1) Inspiration: Believe In What You Do! Esperanza Spalding. Interview.
Stumbled upon. Interesting to gain some more insight into her process:
http://www.jazzdimensions.de/interviews/the_world/2011/esperanza_spalding.html
I admire the work Esperanza Spalding does. She is a very versatile artist and the different aspects and forms of her work seem to be well accepted by herself as well as others.
An excerption from the article is about her work with the saxophonist Joe Lovano.
Esperanza Spalding had doubts about her role in the band and if she was good enough for the band.
Lovano assured her, that if someone asks you to be in his band, he already trusts your abilities. And he advised her to play what she felt and to be herself in the music.
And I liked the last thought of Esperanza to develop an approach where you trust in the music that comes out of your inspiration, not trying to do what others did before you or what you think other people expect of you. And that this trust in your work automatically leads you to the collaboration with certain people and those are the ones who like what you do and who fit your way of playing best.
After the first year of my artistic research I was at an interesting place in my thoughts. I was starting with the idea in my mind, to analyze little bits of the work of 4 artist who equally sing and play, play and sing. I wanted to find aspects of how the two disciplines affect each other.
I had to realize that this process I originally wanted to investigate is a way to big and broad topic. It is more of a life long learning process that I can always follow. I had to make up my mind what would be the final form of my master work.
And I am regularly confronted with the opinion that what I do is too versatile, that I want to many things for one life. That a more focussed profile would be better for everybody, for me as well as for my audience.
But feeling, that I want to express all these different aspects of my musical visions, I am continuing to work in different disciplines. My personal goal is to melt all these talents into one artistic and personal profile. Which I feel is important to me.
Observing the work of an artist like Esperanza Spalding for me is enormously helpful to understand that there are other people out there, successfully combining a lot of talents and artistic visions.
... "Esperanza: Woran ich mich genau erinnere, war, was Joe mir sagte, als ich Manschetten bekam, weil ich meinte, ich sei nicht gut genug für seine Band. Ich sei das schwächste Glied der Kette dachte ich – und überhaupt würde nichts passen, was ich spiele. Eines Tages sagte ich's ihm: Sorry, sagte ich, aber ich spiele nie so, wie es sein sollte! Joe entgegnete: "Schau her, du musst wissen, dass, wenn dich schon jemand anheuert, um in seiner Band zu sein, dieser jemand dir auf der Bühne vollständig vertraut. Allein die Tatsache, dass du dabei bist, ist ein Vertrauensbeweis in deine Musikalität. Man vertraut auf dein musikalisches Urteilsvermögen. Das Wichtigste ist loszulassen, und nicht darüber nachzudenken, was irgendwer von dir hören wollen könnte. Spiel was du fühlst, sei du selbst. Weil das nämlich der Grund ist, warum man dich überhaupt in die Band geholt hat!" Das war geradezu bewusstseinserweiternd!
http://www.jazzdimensions.de/interviews/the_world/2011/esperanza_spalding.html
I admire the work Esperanza Spalding does. She is a very versatile artist and the different aspects and forms of her work seem to be well accepted by herself as well as others.
An excerption from the article is about her work with the saxophonist Joe Lovano.
Esperanza Spalding had doubts about her role in the band and if she was good enough for the band.
Lovano assured her, that if someone asks you to be in his band, he already trusts your abilities. And he advised her to play what she felt and to be herself in the music.
And I liked the last thought of Esperanza to develop an approach where you trust in the music that comes out of your inspiration, not trying to do what others did before you or what you think other people expect of you. And that this trust in your work automatically leads you to the collaboration with certain people and those are the ones who like what you do and who fit your way of playing best.
After the first year of my artistic research I was at an interesting place in my thoughts. I was starting with the idea in my mind, to analyze little bits of the work of 4 artist who equally sing and play, play and sing. I wanted to find aspects of how the two disciplines affect each other.
I had to realize that this process I originally wanted to investigate is a way to big and broad topic. It is more of a life long learning process that I can always follow. I had to make up my mind what would be the final form of my master work.
And I am regularly confronted with the opinion that what I do is too versatile, that I want to many things for one life. That a more focussed profile would be better for everybody, for me as well as for my audience.
But feeling, that I want to express all these different aspects of my musical visions, I am continuing to work in different disciplines. My personal goal is to melt all these talents into one artistic and personal profile. Which I feel is important to me.
Observing the work of an artist like Esperanza Spalding for me is enormously helpful to understand that there are other people out there, successfully combining a lot of talents and artistic visions.
... "Esperanza: Woran ich mich genau erinnere, war, was Joe mir sagte, als ich Manschetten bekam, weil ich meinte, ich sei nicht gut genug für seine Band. Ich sei das schwächste Glied der Kette dachte ich – und überhaupt würde nichts passen, was ich spiele. Eines Tages sagte ich's ihm: Sorry, sagte ich, aber ich spiele nie so, wie es sein sollte! Joe entgegnete: "Schau her, du musst wissen, dass, wenn dich schon jemand anheuert, um in seiner Band zu sein, dieser jemand dir auf der Bühne vollständig vertraut. Allein die Tatsache, dass du dabei bist, ist ein Vertrauensbeweis in deine Musikalität. Man vertraut auf dein musikalisches Urteilsvermögen. Das Wichtigste ist loszulassen, und nicht darüber nachzudenken, was irgendwer von dir hören wollen könnte. Spiel was du fühlst, sei du selbst. Weil das nämlich der Grund ist, warum man dich überhaupt in die Band geholt hat!" Das war geradezu bewusstseinserweiternd!
Dieser Ansatz trat an die Stelle des Versuchs, jemand anders nachzuahmen oder nachzuvollziehen, was jemand anders früher gemacht hat. Es lief darauf hinaus, zu lernen, aus sich selbst heraus zu spielen und das auf jede Situation anzuwenden. Das Vertrauen in sich selbst zu entwickeln, dass man damit immer bestehen kann. Daran auch zu glauben! So kommt man automatisch dazu, sich mit bestimmten Leuten zu umgeben – nämlich denjenigen, die am besten mit deinem persönlichen Spiel zurechtkommen. Diejenigen, die das beste daraus ziehen können."
Kommentare
Kommentar veröffentlichen