The Christopher Brown

Word on the street.....

Chris Brown is home now...like father, like son...making music to appeal to the next generation.

-Ken Boddie. Portland, OR.

KOIN 6 News Anchor

http://koin.com/

Coast-hopping, Jazz-drumming, Chris Brown is back in town!

-www.portlandtribune.com

Brown has gained a stellar reputation as one of the bright new talents on the scene, working with a who's who of Jazz artist.

-www.portlandobserver.com

This quartet is so amazing on so many different levels...go see 'em whilst they still exist in PDX. I really think this one could go a long way in the Jazz world!

-Bob Stark. Portland, OR.

Producer/Sound Engineer Kung Fu Bakery Studio.

http://kungfubakery.net/

He is a uniquely talented performer and educator, and a man in whom I trust and for whom I hold great admiration.

-Conrad Herwig. New York, NY.

Director of Jazz Studies, Rutgers University, NJ, and 3x Grammy Nominated artist.

http://www.conradherwig.com/

I used him almost exclusively in my band when he used to reside in the NYC area, as he always brought so much knowledge and artistry to the music. And combined with his multi-instrumentalist abilities, Chris Brown is a unique talent that's not often found.

-Mark Gross. New York, NY.

Musician/Educator

http://www.markgrossmusic.com/

website by www.brandreframed.com

Upper Structure: Bridging the gap between complexity and simplicity.

In music theory all chords fit within a two-octave range. Therefore, when you stack the notes of a typical seven-note scale in thirds (1,3,5,7,9,11,13), the ones found in the second octave is what we refer to as the upper structure of a chord (CDEFGAB-CDEFGAB). And as you can see, the notes in the second octave are also the same as the first. However, the reason for putting them in the second is for the ease of aural clarity, due to the symmetry of the spacing. Now the reason why I’m choosing to make this relevant to every musician and non-musician alike is because of a perspective that was shared with me years ago, which says that “when playing Jazz, the key to playing ‘outside’ the chord changes is just to play ‘in’ in another key,” as this helps the listener to make sense of the relationship between two or more opposing harmonies when they clash between soloists and their accompanist (think football, basketball, hockey, etc). In other words, life becomes easier when we learn to regard complexity as just a camouflaged version of simplicity.

In the book “Atomic Habits” by James Clear, he mentions that we don’t rise to occasions as much as we fall to the quality of our systems/competency. And the operative word here is fall; as in down to our fundamentals, whether they be solid or not. So one of the systems/frameworks I’ve been working with lately to help with the prioritization of how I deploy my energy, focus, and resources, is to divide all incoming information into three buckets: need-to-know, good-to-know, and noise.  

Need-to-know: This is where seismic change happens (epiphanies). And if we relate it to the body, this is like food that can be easily digested and eliminated within an optimal window of time for the energy we need (highest ROI).

Good-to-know: Like our body analogy, this is where information takes longer to digest and process out (execute on) when we haven’t found an application point for it yet.

Noise: This would offer little to no value to us. Think empty calories.

Story Time…

For years I had been a total Jeff “Tain” Watts devotee on the drums. And in a way, still am. However, many of the musical attributes that I’ve been able to develop over the years can be largely traced back to one particular night in NYC during my early 30’s when I went to see my man Steve Hass perform at the old Zinc Bar with Ravi Coltrane (son of John Coltrane). What he said to me during his set break was so profoundly simple, I was humbled and energized all at the same time (as is the effect with all need-to-know information). In so many words he told me that I’d have to learn to “lead” with my ride cymbal if I wanted to simultaneously create that Jeff Watts rumbling effect on the drums without getting in the way of the other instruments. In other words, to rebalance my limbs to where if I matched the volume of my ride cymbal with the band, I’d just have to play the drums softer than the cymbal so that I don’t inadvertently drown anyone out. So as you can see, this is a simple yet important musical strategy that’s as rooted in the fundamentals of good musicianship as it comes. Meaning, make sure everyone can be heard! And so it was within this one brief encounter that helped to clarify so many of the reasons why I had been drawn to Jeff’s drumming the way I had over all those years since my youth. Which would also lead me to a whole host of other peripheral questions about drumming and music that had been unanswered at the time. In other words, all the musical information that I had consumed over the years, that hadn’t been fully digested up until that point, could now be processed through and applied in a manner that was relevant to me. So again, had Steve not clarified the information that I needed to know at the time, who knows how much longer it may have taken for me to understand the value of leveraging the basics for decision making. After all, if you can justify your decisions through the lens of the basics, you can decouple yourself from the pressure of ever having to be “brilliant,” as what’s hip is what’s relevant. And nothing is more relevant than our fundamentals.

 

Suggested Takeaways…

a) What’s hip is what’s relevant, and nothing is more relevant than our fundamentals.

b) Everything we deem as complicated is just a camouflaged set of simple ideas.

c) When you make decisions through the lens of your fundamentals, you rarely need to apologize for anything.

 

The Christopher Brown

couture of music

732.794.7770