What's The Motivation?
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- เผยแพร่เมื่อ 10 ก.ย. 2024
- In this episode Peter and Adam tackle the big question... are they sell outs? Have they gone too far with their endeavors or is it coming from the right place. Stay tuned and decide for yourself!
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Speaking of serving, I saw a video of Buddy Rich on the Tonight Show and he said that people pay to see him and his band and he puts a smile on their face, snap fingers, tap feet and make them forget about their troubles and worries for 2 hours then he did his job.
All the teachers at Open Studio are patient considerate knowledgeable and getting paid for something they Love to do. It’s all about the music and becoming better players. That’s not a sell out. Your helping a lot of people that do not have the opportunity to be with great players like yourselves. For me it has been the most rewarding experience and time well spent in your Live classes…Thanks.
Wanting to make the most money possible doesn’t exist on an island separate from other motivations. A musician may also want to be the center of attention (ie jazz solos), or able to impress people, or want to be an artist but can’t sing, or we may want to be more than just an accompanist. As working musicians, our motivations change from what they were when we were coming up. You may end up with a jazz skill set fresh out of music college with $100,000 in debt. Talk about an abrupt change of motivations.
Greatness happens when intention and expectations meet. I really enjoyed this topic. OK, so if you're intention is to be the the flashiest, fastest, most in your face player out there, and your band and your audience expects and wants that, no issues. That's a direct connection from you to your audience and your audience to you, and not much is going to go awry - it's a stable, resilient setup. If you're trying to satisfy your audience by fitting into the box of their expectations, and that box doesn't fit you, it's just a matter of time before things go south for one of you. It may go on for years, but I think we've seen the cost of that played out many times. It's very much like that old saying, that you can fool all of the people some of the time, and some of the people all of the time, but you can't fool all of the people all of the time, and I believe that applies to performing, songwriting, and offering a service. Being authentic and open with your intentions and keeping your actions in sync with that doesn't guarantee success, but it does come with the great benefit that you don't have to worry that someone will "out" you, you don't have to hide, or calculate how to respond to criticism or feedback or reactions. Any sort of dissonance between your intentions and your actions is inherently unstable and requires constant vigilance (unless you're mentally unbalanced), and I believe that is one of the reasons why improvisation and being "in the moment" in music is so amazing yet so fragile - there's no room for any thoughts of "I'm going to blow them away with this solo" or "should I do the thing?" or whatever in that situation. I have also come to believe it plays out in songwriting. It's really easy to start writing a song with the intention of "wowing" the listener, or making it appealing to the internet audience, or something that will get likes and plays, and there's absolutely nothing wrong with that, but I would assert that your intentions will be transparent in your song, maybe after one play, maybe after a hundred, and that will ultimately determine how it is received. Same thing with performing, playing in a group - music has an incredibly power to reveal the underlying truth. I'm sure I've gone on way too long on this, but hopefully this doesn't sound too offputting.
I have to be honest. I have a good dad. And a good mom. But I know some good fellas when I see them. Two wise young men right here, I mean respectfully. You guys not only motivate me to want to learn but to learn to communicate and just try and even have a laugh too! Thanks
I wish you two good laughs and life. Your friendship and quick witted responses and wisdom truly sparks a light in my dim heart😂. Mad love ☮️
0:23 I need a transcription.
🤣444444
such a great episode - a great universal lesson to be learned here about service, thank you for this!
Looking forward to that Peter Martin/Chris Botti duo album.
Is what you are talking about here describing the difference between being a performer where you can reproduce the exact same performance night after night which has predictable crowd pleasing qualities and an artist who will play in the moment and be different night to night sometimes good, sometimes not so good, but always exploring?
16:02 okay. But I've seen some entertainers (including even jazz performers) whose main motivation is support from the audience. Are those people automatically sell-outs, because the music is a means to an end? Or are they never sell-outs, as long as they're playing to the audience?
And then, you could have a discussion about the gentrification of concerts... When it's 10 or 20 bucks to get in, it's more of an, "I'll buy and you fly, but we're all in this together" mentality for an audience. When you get into the triple digits, the audience members might feel more like customers. I haven't got to experience the front rows at a pop-level show, but if it's anything like the season ticket holders at basketball games, you could have some little Caesars who demand to be entertained.
Turning that around, if an entertainer does it for the glory, isn't that last scenario ideal? But for someone else, who's all about the music, the first 2 scenarios are probably going to be more appealing, if money isn't a consideration. When jazz keyboard players improve a pop tour, and they really do feel the music, then that's not selling out, right? Even if they velcro their left hand to their fanny pack, most of them can play more good notes with their right hands than I can get with both, so I don't mean to throw shade... I was just thinking of what constitutes a sell-out, in my mind. And I was thinking, if a really accomplished musician gets paid to play a few one-handed chord stabs in a famous and crowded gig... Even then, I usually think, well they've also played long amazing jazz sets for almost no money, and for an audience who mostly didn't notice, so WTH? If I change the accounting in my mind, so that they got the big money for their jazz show, and the pop gig paid next to nothing, then they're in the clear again, on the sell-out spectrum🤣.
Anyway, since quarantine, I'm pretty sure the term "sellout" became vestigial, so no worries. Also, teaching isn't selling out, and never has been. Even if one of your pupil's is the King's nephew who never practices and is tone deaf, but their tuition subsidizes everyone else... pragmatism isn't selling out. Man, I could've just written that last line at the start, and saved everyone's time. But I'm not going to pander to the audience's whims!.. er... more like I had to think it thru, and typing it publicly helps me to clarify my thinking, about a subject.
20:22 You know, if YOU weren't embarrassed by that, and you played to the strength of that character, and the audience was delighted (assuming lots of kids would be at a show like that🤣 ahoy, Happy Louie!🤣) then maybe you WOULD show that to your kids. For example, if they got a spot in the school play that wasn't a first choice, and were moping about it. "Really? You're moping about being one of the 3 wise men? Imagine if you had to do it while figuring out bass buttons that you can't see... because you're wearing a sailor suit and prancing about with an accordion?
Actually, it might be tough to keep your zen as the navy accordionist. Nvm...
Good topic.
Just as long as a musician plays music that is true to himself/herself, they cannot be considered "sell outs".
Hearing you guys it's really motivating. Great episode.
Are you challenging yourself? If the answer is “yes” then you’re not selling out. Those challenges don’t even have to be musical. On a big pop gig, you might learn so much about live music production and technology, you can justify the experience even if the music stinks. Or if your music is popular, as long as you’re finding new challenges within that, don’t worry about it
This podcast is so cool that steals study time to the open studio corses😮😅
What is the "much easier" way to make money from Jazz instead of playing live. Both Adam and Peter seemed to nod in agreement around 11:00 but didn't say what it was (for the miserable band lear) ?
Probably record like a frank Sinatra style song. A hit jazz song kind of of jazz. Idk good question I was wondering that too haha
I love how this is the least sell out channel on youtube and you boys are worrying about that? If you shout-out the podcast, THATS GREAT because it doesn't have enough listeners. If you shout-out open studio pro, its GREAT, the best jazz education out there on the internet. I don't understand where the sellout thing comes from.
Where’s your sweetwater affiliate link? I need to buy unnecessary pro level gear.
Lol the latter sound Peter cmon.
Polka Pop
Total sellouts bro
Jazz isn't black American music, it's American music. Creole people were an integral part of the creation of jazz, and white people have contributed a tremendous amount to the music. Bix Beiderbecke, Eddie Lang (considered the father of jazz guitar), and many other white people were important to the development of the music.
It's surprising how rare this gets talked about. Thanks for bringing it up.
White supremacy just won't allow Black Americans to lay claim to Black people's own inventions and creations.
It just kills them to have to bow to the majesty of the BLACK MAN.
It just KILLS you to have to bow to the majesty of the BLACK MAN .
@bobbachelor5930 It has nothing to do with that; these are the facts. You obviously struggle to accept the facts.
@@MrThinkingahead I call bullshit on your "facts".
You mean to tell me that you guys are making money? 🫨😮😳 It’s the merch, right? 😜 I keed, I keed. If you guys are selling-outs then you’d have to say that Barry Harris was, or Dr. Billy Taylor, even though Jazz Mobile was free for a very long time. I think you guys have reached the sweet spot. You get to keep your artistic integrity the majority of the time, you get to gig out around the world for a while, you come back home and you teach what you know, very well. I know of one legacy jazz child millionaire who is out there playing, I know another one who’s been out there playing and is always on the struggle bus, NOT a millionaire. Both are dedicated to the art. Not only that, it’s ALL nice work if you can get it and in this world about to be taken over by robots that are trying to crush art and culture in one fell swoop, I’ll take Kenny G. and Chris Botti over A.I. any day. So the answer is an emphatic: NO! YOU ARE NOT SELL-OUTS! GALA! 🎤💥