Wisdom

I had the pleasure of being the guest speaker a few weeks ago for the Improvisation, Community and Social Practice (ICASP) Reading Group in Guelph. It was a fun session: I made a short presentation dealing with my philosophies - and the challenges to those philosophies - behind booking a jazz festival, then Ajay Heble, Artistic Director of the Guelph Jazz Festival, asked me a series of in-depth questions about how I approach my job. (Some of them were toughies: what is jazz? Where is jazz going?) One of the answers I gave (and I don't remember the question), was this: "If I ever get to the point where I think I know everything about jazz, it's time for me to quit." That is, given that jazz is an ever-expanding music, and there are always new musicians and styles to discover, I should never think I know it all...and if I do, I'm being naive and doing a disservice to the job and to the jazz community.

I was reminded of the need to always be seeking new information - and always be learning from others - this week when I read Jim Galloway's column in The Wholenote magazine. What starts as a tribute to Ian Bargh leads into a discussion on what makes certain artists (and Jim presents Ian as an example) so distinctive: a unique sound. Here's a brief excerpt:

He also had that most desirable of qualities in a jazz musician: a sound of his own, a personal stamp that he put on everything he played...No single musical element identifies jazz musicians more than their personal sound — a sound that represents the individual. In the arts, a personal identity is something that any artist should strive for whether it be in the visual arts, literature, theatre or, of course, music. In jazz, Armstrong, Bechet, Lester Young, Bud Freeman, Miles Davis, Clifford Brown, Jack Teagarden, Pee Wee Russell and “Red” Allen are only a few who had a personal sound that makes them instantly recognizable.

You can read the full column on Wholenote's website.

I have great respect for Jim: he continues to tour around the world as a performing musician, and over 24 years he helped to build Toronto's jazz festival into the international success it is. His Wholenote column also reminds me that he's got a depth of knowledge and appreciation for the music that I hope to develop over the years. In his column, Jim's not necessarily discussing a new concept...but in the midst of planning a festival, where often the bottom line gets more attention than I'd prefer (and, for the most part, necessarily so), it's a good reminder about why I enjoy this music, and why I look forward to my job as Artistic Director most days: I get to delve into, and work with, musicians who truly do have distinctive sounds.

The expression goes, "Respect your elders." In this business, though, where talent seems to know no age limit (and Jim himself is a great example), I think mentorship can come from colleagues of all ages (it has for me). And as long as I continue to be open to the advice and mentorship of my friends and colleagues - regardless of their age - I will feel ready to do this exciting work. No matter where, as Ajay wondered, the music is going.

Josh