Re: Lots of fun.

[KB305@aol.com]

In a message dated 07/14/2000 10:05:10 AM Central Daylight Time, 
rich@nuvision.com writes:

> Do you feel that if this trend continues that there may be some sort of
>  rebellion or 'backlash' to it?  That we may place a much greater value 
>on
>  music that is actually 'played' for us, as it will allow us firsthand to
>  know if the person, or ensemble, actually has any musical merit?


If there would be a 'backlash', it would come from players themselves -- 
players who spend time working on their own chops.  Such players usually 
have 
no power to make big commercial projects, and so lack influence.

'Hey, we're sick of people listening to stuff made in Pro-Tools, we're 
sick 
of MIDI, we're sick of crappy sequencers!  Let's make the next CD with a 
Strat, some drums, and an SM-58!  And Sony Music will just have to take 
it!  
And it'll be great!  And you know, I want to go back and learn how to 
spell 
chords, so I can stick a Lydian Augmented riff over a dominant #11 chord!'

If listeners started to value chops over (the opposite... what's the 
opposite 
of chops?), then they'd shift their tastes, and non-chops music, i.e., 
anything that stresses programming over hands-on instrumental skill, would 
begin to lose popularity.  I can't see THAT happening -- most major 
commercial productions involve big-time programming... I looked at the 
liner 
of the last Mariah Carey CD.... countless producers, engineers, 
button-pushers.... all this framework to stick that voice into, and all 
calculated specifically to move tonnage.

Music that values skills over technology?  Some would call that JAZZ.

So maybe it's about intent.  Intent sometimes is connected with skills 
(like 
John McLaughlin, or, well, you know, fill in the blank), sometimes not 
(like 
Bob Dylan, or, again, fill in the blank.)

And what is musical merit?

Short answer: no, I dont see a backlash coming.  If you can make a piece 
of 
music that is direct from your own self, and finds a target in the 
listener, 
then what do you need chops for?

On the other hand, my little jazz power trio is finishing our first CD in 
a 
tiny studio in a guy's basement, 16-track ADAT, few effects, no 
sequencers, 
most basic tracks played live... and we have plenty of musical skills.  
But 
it won't matter if we fail to communicate, if we don't say what we mean to 
say.  (And though it is truly a jazz record, there IS a weird-ass loop 
under 
one track.)

Technology and skills are seperate, and variable elements of successful 
music.

It's just my opinion.  Your mileage may vary.

Kevin