The next level

**Chris Fitzgerald** · #1 03-01-2007, 09:57 AM

I was fortunate enough to be able to play three nights this past weekend with Jean Michel Pilc and Ari Hoenig, and I had a wonderful time trying to interact with the ideas they were throwing around and the places the tunes went, some of which were completely new territory for me. First off, I would like to mention that I consider both great musical geniuses in their own way; but what seemed more important than their obvious ability was the amount of energy and focus they were able to channel into every second of every tune. It was as if, for the time that they were playing, they simply willed themselves into a higher level of being, a level where there is no fear and no inhibition. Needless to say, getting the chance to share this with players of this caliber was unbelievably enlightening, and I have no doubt that I will be able to continue to learn from the experience (and vicariously, through the recordings) for some time to come.

What’s funny is that I have this feeling that because of this experience, the way I look at and listen to music has changed in some fundamental way. I have been shown in no uncertain terms that a higher level exists (I had suspected it, and had even experienced brief glimpses of it), and now the trick is to try to get back into that space and use it as a new goal to take my own playing to that proverbial “next level”. In short, I had my mind blown this past week by some tremendous musicians (who also happen to be really nice guys as well), and it’s a funny feeling – one I haven’t really had since I met Gyorgy Ligeti back in the late 80’s and got to talk to him about his music.

Maybe I’m just rambling aimlessly, but I thought the subject of direct exposure to a higher level of musicianship might make for an interesting thread with some interesting stories. Who have you seen or played with that completely blew your mind? What were they doing that was new to you? Were you able to take something from the experience and turn it into something new in your own playing? Inquiring mind wants to know.

Marcus Johnson · #2 03-01-2007, 10:58 AM

Man, there are so many, and they aren't all "name" players either. I've brought away a lot of knowledge of "in the zone" playing from a lot of different folks. I think that one maybe gets used to playing at a certain level in hotels or whatever, and then you do some concerts with some headliners and you really start to appreciate the different levels of involvement.

One that seems to keep coming back to me is some trio work that I did with pianist Joanne Brackeen. She used to open the show solo, and I remember sitting backstage listening for about 30 minutes while she turned the piano inside out, and then having to stroll out onstage and try to play at that level! Pucker-inducing, but very exhilerating. Hers is not a situation where you can expect to just play time, the bassist's role is very interactive, with lots of playing heads and knotty rhythmic challenges. It's really something that stays with you for awhile afterwards. Hopefully, you can try to get to that level of commitment every time you play. Life's short.

Reuben · #3 03-01-2007, 11:37 AM

This is a good subject for a thread, no doubt. I feel like most of my serious development came from these exact kind of experiences, and as Marcus points out they don't always come when you're playing with recognized "heavies." Some of mine sure have though.

One of my most recent experiences like this was working with pianist Denman Maroney on his quartet music. It's incedibly hard, not chops-wise, but musicianship-wise. Every member of the band might be playing in different meters at any given time to make one sick polyrhythm and being able to stay with your part is challenge enough. Then the challenge is to make it feel good, and contribute. I felt like I made incredible strides in my musicianship working on the CD, and I hear all the rhythmic content of my free improvisations in a different way now. Hard to explain...

Back in '94 I got a last-minute call to play a gig with Dave Douglas, Don Byron and several other ridiculous heavies. I was a young pup on the scene and the music for the gig was fairly open, just some minimal heads. I remember worrying about whether I would take things in the right direction during the blowing. We had a quick rehearsal at soundcheck and I was immediately put at ease because the way those guys played made everything feel clear, like I knew exactly what to play at all times by listening to them. Incredible. I didn't have to think at all. It gave me this new feeling about what I was capable of, and it really stayed with me.

neal davis · #4 03-01-2007, 11:59 AM

the last one I had like that was working with Christoph
Baumann and Dieter Ulrich from switzerland doing a tribute to Urs Blochlinger the music had some of the same ideas that reuben was saying about the multipul time signatures going into a wierd overlapping groove while free playing was happening. They were both great guys but the way even in rehearsal we played the music and talked about concepts about music really left an impression on me that has boosted what I want out of music when I play it

hdiddy · #5 03-01-2007, 11:59 AM

Quote:

Originally Posted by Reuben

I remember worrying about whether I would take things in the right direction during the blowing. We had a quick rehearsal at soundcheck and I was immediately put at ease because the way those guys played made everything feel clear, like I knew exactly what to play at all times by listening to them. Incredible. I didn't have to think at all. It gave me this new feeling about what I was capable of, and it really stayed with me.

+1

This virtual newbie has been lucky enough to play with Eddie Marshall, David K. Matthews and just a few months ago Geoffrey Keezer. The first two were in open jam sessions and Geoffrey in a workshop at the Jazzschool. Eddie is such a sweet guy and has played with everybody you know, these days I think he regularly plays with Bobby Hutcherson. Dave Matthews has played with lots and is Etta James regular pianist. You know who Geoffrey Keezer is. I asked him lots of "What did you do with Ray Brown" type questions.

Anyways, with all of these guys, of course you know that the level of ability is much higher and I'm pretty sure they all put on their kid gloves playing with me. But I think the bigger point was that they had not just alot of clarity, but they had alot of intention behind it so it made it easy to fall into their train of thought. It was like their music inspired you the moment they hit a note. OTOH, playing with lesser-experienced players provided more of a muddled direction, or none at all, ignoring the physical skill/ability aspect. Alot of times with Eddie, I'll just suck, but he just swept me along and made me sound and feel really good about playing with him. At the same time, I felt like they really embrace you, regardless of how good you are. To analogize, it felt like the energy those guys generate creates this huge wake that it's easy to just follow up right behind them effortlessly and they tuck you in right there. Of course it helps that their playing is so much better that it can mask your own faults too.

I realize that my senses may have been heightened because I realized who I was playing with, but despite that, I still think true masters can to generate the type of energy and intention that I'm talking about, enough to carry you along without even uttering a single word. IMO, that's the real difference between us and them.

fingers · #6 03-01-2007, 01:02 PM

Awesome Chris. The raw power and ears of those guys blow me away. I have some stories but in the meantime go to Jean-Michel's site and watch the interview clip entitled "Power of Music". I also really like the 'Playing with great musicians' clip.

http://www.jmpilc.com/interview.htm

**Chris Fitzgerald** · #7 03-01-2007, 01:31 PM

Odd - every time I try to access one of the clips, my computer downloads a small "ram" file, and then does nothing. Any idea how I might get around this?

bpclark · #8 03-01-2007, 02:21 PM

If I remember correctly, a .ram file is a reference for RealPlayer that points to a RealPlayer format media file. Do you have RealPlayer installed on your 'puter?

Quote:

Originally Posted by Chris Fitzgerald

Odd - every time I try to access one of the clips, my computer downloads a small "ram" file, and then does nothing. Any idea how I might get around this?

Marcus Johnson · #9 03-01-2007, 02:31 PM

PS... Durrrlll..... I'd forgotten that you met Ligeti! That's definitely another musical plane right there....

Uncletoad · #10 03-01-2007, 02:34 PM

Great descriptions of one of the best things about being a musician.

I miss these kinds of moments. Haven't had one in a long time. Mostly I think 'cause I'm a lunchpail musician. I posses moderate skills that have little individual character beyond a strong sound and good time. As such I haven't played with dedicated "artists" much. Famous people don't call me for gigs. My gigs tend to be safe and decent paying, but based more on pleasing the crowd than nurturing the artist.

I love to play in those confines and bring gas to each of those gigs, it's not just a job. It's just that it's more entertainment than art and as such I don't think it's as open to transcendent moments.

Maybe it should be, could be.

The best I can hope for is a gig call where I'm the worst musician there and nobody seems to mind. That usually kicks my ass.

So I'm envious of those moments. Enjoy them, they are the spice that moves us to other levels.

**Chris Fitzgerald** · #11 03-01-2007, 02:35 PM

Quote:

Originally Posted by bpclark

If I remember correctly, a .ram file is a reference for RealPlayer that points to a RealPlayer format media file. Do you have RealPlayer installed on your 'puter?

I do not. Is that a Mac friendly program? You'd think it would be, since JMP is a Mac fanatic.

Quote:

Originally Posted by MARCUS

PS... Durrrlll..... I'd forgotten that you met Ligeti! That's definitely another musical plane right there....

No doubt about that - but he was a very kind, gentle man, and generous with his time. Along with Bartok, he was the first "modern" composer to really blow my mind.

fingers · #12 03-01-2007, 03:23 PM

It is a free download.

http://www.real.com/

Click on 'Realplayer - free' in the upper righthand corner.

I'm a Mac fanantic too and it is Mac friendly.

Gornick · #13 03-01-2007, 03:34 PM

I met and played with Gyorgy's son, Lukas, several years back in a free improv context in NYC... He is a very interesting percussionist and composer himself.

When asked about being the son of Gyorgy he replied : "But I am as much Ligeti as my father."

I wish I could say I am at the level you are talking about Chirs, but I do know about those moments when playing with folks a step up or two and feeling that breakthrough moment. It is very inspiring and as TeoToad says, why I'm a musican, and you put it very eloquently. It's also a good reason to leave a small town with limited, but vibrant, musical options and put yourself in the muck of the big city as I am about to do...

thanks.

Lukas is here for those interested:
http://www.myspace.com/lukasligeti

mcnaire2004 · #14 03-01-2007, 04:43 PM

The next level? Maye playing violin concerto's at tempo with all the double stops and everything. Physically the bass has allot more room for improvement than the violin or cello.

Or maybe the next level rather than people getting better and better (thats natural), it could be just exposure. Like having famous, curren,t popular composers write bass concerto's. And, having more orchestras seek bassist to solo as much as violinist.

Sam Sherry · #15 03-01-2007, 06:32 PM

'Cuz Durrl, I think you've hit it on the head. The older I get -- the longer I'm into music -- the more what I value AS A LISTENER is that intensity. Whether the music is loud or soft, fast or slow, jazz or whatever, it's that focus that makes me say, "I want to hear more."

philip sirois · #16 03-01-2007, 06:42 PM

Quote:

Originally Posted by Sam Sherry

Whether the music is loud or soft, fast or slow, jazz or whatever, it's that focus that makes me say, "I want to hear more."

+1

Speaking of Bergonzi, I recently saw George Garzone (both boston guys, and longtime collaborators) for the first time in 20 years. The intensity was really high, and all I could think of was -this guy is a special player. Joy, passion, focus. I live here in New York and see alot of shows, but not everybody brings it like that.

**Chris Fitzgerald** · #17 03-02-2007, 07:00 AM

Quote:

Originally Posted by fingers

It is a free download.

http://www.real.com/

Click on 'Realplayer - free' in the upper righthand corner.

I'm a Mac fanantic too and it is Mac friendly.

Thanks! That did it.

Quote:

Originally Posted by Sam Sherry

'Cuz Durrl, I think you've hit it on the head. The older I get -- the longer I'm into music -- the more what I value AS A LISTENER is that intensity. Whether the music is loud or soft, fast or slow, jazz or whatever, it's that focus that makes me say, "I want to hear more."

That's what I'm noticing. What amazed me about the JMP shows was the way people could relate to what was going on even when it was really, really out there. My wife came for the second night with her sister and her husband. None of them have any musical training, and none of them are "jazz listeners" per se; but they could easily pick up on the interplay and intensity, and were in fact blown away by it. When you see people having fun and playing with energy it's hard to resist - whether you "understand" what's going on on other levels or not. It speaks for itself.

Heifetzbass · #18 03-02-2007, 07:19 AM

Two seasons ago I got to play with Yo-Yo Ma for the first time. Talk about taking it to another level... I had accompanied a lot of high-profile soloists before, but Yo-Yo made us feel like we were playing chamber music with him.

Most times, when you are playing with a soloist it can feel like they are the main attraction and you are there to make them look good. Yo-Yo pulled the cello box way back into the orchestra so he could communicate with us better. We all felt connected. I dare say that was the best the orchestra has ever responded or sounded. His attitude was that WE were playing the concerto, not he was playing the concerto. We didn't need a conductor for that performance.

He was also the most humble, approachable musician I have met on that level. That experience changed my approach to the concerto itself.

Brian

Bruce Lindfield · #19 03-02-2007, 07:51 AM

Great thread Chris - I have enjoyed reading al the posts!

Each year I get my ass kicked when playing with one (or more) of the tutors at Jazz Summerschool (all great UK Jazz pros) and I sometimes wonder how they got pulled up to that level!!

fingers · #20 03-02-2007, 10:08 AM

I saw JMP at the Green Mill here in Chicago. Here's a review a wrote for my friends blog:

...featuring Thomas Bramerie on bass and Ali Jackson on drums, Marc and I had our jaws on the floor for the majority of the night. Marc phrased it really well:

The interaction was incredible and they listened so well to each other. They did a bunch of standards but took them places both rhythmically and also harmonically, reharming stuff on the spot, and I don't think they even knew where things would end up. They changed key effortlessly. Pilc is one of the only piano players that I've seen go head to head in a sparring match with a drummer. Powerful. I'm actually of the opinion that he is one of the best improvisors out there. I have a few live recording of that group doing some of the same tunes and they are totally different. They were in the moment and in each other's heads. Everything, even the ballads, had fire. They also did a great job of making sure the audience was involved. Not necessarily direct interaction but they made musical jokes and ran the gambit of emotions. It is always hard to put an experience like that into words but that's the gist.

Maybe the best show I've EVER seen.