Re: Thoughts re: jazz set and music environment





"Lanie" <elenii2@xxxxxxxxx> wrote

> I started a post but accidentally copied something else into the body
> of the mssg. here so have to recap....
>
> In my experience leading worship in churches, houses, meetings, or in
> other words, groups in song, there's a flow to the music and between
> songs that creates an environment for experience. I hear jazz sets
> sometimes that *make* me want to worship, it's so beautiful.
>
> I like how songs flow together to create one whole story in order to
> create an environment for experience, as music does.
>
> So, it's funny to me, sometimes, i.e., to see musicians doing a jazz
> set how between songs they all stop to discuss which song to do next,
> what key, etc. It is not just the songs being done or how they're done
> while being done. In my ideal situation, there'll be a flow to the
> music to create an environment for experience.

There are basically two ways to do it, either you design a set before hand
and rehearse everything to a minute detail and then stick to the set on
stage, or you read the audience and call the tunes on the fly.

For the program approach, there are many ways to design a set, the one I
have used most frequently is: start with a bang, i.e. a couple of powerful
up-tempo numbers (call to attention), followed by numbers that gradually
bring the tempo down to a few ballads (pull the heart-strings), then
gradually bring the set to a climax by introducing more up tempo numbers,
raising the keys, and finishing on uplifting stuff with sing-along-ability,
stuff the punters will remember when they leave the gig. The advantage of
this approach, when done well is that you can dovetail the material to fit
perfectly and if you perform well you carry the audience with you - this is
the bus driver approach, you take them where you want to go.

The other approach is "call 'em as you see 'em" approach, for this you need
to be sensitive to the audience mood (rather than your own) and have a well
rehearsed band (or individuals who's work and skills you are confident of)
with a big bag. Such a band leader assesses the mood of the audience and
chooses a tune from the bag that will either suite the mood of the audience
or will alter its mood in way he wants. If the first method was like a bus
driver, this method is more like a shepherd tending his flock - it is
inherently more unstable, and because of it, it is much more satisfying when
it comes off. Some band leaders seem to have an instinctive knack for
calling this way, others learn to read the audience over years of hard (and
sometimes embarrassing) work, and some never seem to get it.

Btw, this second way is the how many club DJs work today, reading the
audience and selecting their next song to work up or bring down the
dancers - Jamaican youth culture has a very interesting take on this, where
two Sound Systems (mobile DJ set-ups) play opposite each other in
competition (known as a Sound Clash), and take turns to win over the
audience by playing hotter and hotter tunes for dancing. If one of the
Systems makes a mistake and plays the "wrong" tune, causing the dancing to
stop - they lose the match.

There is of course a middle way, a compromise, where you have a prepared but
flexible set list and a limited bag of songs to draw on. Most bands
(including jazz bands) who are touring a new album will work this way, the
set will be essentially the new album plus a few other numbers - most
probably older popular numbers for bands who have been around a while -
which can be slotted into the set if wanted.


Fiona



.



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