Re: [Harp-L] RE: Real creativity

[icemanle@xxxxxxx]

I applaud your honesty in naming names and calling a spade a spade. 
 
I had the same reaction to Rod, hearing him 2 nights in a row. After the second night, hearing even the "Yeah Baby" vocal inserts in the exact same places, he was diminished in my opinion of what I look for in a performer.
 
The other aspect that turns me off is to find that an impressive performer is getting by on "time spent on learning patterns faster and faster" rather than in the moment creativity. Again, viewing a show a few nights in a row will reveal what was initially impressive to be nothing more than "woodshedding the techniques". It also reveals, in many cases, the same ideas used over and over during many songs - in other words, once a solo pattern starts, you can quickly learn exactly where it will go and how it will end, as most of the notes are memorized patterns. (At one time - in my evil past life -, I'd enjoy learning these patterns of some of the players I knew and then spitting them out when sitting in with them - either joining them during a section of their solo or playing it to them before they had a chance to pull it out of their hat. It definitely put a pin prick into their balloons and was not always enjoyed by the other player).
 
The few performers that turn me on after seeing them repeatedly are - Mark Hummel, Kim Wilson, RIP Paul De Lay, - even playing the same songs night after night, the improv in their solos seem to never repeat ideas, and they never resorted to those fast predictable patterns. I always leave their shows with a sense of experiencing something original - not to be repeated the same way again.
 
The Iceman
 
 
 
 
-----Original Message-----
From: Ansel.Barnum@xxxxxxx



Piazza is a great example--one I had in mind but refrained from mentioning. For 
many years I idolized his playing which seemed to be so innovative and original. 
Back in the young and naive years I listened to his solos on CDs and thought he 
was coming up with that stuff off the top of his head, which blew me away. Then 
I began attending his concerts and hearing the same solos reproduced note for 
note. Sure, they were still wonderful, but my disillusioned ears were less 
awestruck. Instead of hearing a great improviser, they heard the work of great 
composer whose solos were merely extensions to the song he wrote. It was like 
discovering that an eloquent speaker was scripted.

Yes, it's still all good music in the end, but innovation--be it preconceived or 
improvised--is what defines the artist and compels the listener.
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