A night at the Solis Theater

Today we will see some reflections on music performance.

For this I take as a reference the performance of trumpeter Jimy Owens, at the Teatro Solis, in Mointevideo, Uruguay, in the eighties.

By Gabriel Otero Giordano

JIMMY OWENS: (born 1943) is a jazz trumpeter, composer, arranger and teacher who has played with other geniuses of the genre as Lionel Hampton, Charles Mingus, Count Basie and many others.

Teatro Solis Web

Personal note

For me it was important mainly because as I said in the prospectus of the entrance of Solis: Jimy Owens had debuted in public at 29 years of age; which broke the prejudice that "if you do not start very young do not exist."

(Also at the same time I went to a conference of Lionel Hampton, and he told  he was selling newspapers  and that  he had started on playing the vibraphone at age 22.)

The show

I was accompanied by my fellow traveler of that era, and the School of Music, Omar Santiago. Indeed, it was almost always Omar who was the news who played and where.

The show was wonderful. 

He played jazz tunes, including some "standars" very old, but funky style. He was accompanied by drums, piano and bass.

I can not say more than was one of those moments that connect you with the universe and eternity ...

Everything perfect.

The after

We went with Omar to the output artists , and we heard that Jimy Owens was going to a night spot montevideano to keep playing with musicians from here. And that we follow them 

But there Owens was not, to our astonishment, so perfect! He played some good lines, other regular, and other excellent.

What had happened?

Far from demoralizing, i spent  time solving the fact. and left me these conclusions:

First, the show was great because it was prepared. And in that process probably hehad  discarded the less significant phrases.

Second, Solis made a performance artist high degree of concentration. However in the nightclub he was more relaxed. He was enjoying the friendship.

And third was human!

And this is very important because I realized that I can also rise  a performance level of course if I work for it.

And I am also human. And not everything that occurs has to be excellent. I can choose and present the best.

Jimmy Owens - Do It To It - 1976

Jimmy Owens Trumpet 

What's the Use 

(1976 Soul Jazz, Instrumental)

Lionel Hampton - Live In '58

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Although the monkey dressed in silk is still a monkey.

Today all groups are obsessed with the best studio recording and mixing in New York.And that's fine, but not so many who care about playing better.

And for that we must study and practice a lot. So I am sick of hearing music well presented, and do not tell me anything.Gardel recorded with a single microphone, and today still moves ear.

That's what I said either of my two grandmothers

"Although the monkey dressed in silk is still a monkey".

Anyway here are some tips that may help


 
A- No go to study to study. This takes up a lot of time and money. At the time of Gardel recorded it live, and it was expensive. Therefore the musicians came to the studio with the song ready. The idea is to set up as a warrior on the sand. Like always , you will  have to improvise something, change, resolve at the time. That is assured, but go unprepared is irresponsible.

B- Be Natural . What does not come naturally dislike. At the beginning of the era of recorded sound, recording all band together. When  appeared the separate recording tracks, this was an advance to cover an error, a chance. But then the chance became a rule, and the result was perfect recordings that say nothing. Many bands have returned to the live recording, conserves energy because the shared moment.

C- Less is more


I tell my students:
What happens when someone speaks to you endlessly repeats the same idea is overwhelming?
Nothing. We do not want to hear it. 
In music should pass the same, but still has not reached that maturity in acoustic communication.
I personally when I hear a musician play thousands of phrases that do not transmit anything I think, he is doing therapy with me.

D- Do not want to be like your favorite artist. I repeat the words I put in the first installment of this blog

"You can make copies fantastic; I prefer something less fantastic, but more genuine. All the world advances have been made by people who they thought differently; there is not one that repeating what above has moved something. "  Jorge Risi

Gabriel Otero Giordano

Tools of learning

By Gabriel Otero Giorano

Most musicians have learned from  teachers and self-taught. Both forms are necessary, but there are more learning tools between each one. We will see more of them here.

1. Formal Education

a) A good teacher-Choosing a teacher or instructor is very important. To me it stuck with me a quote from Robert Frip saying that a good instructor is one that connects the disciple with the tradition of music. That is the one that integrates the family.

b) Schools- Not all musicians are graduates of a school, but may constitute formal culmination of a process. We will dedicate the next installment of this series only at this point.

2. Listen  music

A musician has heard much. If we say in computer terms we would say that has a large database in memory. I personally hear much but I'll check in (cassette, disc, cd, video) very soon. So when I get something in my chest is really good ... But there are those who keep a true music library at home and is also valid.

Within this point is listening to music, touch and write. This practice is known as transcription. There are those generated from libraries and phrases of all genres who prefer to capture the essence of each style and work with it our own sentences.

3. Methods



 Years ago we had only books. Today come with tablature, encryption, cd, dvd, etc. As with the music is recommended to choose well because there are thousands. The College of Uruguay has a beautiful and well-stocked library where it is from a book of sonata form to the collection of Guitar Player magazine. The virtuoso Steve Vai among others indicates the Modern Guitar Method of William Leavitt and Chord Chemistry by Ted Green. Another great for guitarists already formed is The Advancing Guiatrrist Mick Goodrick. In harmony is especially recommended Little Harmony Manual Esteban Kilsich.









4. Technicals magazines

I always suggest the Guitar Player that covers many styles, ranging from the classes of harmony or technique to repair instruments. It is also a serious publication that does not use its pages for anything other than the technical. There are similar in Spanish as Guitarist and Total Guitar. 

5. See recitals

In addition to live performances we hear the music musician working: from your position to the type of instrument. It exploits much more a show at a theater in a stadium, not only by the distance you are from the musician's performance in mega events but because there are many distractions.

You can also see recitals in video. They have the advantage of being able to repeat any fragment. However in live concert I choose to look; allowing me to track a participant in particular. You can also attend trials bands, orchestras, etc. View another working is always educational.

6. Masterclass

It is called a short cycles of classes, sometimes unique. Often given by foreign musicians a day before or after a recital. So when someone comes important Solis for example, is good to be attentive to see if one of these in those days. Even when it comes an artist, especially jazz, usually attend nightclubs and playing with local musicians.



7. Workshops and Courses

If there is a place in which I am happy he is in a course, where in addition to learning from someone very interesting, I know new fellow travelers. So what lives in them is recorded in memory.

Gabriel Otero Giordano

Revista Guitar Player

Choosing a teacher

Here we see several tips that can be useful to choose a good music teacher. The key is the example. The teacher has to play well.  
A phrase from Robert Frip saying "good teacher is the one that connects the disciple with tradition"  illustrates me about this...

"Education is give the body and soul all the beauty and perfection of which are capable". Platón

A- The good teacher has to play well. There has not to be a virtuoso ultra eccentric but have to master your instrument.

People learn by example.

B- The good teacher is not a punch of songs , but should teach students the basics of mastering their discipline. Does not mean that teach repertoire, but should be concerned over the pupil acquire the tools to develop personally.

C- The good teacher does not allow the disciple becane a teacher-dependent for years. The two best teachers who learned knew "cut the cord" on time.

Gustavo Ogara told me one day: "Well, you know  what is necessary, now make your way" and I did not feel like a offense. It as  a demonstration of trust.

Esteban Klisich  said "this is to take my two books, then leave. You  will not be cheated". 

The teacher can not keep the student indefinitely. 

D- The good teacher is calm because he knows you learn in an atmosphere of serenity.
If you are agitated is who is touching him, removed the desire to play. No mean you can not motivate students showing their skills; but it must be measured, the class is to learn. Not a recital ...

E- The good teacher motivates  students on originality. It shows to look your style, not to copy or want to be like their favorite artist.

"You can make copies fantastic; I prefer something less fantastic, but most genuine 
 All world advances have been made by people who thought differently;. No one that repeating the above has moved something."  

Jorge Risi.

Datos

Gabriel Otero Giordano

Robert Frip

Platón

Gustavo Ogara

Esteban Klisich

Jorge Risi