Re: Thoughts re: jazz set and music environment


Fiona Abrahami wrote:
> "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.

Thank you, Fiona. All well and good. The difference in worship
leading, or song leading for church services, is the you bus drive
where "the Spirit" wants to go, as opposed, supposedly, to where you
want to go. Makes perfect sense, HA!

It's also amazing how when one leads the band or group, there can be a
magical thing that happens where all of a sudden you're inexplicably
tuned into the audience, somehow. I've seen this time and again.

How do you personally deal with a stiff, unresponding group, who sit
and refuse to participate or tune into the music being performed? What
did you do when this happened? What did you do to break up the tension
toward you? Did you turn to something humerous? Or what's your
experience?

eLanie

.

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