Looking Forward

On occasion I like to dabble in the world of free jazz.  Trumpeter John Allmark has been quoted as saying "they call it free jazz because no one will pay to hear it."  Although I agree that free jazz is not the most accessible, easy-listening music, I definitely see merits to playing free --- both within jazz education and for my own personal artistic growth and expression.

When discussing free jazz, I like to ask the question, "Free of what?"  The improviser can be liberated and encouraged to experiment outside of the usual parameters by subtracting one or more of the following musical elements:  predetermined form, tonality, key signature, standard notation, set rhythms, melodies, harmonies, tempo, time signature, etc.

This tune, "Looking Forward, Looking Back", does have a roadmap and form (including a Dal segno and Coda), but is otherwise notated using an unconventional graphic format.  Using contrasting, cued events, a story unfolds.



Here is the score, so you can follow along: (Click on the image to enlarge it.)

I refer to this type of composition as "guided free improvisation".  In my recent recording session with the Creative Opportunity Workshop (COW), we recorded four pieces incorporating this compositional technique.

I have successfully used some of these pieces in educational settings, when working with beginner improvisers.  Graphic scores provide "an in" (starting point) for those who don't yet know their chords, scales and the dauntingly vast amounts of theory required to outline harmonic progressions.  Obviously I teach this material too, but I like getting them playing ASAP, and overwhelming them isn't always productive.  Paralysis by Analysis --- as Bill Fielder used to call it.

Imagine the creative explosion/renaissance that might occur if every kid's first musical assignment was to make a list of 12 extended instrumental techniques to demonstrate at their next lesson.

Recording

I took a little breather from blogging to prepare for a recording I did last weekend.  I was joined by Kris Allen on saxophones, Christopher Hoffman on cello, and Rogerio Boccato on drums and assorted percussion.  I call this ensemble "C.O.W." (the Creative Opportunity Workshop) and have described the band and posted some concert recordings on my web page.

Kris Allen, Christopher Hoffman, Earl MacDonald, Rogerio Boccato

We recorded (a whopping) twenty eight of my compositions/arrangements during our two, 9-hour recording sessions on Friday and Saturday with my favorite engineer, Peter Kontrimas.  His studio is located in Westwood, MA.

Much of the music was written previously for two collaborative, cross-disciplinary projects I have done with artists Deborah Dancy and Ted Efremoff.  My music was written to correspond and interact with their projected artistic images.  These two suites have only been publicly performed twice.  I am happy to now have the music documented in fixed form, and performed accurately and beautifully by incredibly capable musicians.  A body of new works was also recorded for another collaboration with the aforementioned artists plus puppeteer, Bart Roccoberton.

The 28 pieces we recorded, laid out on Rogerio's drum kit, following the session.

Characterizing the music I wrote isn't easy.  As the instrumentation intimates, most of it is a true, bona fide hybrid between classical, jazz and "world music".  I like that it has been tricky for reviewers to categorize my last three CDs, and this will be no exception.  In fact, I anticipate it being considerably more perplexing for those who like clearly defined genres.

I imagine this project being released as a DVD, rather than a typical CD, so that the audience can experience both the audio and corresponding imagery together.  I anticipate that having it in this format will also facilitate more frequent public viewings in galleries and theaters.

Selecting "takes", and then editing and mixing the recorded tracks will be the next steps.  I anticipate the bulk of this work taking place in December and January.  Then, the video with which we previously performed will be edited to fit and reciprocate exactly with the recorded music.

I plan to post a couple of raw "sneak peek" tracks in the days ahead.

The Process

The impressive mural in the picture below mysteriously appeared on a wall in the University of Connecticut Art Department one morning.  Apparently a group of students erected it during the night, when no one was around.  I Googled the phrase, but nothing really came up.  It doesn't appear to be a famous quote, but yet it spoke to me on several levels.

THE PROCESS OF FAILURE IS GREATER THAN THE PRODUCT OF SUCCESS.

So, what does it mean?  The following thoughts came to mind:

• The process is what matters.  The process is where we grow, learn and develop as artists, people/spiritual beings.
• We often learn far more from our failures than from our successes.
• As uncomfortable as it may be, stepping out of our comfort zones, stretching ourselves, and trying new things/approaches is of paramount importance if we don't want to stagnate.
• It is better to try and fail than not to try at all. (OK, now I'm starting to sound overtly cliché.)

I think a lot about my process when writing music.  I walk a fine line in trying to be as efficient as possible with my time, while often trying new methods and approaches.  However, I think there are some steps I take consistently at the various stages of composing and arranging pieces.

This mural got me thinking...  Maybe I should take a closer look at my approach to artistic creation. Here's what I plan to do:  I was recently hired to write two big band arrangements of compositions written by Canadian jazz drummer, Tyler Hornby.  I hope to complete them over the next couple of weeks.  On this blog I will share my methodology, as well as my observations from self examination during the process.  Hopefully I will learn something about myself and the systems I employ while providing you with some insight into what goes into writing a big band chart.

Ultimately, failure is not an option for me here, but I do anticipate that there will be a few along the way.  Something would probably be wrong if there weren't.  :)  I hope you will come along for the ride.