gig, you have to listen to everyone’s bullshit opinions (usually consisting of them lying to your face) about your music, which is probably the worst part of it all as far as I’m concerned.

I hope he doesn't mind that I posted this. It struck a chord with me. I can't say that I've never felt bitter, hurt or annoyed. This thing known as artistic expression has a lot of appendages. Sometimes spitting it out, and letting the duck be a duck (so to speak) is the only thing to do.

For those who don't know, Andrew is also an accomplished improv drummer. Check out this solo where he only uses a ride cymbal and his hands.

Back to the Music

Via Casa Valdez, more sharing, more music... You Are What You Hear. File it under Jazz. Pass it on...