Hi Folks
Fancy being a Jazz Judge?!
When you get to a certain age you may find yourself adjudicating, testing, evaluating the creative work of others. Behind that desk, pen in hand trying not to look too scary,
you’ll be balancing professional detachment and the evaluation of musical data, with what your soul, your gut-reaction screams up at you, through layers of acquired socially acceptable expedience.
Well, that’s what it might feel like to you. In fact that inner “truth” the judge may or may not feel when someone pours out their musical heart on the other side of that desk, may just be plain old personal taste.
If something  played or composed,  triggers enough familiar influences in the listener, quite often acquired during their OWN formative years, they’ll find themselves writing down how good it is. That’s when the professional detachment stuff has to kick in!

From the other side of the desk, don’t believe the judges who might tell you afterwards that they were completely impartial (if so, they were probably asleep), a thousand personal likes and dislikes were being triggered by what they just heard and some of them WILL be a completely unfair appraisal of you, when acknowledged in isolation.  This is the first reason why there should be at least two judges, preferably not close friends with identical jazz-on-vinyl collections. 

playing flat
This is also a great reason for you, the  candidate, to feel EMPOWERED and not scrutinised like a medical exhibit: The beating heart of you is beyond judgement, it is life, burning with creativity.  It has little, if anything, to do with the ego or with your more experienced fellow artists , however wise, scribbling things down as you perform.
Your true worth is a given, so a good question is,
 Can I make this apparent to others?
 If at times you may have not made this so apparent to others, it is THAT which has been judged, NOT the passion itself  or that wonderment you feel in the core of you.
This is beyond question, always. 
Your artistic practice should retain a magical umbilical cord. It stems from your most fundamental, elemental and honest urges to create. Nurture this influence, which NEVER REQUIRES judgment, and it’ll have a chance to shine out of you. This might be the most impressive thing to the judges.
Isn’t that ironic!
It is a present-moment phenomenon, animating all that hard-acquired, yet mechanical, skill.
So how to prepare for an audition?
The same way you’d prepare for a performance. What do you owe your audience? Everything, actually.
So your practice room becomes a Chapel, and your breathing is consciously slowed and relaxed and you enter into something sacred, knowing that people before you have been persecuted (and still are) for keeping the right to do what you are privileged to be doing right now.
Don’t be afraid of approaching big grandiose subjects and feelings, as long as you maintain the ability to laugh at yourself too.
It is not really YOU, but your ability to communicate YOU that is ever being judged.

Hi all!

It has been wonderful to be in contact over the years with Bob Mintzer, not only an incredible tenor sax player (plus being the first jazz player I ever heard playing the bass clarinet – with some consequence), but a brilliant writer, arranger and educator. Check out his work with Jaco Pastorius, Buddy Rich, Thad Jones, The YellowJackets….. This guy has TOTALLY been there and holds a teaching position at the University Of Southern California, with a collection of great educational books and videos available worldwide.

This week’s slot is dedicated to Bob’s wonderful response to my last blog, how our ability to concentrate is REALLY at risk. I was going to ask a few great players, who happen to hold high places within jazz education, about their thoughts on keeping everyone, AND yourself, motivated when busy bringing along those less experienced than you. Who better to possibly start with than Bob, here he is in full:

“I think having come up in an era where these sort of distractions were non-existent, we naturally focused more intensely on what we were doing, both in a practice and writing capacity. Furthermore, when the new Miles Davis LP hit the stores (remember record stores?) we saved our money and ran out to buy  the much anticipated LP.  It was something we listened to incessantly for weeks, digesting every note and nuance. I would practice playing along with the recordings, again delving into as much detail as I could. 

       In some way practice and writing sessions are similar to a form of meditation, where I turn off the phone, tune out the world, and launch into the world of musical imagination. I try to quiet the mind and focus on a singular thing.

For me this is a recluse full of amazing possibilities. The trajectory  that develops in practicing/writing takes on a momentum of it’s own. One thing leads logically to the next, and a flow is established where time gets very rubbery. Several hours can fly by in what seems like an instant. I usually feel like it is not me playing or writing, but rather some greater force that I am able to tap into. It is fairly easy to focus on what I am doing mainly because it is so damn pleasurable. 

      As far as conveying the importance of focus to students in a classroom setting, the best one can do is set limits on the use of cell phones and computers during class time.

We can’t go home with them and monitor their device use. I see USC students on skateboards texting while zooming down the street. Insane! Perhaps talking about our experiences without internet and cell phones, and the importance of focus in everything we do is the best we can do. 

Tim: As a musician who, as you say, is self- taught at least in arranging, what / when were the times you had to self-impose discipline on your practice and study, the times when it WASN’T the only thing you wanted to be doing right now, but you did it anyway

Bob:    I don’t ever remember a time when there were things other than music I would rather be doing. My parents had to tell me to stop practicing. I was driving them crazy!

I always had a strong desire to learn more, play better, hear great music, and be the best musician I could be. I wanted to get to a point where I was so familiar with the subject matter that I could lose myself in the musical creation while having an innate grasp on matters such as form, color, melody, harmony, rhythm, and orchestration. Something told me that there was a great prize at the end of this experience, where years of practice/study/writing and playing would set you free. Experience has proven this to be the case.

            Perhaps the only times where I had to impose some sense of discipline on myself was when I was under a deadline to write something for a given situation. I wrote the arrangements of Herbie Hancock tunes for the Mel Lewis Jazz Orchestra rather quickly to meet a deadline back in the late 70’s.  At some point the stress and fatigue of sitting for a week straight writing 6 arrangements turned into excitement and satisfaction over the emergence of things different than what I had ever written before.  Then there was the excitement of the prospect of hearing your work performed and recorded. 

            I think there is no replacement for logging in lots of miles when it comes to writing and playing. The more you do it the more oiled the machine becomes, and on some level, the more gratifying it can be. Once at this level, it is a joyous thing to sit down and write or practice. 

           In my practice sessions I generally start by working on music I am currently playing followed by learning a new tune or two, and then a good amount of improvisation. Inevitably something pops out that warrants further scrutiny. I try to freeze frame whatever caught my attention, and develop it into something I might use in an improvisatory setting. One idea usually leads to another and then another. It’s good to write these explorations down and revisit them, although I don’t always do this. I do, however, spend a good deal of time on an idea so as to develop it into something I can call my own. 

       Getting off topic here. I guess the point is, I really dig doing this stuff! 

….and about being an engaged human being:

 I’ve found that it is important to keep abreast of what is going on in the world and to be proactive in the betterment of society. The first and foremost thing we can do is VOTE in elections. The next thing would be to donate to worthy causes, partake in peaceful protest, and even run for a public office. Granted, full time musicians generally don’t have a lot of time for all of these activities. It becomes critical to determine what level of involvement works best for you. 

              As a musician of some prominence I felt that I could use this pulpit to express political and social views. At a certain point, though, I realized that complaining about the injustices in the world might be a waste of energy and time, better spent on creating wonderful musical situations and spreading the word on the importance of the arts and education in society through teaching and performing. 

               I think we should all remember that musical creation and the sharing of said music with an audience is a positive endeavor that can heal a lot of the divisiveness we now face in the world. If our music is honest  and coming from a place of love and dedication, we are doing a huge service to human kind”. 

 

Hi folks, this one has been in danger of turning into a middle-aged rant!:

The hijacking  of Concentration

When I was a student (at the Guildhall, London in the early 1600’s) I divided my time between
contemporary composition and saxophone practise, a lot of it.
As a kid I had a wooden pyramid wind-up metronome but now I had bought a new-fangled digital version, with volume control, small enough to carry in my case.
As the practice rooms were a little resonant and I didn’t like wearing an earpiece, I sticky-taped the thing to my shoulder so I could play at louder volumes and walk around the room, allowing my concentration to deepen into the groove I was internally constructing over this incessant “blip blip” pulse.
In the end I would silence the device but my inner ear would trick me into still hearing and playing along with that click track, again, an act of concentration, in fact unless I got to a certain level of concentrated focus, no work of any importance was ever done.
What if that metronome also kept sending me messages from friends and family, pictures of cats and cappuccinos, all of which I simply had to respond to? What if the upright piano I studied my harmony on, was equipped with a computer-window into everything else on the  planet, tempting me to surf the web every half an hour?
I’d be screwed.
I know that I would have faced a barrier to a most vital thing in creative endeavour, the development of concentration.
Why are there folk around that think they are going to get good enough at anything with such diluted, flimsy concentration that makes practising even for a single hour almost impossible?
With the opportunity to talk to virtually anyone, virtually, – virtually all the time, comes the necessity to reactivate and hone that most unpopular, despised and berated attribute,  that of restraining the senses. We need to block out the din, seeing ALL of it (even important stuff) as distraction, whilst working at our craft.
I am aware that many students naturally have the capacity to do this, thank God, you are better than I would have been!
BUT…I feel that the 24 / 7 social media life that many of us share is, above all, ONE thing:
It is somebody else’s business plan.
My generation may be the last to know that NONE of what Instagram, Facebook and the others have to offer is actually necessary to sustain life on earth.
The main reason we have become hooked on it all, is very effective business / marketing planning by those who make a fortune out of our need to be distracted.
It is little different, when stuck to your phone in every “down-time” moment, to feeding an addiction to say, Mars Bars, the folks who invented them rub their hands together at our helpless neediness.
The difference now is that aspects of living, not just frivolous memes and cappuccinos, but all the most serious stuff, depend upon the same products. Very cool, but cancerous to the still, creative Soul in us,.. if you can roll with my turn of phrase.
So I would make a plea to anyone wanting to create something other than surface level imitation of all the stuff beamed at us, try turning all the toys OFF. Go and Woodshed, look here’s a picture of a shed:
                                                                 
Go through the mini- cold turkey and jitters, and dig deep enough to find something that is worthy of you. You are NOT somebody else’s business plan!
Slow-cook your food, slow-cook your practise, your listening, your creative writing. Use all the tech that you need like an athlete consumes nutrition, you being in charge of IT, (see what I did there.. I.T.?)  You probably won’t die.

HI ALL!

Welcome to the new BLOG page which will incorporate bits of current news on projects I’m currently immersed in, plus some questions from students and fans.

BBC FREE THINKING FESTIVAL – The One And The Many

From left to right: Jason Rebello, Yuri Goloubev, Tim Garland, Pablo Held, engineer Ronan Phelan, at Masterchord Studios

I’ve long been a fan of the BBC’s Free Thinking Festival, with its curiously diverse bunch of lively academics and artists. This March I’ve been invited to share my music and thoughts on Radio 3 as the focus of this years festival ties in with the contrasting sides of my music-making, and how they remain unified.

By now, the definition of that word JAZZ  is so multifarious as to start limiting  its usefulness altogether.
Nothing will ever take away the greatness of what we consider Jazz’s historical golden age, but it might be more accurate, in these times, to call jazz an approach we have to Music, rather than a defined genre.
Anyhow, I’ll be discussing this,  how modern composition ties in with improvisation, and music’s application within visual media circles, with Radio 3’s Sarah Walker this March. This will also be the first time my new CD Weather Walker will get an airing, due out in June.

As I get older I increasingly appreciate the mastery of younger musicians with whom I come into contact. Enter Pablo Held!  the German pianist is my latest case in point. We played together for the first time a few days ago at Masterchord Studio, (surely the best recorded piano in our fair city!). Pablo is another stellar artist whose invention just keeps pouring out!.

Yes I do sometimes wish I’d stuck with the piano!  When you are in the same room with not just Pablo but Jason Rebello (they both feature on Weather Walker along with bass virtuoso Yuri Goloubev), you leave the ivories to the big boys! Weather Walker features a string orchestra which is at times 43 players strong, in studio 1 of our famous Abbey Road Studios and its iconic sound. More on this in future news, but the journey to the albums release continues to inspire me!

 

How do YOU get inspired? How do you STAY inspired? This will be a recurring topic in these blogs.  Well….
What kind of question are you starting your creative project with? A good one might be “What is my “life-blood”, what gives me that surge of energy whenever I think of it or encounter it?!”
Try holding that feeling as you begin, and start from a place of energy, joy and enthusiasm. Get that feeling as a prerequisite to starting the adventure, and find others who inspire.

This blog will often feature a link to a track I find inspiring, check this out..and check in again soon! This time I’m actually going to try and keep this up!

Track of the moment:
Django Bates
Horses In Rain (with Sidsel Endresen)