Are you part of the Conversation?

We’ve all experienced two distinct conversations. The first is a tedious flow of information seemingly never reaching completion; the endless distractions from our surroundings; our minds aimlessly wandering here and there. The second is an engaging, focused, back and forth exchange of ideas, experiences, dreams, where the parties are finishing each other’s sentences. 

I look at Jazz as the most conversational type of artistic expression. It lives inside of this loose boundary called “the form” and gives us the freedom to communicate with our bandmates and in turn, the audience. My most memorable gigs occurred at the highest level of discourse. Beyond the band, everyone on stage needs to be an active participant in the creation of the discourse, without which performances can become more mathematical and less spontaneous.

Our time practicing is mainly focused on our journey for technical proficiency with our respective instruments. Let me suggest that technical proficiency alone does not make a great conversation happen. There is a baseline of ability we all need to have at our disposal to deal with the complexity of a composition, but the art of listening cannot be missing from the collaboration.

My favorite players are the best listeners. They contribute what’s needed, whether it’s being the lead voice or just a supportive active listener. The ability to listen requires us to set aside our egos, and it lets others have their respective space inside the conversation. 

What are we listening for inside the conversation? 

How about everything! There comes a time when you perform repeatedly with the same players, and you gain an understanding of how they approach their instrument and their way of “talking” inside the conversation. When you’re subbing or just getting to know your new bandmates, I’ve always found less “talking” and more listening to be imperative. Some specific items to look out for include (from my drummer’s perspective): the interpretation of the melody, common themes inside someone’s soloing (rhythmically, dynamically), hits, and even the silence spaces for the possible interjection of a thought or two.

Be present during every musical exchange. Make sure you are intentionally listening. Try to make every rehearsal and performance a great interaction of ideas, experiences, and dreams. Strive to make every conversation a great one.