Using music to re-contextualize reading and comprehension.

A common troupe that we’ve all heard is that people (especially millennials) have lost the skill to communicate effectively, now that we’re firmly entrenched into the tech dominated landscape of the 21st century. However, people such as a Gary Vee will tell you that people are actually communicating more than ever before. It just doesn’t look like it used to in the past. Well, I’m also compelled now to push back on the notion that people tend to read less after they leave the compulsory learning environment of school as well. I think they’re reading just as much if not more so after they leave school. The difference, however, is the substance of what they’re reading. And to go one step further, an even more compelling argument may be to say that the rate at which people read is of lesser concern than their ability to comprehend and contextualize the importance of what they’re reading.

As a music educator, one of the hardest things to do is to get young students to REALLY listen to a song before sitting down to read it. Their assumption is that if they’ve given a song a few cursory passes, that should be sufficient, as the sheet music “should” fill in the rest of their blind spots. But that assumes that any sheet of music could ever adequately articulate everything that needs to be indicated, and in a way that NO ONE could ever misunderstand. But the reality is that if someone were to adequately write out a chart that could compensate for a musician who has chosen not to listen to how it goes, it would be the most cluttered thing you’d never want to look at, as oftentimes it’s counterproductive to attempt to notate certain things with standard notation—case in point, think about how insufficient it will always be to fully articulate a feeling into a text or email message without it being misinterpreted on some level. Therefore, without an aural component to fully counterbalance written content, it can create something as small as a one-degree misfire that can exponentially grow out of proportion before you know it. So the fact of the matter is that reading is actually a form of “hearing.” Meaning that when you’re reading, you’re hearing the words being said in your head, because if you were to read a foreign language that you had no experience with, you’d just be starring at a bunch of squiggly lines that mean nothing to you. That said, it’s also important to remember that the “faintest ink is more powerful than the strongest memory.” Meaning that the value of writing things down is so it can reduce our cognitive load for keeping the main things “the main things.”

Suggested Takeaways…

a) Words don’t write themselves. People write them. Therefore, a book is a substitute for a conversation with the author. *Hint: Reading is actually “hearing” without the sound. So listen to the people whose writing you consume, and as often as you can, as it’ll increase the speed and absorption rate of your reading.

b) Don’t be so quick to claim ownership of your comprehension of a subject until it has been balanced extensively enough through at least two of your senses (i.e. eyes and ears).  

c) Listening requires patience. So if you’re an impatient person, your mind might not sit still long enough to absorb the most pertinent parts of a story or music. Which, depending on what you’re doing, could present a set of liabilities that may be hard to bounce back from.

The Power of Death

When talking about life balances, I always bring up the point that no one ever runs a marathon without knowing how long it is first, as when you know the distance and the date of the race, the process of reverse engineering becomes much easier. That said, when people are given news about how much time they have left to live, what we tend to see is a brief moment of depression followed by an intense desire to finish their race with an elevated sense of purpose. And so it’s within this space of intentional living that we most often notice the power of death on full display.

As we know, the lives we lead are reflective of all our past decisions (good, bad, and indifferent). And when it comes to decision types, the only two that exist are made in the name of one-off experiences (instant gratification) and habits needed to support an outcome, like finishing a marathon (delayed gratification). Well, when I look at successful people who live life on purpose, one of the things they all have in common is a healthy respect for death, as just like running a marathon, it gives them the ultimate context for decision making.

The funny thing about death is that while we know it’s certain, we still react to it when someone dies as if we never saw it coming EVER. Death isn’t an issue of “if,” it’s an issue of “when.” And given that we see it fit to steward the attention of our youth towards a focus on getting the right grades for the eventual right job, one would think that a serious conversation about their eventual death would also be introduced at some point. After all, isn’t balance predicated upon establishing two end points? Where you are and where you want to be? Or in this case, where you’re going to be? But every time someone passes away, so many people are continually caught with their pants down, paralyzed by both the shock of the loss and the logistical process that’s to follow in reconciling the legal affairs of the dearly departed. But just imagine the world we’d get to live in if we prepped our youth with a preliminary understanding and respect for the end-game. Just imagine how it might affect the mental filter by which they make important life decisions through. After all, if you already understand the process of the end game, and have an idea as to how you want it to play out, I can’t imagine that you’d do anything to potentially compromise that vision you’ve created for yourself. And since you can’t value what you don’t understand, it’s hard for me to imagine that a discounting of the value of time can still yield an elevated sense of self worth. Meaning, if we don’t see the value in searching for our own intrinsic worth, then I can’t imagine that we’d bother to accord the same benefit to anyone else.

So again, the value of rearticulating death in this way is that it can create a beautiful watershed moment where all of our priorities in life are suddenly made clear, as we’re never closer to life than when we’re on the precipice of death. And when we learn to see the power of death in this way, it becomes easier to see the value of applying it to all of the micro aspects of our lives, such as seeking to embrace the continual death of old ideas that no longer serve us.

Suggested Takeaways…

a) The power of death is reflected in our ability to gain instant clarity for how we want the narrative of our lives to read leading up to our own passing.      

b) The life we lead is reflective of all the good, bad, and indifferent decisions we’ve ever made. And since the suffix -cide means “to kill”— which gives clarity to words like suicide, homicide, pesticide, and insecticide—the word decide means “to kill an opposing idea.” Therefore, good decisions are the ones that are in supportive alignment with how we want the end to play out.  

c) The degree to which we’re able to appreciate life is to the degree that we can respect and appreciate the serendipities of death.

Communication: Seeds and Soil

Over the past two weeks I’ve been learning a lot about myself and the world around me. And one of the simple things I’ve been reminded of is how perspective shifts are re-interpretations of reality. Therefore, it’s important that we stay in pursuit of as many objectifiable truths as we can about how the universe works so that we can improve upon the way in which we engage with everything and everyone. So as always, the purpose of this blog post is to draw some compelling lines between the subject matter, music, and the human condition.

If you’re a farmer, there are a number of things and tests that have to be done to a plot of land before the process of planting seeds begins. And even after seeds have been planted there’s still a process of maintenance that must occur so as to ensure the healthy growth of the crops that are meant to be harvested. Which, as you can imagine, is no different than the process of preparing for a child and the subsequent raising of that child from inception to adulthood. So if we take this same farming concept to the way in which we engage in communicating with one another, what specifically might this look like?

When strangers meet for the first time, it’s almost like watching two prize fighters square off as they size each other up physically and intellectually through small talk. And perhaps that’s one of those constants that we might see throughout the animal kingdom where two animals have to establish if the other will be friendly or adversarial before they allow themselves to put their safety guard down. But regardless as to if I’m right or not about this, it still occurs to me that this process of evaluating each other can be a good analogy for how we evaluate plots of land for harvesting. Therefore, since all of the ways in which we communicate verbally and non-verbally are like seeds that we’re constantly spreading around, both intentionally and unintentionally, the question becomes whether or not we’re aware of what the quality is of the seeds we’re sowing. After all, to not know the substance of the seeds you’re planting in people would be like a band leader who allows someone to create and post a gig flier all over town for an upcoming show without proofing the flyer before it gets deployed. It could be fine, but they’ll never know for sure.

Now regarding the planting of seeds where you know what the substance of those seeds are, can allow you to stay in the driver’s seat of how you navigate the opportunities that will present themselves to you along your journey in life. That said, it’s also important to remember that just because you want to plant seeds somewhere, it doesn’t mean that you can if the soil isn’t conducive for you to do so. So just like in business, timing is important. So to be successful you’d want to start by surveying the substance of the soil to determine if what you intend to plant will be supported by that environment before you start determining the kinds of tools you’ll need to help prep the land for what you intend to grow. And again, there’s still a process of constant care that needs to be applied towards the final harvesting of your crops. But the better you prep on the front end, the easier it should be to maintain the integrity of your crops once they start to bloom.

Suggested Takeaways…

a) We are constantly broadcasting thoughts about ourselves and others in both verbal and non-verbal ways. So if a broadcast station has to be mindful of all the direct and indirect messaging that comes from their station, then it’s a good idea for us to be just as mindful of all the messages we’re broadcasting as well.

b) Before you begin the intentional practice of sowing good seeds into people, it’s helpful to know what the substance of their mind is, because to continue planting a certain type of seed in the field of someone’s mind that’s not ready for it can emotionally burn you out if you fail to survey the “land” before you begin.

c) Just like with construction, the more work you put in on the front end to prep a parcel of land, the faster the growth process will go. So to quote my man John C. Maxwell “you can either pay now and play later, or play now and pay later.” Either way, you have to pay. The difference, however, is that when you pay on the back end, you’ll always pay with interest.

How to Land a Gig

In paraphrasing Quincy Jones, the day I learned to draw a line in the concrete between music and the music business, it too was the beginning of the rest of my life. So while “music” is the art of creating music, the music business is the art of selling music. And if you don’t understand the terrain of the latter, then you’re DOA, as we’d say in the military.

Now like the military, you don’t win battles when you lack knowledge of the terrain you have to navigate. And as it stands, there are many aspiring music professionals whose dreams of a prosperous future are being led to the slaughterhouse because they’re not being briefed well enough on what the rules of engagement will be once they deploy their skills in the “real world.”

Within the battlefield of Jazz, regarding how musicians monetize their efforts, those battles have always been waged on three fronts: small venues, education, festivals. But in all actuality, small venues and the education system have always been the bedrock under which this music has maintained its relevance in society. But for the working musician, the battle is really fought in the small venues throughout the world. So with that said, let’s take a look at what that looks like for securing a gig as both a leader and a side musician.

Leader

The first thing you need to know is that for many small-business owners, it took them getting a loan from a bank (or several) to open their doors. And for many of them the most readily available piece of collateral they had to secure their loan with was their home. Therefore, by definition, someone’s business is in effect a second residence for them. So when you reach out to a venue owner to ask for a gig in their “house” before rapport is built, it can send a message to the owner that your relationship with them is purely conditional. Meaning that, if there’s no opportunity on the table to perform, then you’re not going to be a loyal supporter of them and their establishment. So what may feel like a sterile business interaction to you, may be taken personally by them (depending on their temperament). So if you don’t come correct, you might get put in the “friend zone” without ever knowing it. And 90% of the time they’ll never be transparent enough with you to tell you this, thus leaving you to continue scratching your head while you watch everyone else get the performance opportunities you want. So as John C. Maxwell always says, “you have to ask for a heart before you ask for a hand.”   

Side Musician

There are two ways that you can go about getting a gig with someone, and both present their advantages and disadvantages.  

Narrow: This means you’ve keyed in on one or more particular people whose band you want to join. So the way to approach this is by learning their book of music SO WELL that you leave them no logical option but to hire you; or at least open other doors for you and them to work together in another capacity. The upside is that you’ll know exactly how to invest your practicing. The downside is that you might not get hired, thus leaving you to possibly feel like all that work was for nothing. However, like exercising, there’s never really a downside from doing it.

Wide: This means that you’ve taken the time to learn as many songs as possible across a wide array of genres. The upside is that you’ll probably become employable across the widest demographic there is. The downside is that it may take longer to develop a depth of understanding within any genre of music, due to having to spread yourself so thin. And if you’re starting this process as an adult who’s trying to live off of performing, you may find yourself skimming over many important musical details in order to quickly get your name out there as someone who’s worthy of being hired.

Suggested takeaway’s….

a) Business IS personal. So when you approach someone about a gig in their venue, your approach should be to figure out how to bring more value to them and their business FIRST. After all, they have what you want, not the other way around!

b) Just like getting a gig at a venue, the best way to show that you care about a leader and their music is to show up to their gigs. By doing this, it’s a show of how committed you are to learning their music the right way. So not only do you get to hear how the songs are to be played, but you also get to develop rapport with the leader in advance.

c) If you want to develop a reputation for being a super well rounded musician, then the best way to do so is to go to as many shows around town as possible to get a sense of what constitutes a “standard” in your area. After all, what’s the point in learning a bunch of songs that you can’t play with anyone in your area. So just like learning someone’s book of music, you can apply the same concept on a regional scale.

As always, leave a comment to let me know what you agree or disagree with. So let’s talk soon!

Portland audiences, could this be a call to step up your style game?

Within the current edition of Artslandia there's an article entitled "Dress for the Show," which essentially suggests that Portland walks to its own beat when it comes to "social-norms." Which, to be honest, has actually played to the city's advantage in regards to its recent run of national popularity. However, since this particular article is suggesting that a large number of show-goers here in Portland tend to dress a bit too casual at times, I thought that I'd share with you some of my perspective on this topic, as here at Couture of Music, I always believe that one should put their best foot forward whenever possible. Therefore, allow me to share with you just a few key concepts that I use to ensure that my desire for comfort doesn't lead me down a path that might suggest to others that I think little of notions that surround the idea of good manners  and etiquette.

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Manners:

1. the prevailing customs, ways of living, and habits of a people, class, period, etc; mores;

2. a persons outward bearing; way of speaking to and treating others

Etiquette: 

1. conventional requirements as to social behavior, properties of conduct as established in any class or community or far away occasion

I think Rachel Zoe makes an important point with the above statement, in that it also appears to me that a well groomed look speaks to the positive end of how one feels about themselves (regardless as to if they're aware of this or not). However, with the reputation that Portland has garnered over the years for its excessive rainy weather and dark grey skies, it's understandable as to how this might discourage one from taking the time to get dressed when going out. Therefore, if the constant feeling of coziness and comfort is what people from Portland gravitate towards, then lets use that as our point of departure.  So since our mood can be affected greatly by both the feel and fit of the fabrics that we choose to wear, allow me to give you some insight into how one might want to approach structuring their thoughts around the concepts of how clothes can feel and look on us.  

Fabrics:  

I feel that cashmere, flannel, fo-fur, vintage fur versus new (we have a moral dilemma when it comes to fur), knit jersey, merino wool and silk all fall under the heading of what most people would consider to be the softest materials to wear

Fit:

Choose tailored clothing for at least one of your foundation pieces, as tailoring tends to have darts and structure details that help to encourage shapes that compliment the frame of the human form. And if you choose to add additional layers onto your foundation piece, make sure that it doesn't obfuscate the importance or function of your primary piece, which of course, will be to highlight a particular portion of your body you feel great about.  

Accessories:

As you take a look at your complete outfit, decide if you're leaning more towards the side of structured or cozy? Fitted or frumpy/loose? Then consider how the materials, textures, and colors are also speaking...meaning that for whatever element(s) seem to be the most dominate,  balance it with accessories that speak to the less dominant. And when you do choose your accessories, pick ones that will stand out and distinctly speak to the best of your personality, as you'll find that these unique accessories can function as great conversation starters.

So with the help of this guideline, you'll now know how to visually speak to that sweet feeling of cozy that is so very Portland, but yet still have an element of structure. It should say comfort yet clean. Relaxed but purposeful. 

I have to say that I'm quite grateful that the folks at Artslandia Magazine decided to use me as a model for what it might look like when you try to translate the excellent qualities that are inherent within Jazz into a more physically tangible form. And while the cozy pieces that I ended up wearing aired more on the structured side, I have no doubt that with the help of both stylist Todd Everett Kinner and creative director Melanie Hernandez, that we still achieved a relaxed feeling between the loose fit in the pants, undone button near the waist of my vest (so as to leave a little room for my favorite wine and dessert after my second set at Jimmy Maks),  the cozy yet well tailored Marino wool sports jacket with playful patched pockets, bright salmon bow-tie, and fun printed pocket hanker chief to highlight my playful personality. After all, with me and my music being full of life, it only makes sense to dress like it as well!

Shake your tail feather at Solea's Lounge on Alberta every Friday Night with the Christopher Brown Quartet.

With the music starting at 9pm every Friday evening at Solea's on NE 18th Ave and Alberta St., the musical aesthetic that fills the room is always that of a hard driving, yet beautiful and sophisticated style of Jazz that's very much indicative of NYC. And thus it's with these traits that half of every performance is also dedicated to bringing everyone in the room just a little bit closer together by taking the audience on a journey down memory lane, via highly arranged versions of the hottest songs to emerge from the 80's. So while most venues in town are indicative of that laid back vibe that Portland is so known for, you won't find any of that at Solae's, as no one sits still--especially as the hour gets later and people fill the dance floor.