Herbie Hancock, Ziprecruiter, Mr Rogers discussed on Broken Record
Like pain. You know you such a deep sensation of attraction to something that I felt towards the music. That your mom was playing no conscious memory of seeing the bases but later when I saw the apples. I want all damn. I'm just I just follow instructions that all the time Those are my first memories of music. You can do worse than follow Mr Rogers men. I agree I think he did well. Angry and then you first was what well it would've been violent They didn't have any Half size of course as challenges at the program that I I S- enter. Music through Solo was fortunately or unfortunately violin and that now unfortunately didn't like violent didn't really like the. I like other people playing the violin but I will seeking that now. I will seeking what I heard. You WanNa Cello. I wanted the cello and thank God. Then I just get past the Tele Wont Right up right up to the next floor up to the base and then went. When did the base start? You know I don't know if the base has started yet it's such a immense territory and for all the technical facility one can accumulate early on a Yann serves uh very profound function music and I. I think that the older one gets more. One matures the better. They are actually being a bass player. So I don't know I don't know of base has begun Y- When you start playing. How much were you practicing? I don't remember really probably a lot. I I don't. I don't remember those early days. I just remember Playing by ear and suddenly hearing this music that I was told was jazz and having a very deep again visceral reaction to whatever they were doing you know having no understanding of what it was how it worked Yeah are you still at kind of instinctual player or I is. This is what scares people about jazz. It's incredibly complicated. It seems like endless. Scales it All that theory you know all that stuff now even though thumb. Yeah Yeah and and it never ends because the invites because I don't feel authorized to speak on behalf of the Genera anyway because our say I`Ma jazz singer when I need to be and I can play Bass for the jazz musicians but the center piece like the center of what it is. I do isn't really jazz because of that practice and devotion that is required. You don't think you have it not in that way. Not In that way as an instrumentalist which is fine is cool because I can still support the instrumentalists who are in that. Devotional devotional practice. But that's how you started. You were known as a jazz bassist won best new artist. I think Grammy Ray that right right. Yeah and still. I wonder what the parallel is in writing. It's like you can support. You can be a part of something without actually being devoting of that craft Well most writing saw e e mean writing music or right. I mean writing word. So what do you know if I go on Youtube? I see playing with Herbie Hancock and Chick Corea. Yeah what are they a? What are you giving them then? the there's gotTa be more technically sophisticated players or at least more theoretically sophisticated players. They know you're doing this by instinct. What do they get when I asked you to come play with me? What what am I getting? You're giving listening and light speed response and some dance floor for your dance mom. I'm giving you a moving dancefloor And I have studied some of the theory. Just say partially. I like to re articulate this because for any young aspiring instrumentalists listening. I WanNa make sure that I'm speaking that truth that to be a quote unquote jazz musician. Like don't listen to me. Listen to Scott colley are You Know Ben Williams a Christian McBride or Linda old or the players. Who If you if you WANNA have a q? Into the expression of the jazz pedagogy listen to those bass players. I'm doing something that's valuable and beautiful and works and supports but it's not really coming from that kind of devotional. Space is very intuitive and very much in the presence Very much something that evolves in relationship with players you know so yes I can play hurry. I can play with chick because I'm I'm becoming what is needed in that moment with my technical facility to you. Don't come as my voice as my listening as my voice. It's almost like an active listening With players like that So they are. They cause your band leaders. Well when you're playing with players that are they kind of setting the tone. And then year respondent his add more call response with them. Yeah it's it's more like well with somebody like you know Herbie Hancock Geri Allen. They want to have the conversation that can only happen with you in the room is not like here. These ten songs. You happen to be the one here so yeah come getting on this and make this work for me. Specially with her we especially with Jerry is more like oh who are you. What do we sound like together and in that space it might kind of be an advantage not be too tethered to a technical historical pedagogical approach making the music. Because then you're free to discover what's actually happening in real time which might not sound like anything that that player did before. It's going to have their characteristic but that is my superpower. You know of being president going low what what is actually right now. Let's make it and it won't probably happen again and that was that you know Do you have to do to make eye contact with a player to do that? You have to see what he's doing does here really Could you blindfolded? Yeah of course really yeah. I don't look the instrument. I play your instrument of the combination of if you're playing with Wayne shorter here handcock there. Yeah that's a great day. I wish that would happen more. You know String quartets yeah. The players kind of have to see each other cues right. How important is that in? Mind when you're playing in a jazz combo while I'm thinking of and thinking a windshields quartet they are very much connected with each other looking at each other but I am. Positively do everything. They do blindfolded because they're they're co composing a scene you know it's like I'm sure actors could have a perfectly poet and coherent improvised scene blindfolded. Because you're you're responding to the reality of emotional response you you're responding to look comes at you at eventually. A momentum of the scene is generated and that is propelling. Forward as much as you're creating as you go. You know the that mode of performance co composition. Improvisation is like that okay. Next time you with Herbie Hancock I want you to blindfold yourself and see. See how it goes. I would never ask him to do that. But I'll think I'll just I'll hold it in the space and see what happens if I don't I mean I remember Dancing Tango a little bit when I was a teenager. And you'll the certain fundamental that you learn and is an improvisational dance form right. Obviously when you're dancing with a phenomenal dancer. Everything's kind of works. You and I remember that experience of being very inexperienced and getting on the dance floor and just like Oh damn I can do. I'm good shoot every twist and turn it. Kick him all kinds of then. You go dancing in the next partner. And it's like you know. It's like fumble a silverware drawer without a divider. You know So there's also something to be said for the potency of the master you know that partially just by playing with somebody like that the The immensity of their musicianship and ability to make everything work kind of high. End Your own capacity and shows what is possible. We'll be back with more from Esperanza spalding. 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