I love this picture of Joe

I love this picture of Joe

I heard yesterday of the passing of my teacher Joe Maneri.

He was by far the most influential teacher I’ve ever had. He not only taught me the nuts and bolts of improvisation/composition but how to find my own sound (or at least the right direction to go, I’m not sure I’ve found it yet)

He taught me composition, the 12-tone system, and we played microtones. I still use the techniques he taught me, often going back to his words when I encounter new creative problems.

But the most profound impact on me was his spirit. Joe so lived music it was part of everything he did, the way he talked, the way he walked, the way he drove a car, everything. And he wanted to share it with you because he dug it so, so much. I’ve never seen a teacher give so much of himself to a student, ever.

We talked a lot about saxophone. I was his only saxophone student during the time I studied with him and I think he liked having a saxophone player as a student. We talked about Lester Young a lot. His mastery of the horn was un-paralleled. He could play sounds that I’ve never heard a saxophone make. I remember one lesson where he was playing piano and singing microtones against it. I thought the piano was going to explode! He opened up so many things for me…

I have two years or so of tapes from our lessons. I started the process of digitizing them and will do the rest soon. Listening back to them you can hear his love for music, his love for me, my love for him, and the gentle prodding for me to dig deeper, to dig and find the meaning in my own music. He was a father figure for me and many other students. He gave us all permission to find our own music, and I will forever be profoundly grateful to him…

I teach a lot. Though this summer is a little slower than usual (summers always are) I’ve been trying to come up with new ways of teaching kids how to become musicians, rather than automatons.

Next week, I’m teaching a jazz camp. We’ll be doing John Zorn’s Cobra with early high school and middle school students. Its a bit of a risk and honestly I’m not sure how well it will come off.

If you dont know Cobra, its an improvisatory game that utilizes a system of cards to indicate how the music should unfold. The players give the prompter (me) signals to show various cards, which in turn tells the musicians how to behave. The fun of Cobra is being a part of it, the actual playing of the game. I hope to teach some compositional/improvisatory concepts to the kids in the process.

I subscribe to a number of blogs that cover “the future of music”, which means the future business of music. Not much coverage of the actual music. Its provided for fascinating reading over the last year or so. My analysis: holy shit!

The thing I find most interesting in many a blog entry is that very few ever involve a musicians viewpoint. We hear from the record labels, consumers, lawyers and big execs. Nothing from the musicians view. I often feel that like I’m a musical sweatshop worker, toiling away so others can benefit.

This tells me that musicians need to have their shit together and learn about this stuff. Otherwise, we’ll be on the wrong end of the brave new music world.

I’m also surprised when talking to other musicians who are unaware of many of the issues surrounding the future business of music. DRM, RIAA, music discovery sites, music 2.0, music social networking, gooveshark, royalty rates, LastFM, pandora, imeem, lala, project playlist, and many, many more.

So here’s a short list of a few blogs/sites that I read covering the new frontier of music business…

mediaor – great round up of music business news, related particularly to digital issues
Future of Music Coalition – National non-profit education, research and advocacy organization
Digital Music News – Very thorough…
Duke Listens – Blog of Sun Labs Paul Lamere
Future of Music – website for the book of the same name (highly recommended)
Larry Lessig Blog – Blog of Creative Commons founder Larry Lessig. Hes a lawyer and an expert in copyright (among other things)

I love talking about this stuff so send me your comments and lets start the discussion…

Is it possible to be inside a sound? I want that. To let it envelop, surround and integrate itself into me. Is it the timbre that attracts me or a sounds movement; with the expectations it suggests?

I think timbre can connect us to something greater, its color seducing us depending on what we’re ready to hear.

This photo is one of James Turrell’s installations from his Ganzfeld series. He creates these spaces that completely disorient the viewer, you feel like you’re moving through a fog of color. Its disorienting and revealing. It reveals our perception, how we see, sense and interact with our environment. Theres something seductive and frightening in it, all at the same time. Its power is scary, but also magnetic, pulling me toward it.

My music wants to go this direction but I resist, because of fear of its power. I can hear it moving to a more ambient vibe, pulling me toward it, beckoning, pushing me in a particular direction. My response? I push back because I’m scared. Theres too much power there…

I also worry about what others will think. I know it doesn’t matter, yet I spend a lot of time worrying about it…

I’ve recently returned from a residency at the Atlantic Center for the Arts. Three weeks in the mostly pleasant heat surrounded by lizards, snakes, poets, mosquitoes, visual artists, armadillos, and musicians…

I’m back in Seattle now, sitting at a cafe, listening to the Bach harpsichord partitas. After being back for a week I’ve had a little time to reflect on my experience. Aside from having a new appreciation for Bach, (and the flute) the first thing that comes to mind is gratitude. I’m so grateful for the opportunity to watch artists from around the world engage in their art. I feel lucky to have been selected. I also miss my new friends…

I’m struggling with the many questions that come up when going through an experience like this, many of which will be with me for a long time, I’m sure. Particularly interesting is meaning in my own work. Watching the poets and visual artists work was very revealing in that each artist started a work, or piece, or poem with something that meant something to them. A thought or feeling or event or image. I often feel like I’m trying to spin music out of thin air. Where is my connection to it? What connection or need do I have to begin. Sure I created it but it seems so much easier to start from something that has meaning to me already. The poet can use a feeling, love, tragedy, anger, sadness. The painter can start with a picture, a photo of their child, something they are attached to. The composer?

More soon as I learn how to post pictures, music and more.

© 2012 Greg Sinibaldi Suffusion WordPress theme by Sayontan Sinha