Post 453: AMPLIFICATION

I have written before about the amplification of music by electronic methods. My opinion has always been that - whenever and wherever possible - musicians should play without artificial amplification. Nothing is better than hearing the tones of all the instruments (and of the 'conversations' between them) in their natural glory. It's the same with chamber music: who would want to hear the sweet notes of a string quartet distorted through an amplification system?

In the street, and in smaller indoor venues, it is usually possible for traditional jazz bands to play very effectively without a microphone or P.A. system in sight.

However, I accept there are occasions when the use of some amplification is unavoidable. Maybe the singer needs to use a microphone in order to be clearly heard. Maybe, in large venues, most of the instruments have to be amplified over a P.A. system, with several microphones in use.

I mention the subject again because a recent conversation gave me further food for thought. A clarinet-player friend of mine, who has been playing traditional jazz for decades, told me the following story about a concert he attended many years ago.

He said Kenny Ball and his Jazzmen were giving a performance and for some reason (maybe a technical problem) they had to play the entire first set without any amplification. My friend said they sounded like a good but ordinary 'amateur' band. But for the second set the powerful P.A. system was working and suddenly they sounded like a different band - very professional - the Kenny Ball Band people knew and loved.

I wonder why that was. My theory is that the audience was familiar with the tunes as recorded through microphones in the studios (Kenny had a number of 'hits' - think of So Do I, Midnight in Moscow, Samantha, The Green Leaves of Summer) and - over the P.A. system they suddenly sounded more like the records fans had been hearing on the radio and buying in the shops. That is to say, the music was complete with the effects produced when electricity was allowed to process it a little. This would be helped by the fact that in public performances the Band virtually always played exactly the same arrangements as it had used on the records.

But maybe I am wrong.

Post 347: DO YOU CARE FOR DISCO MUSIC?

Which do you prefer: disco music or traditional jazz? Regular readers will know well where my preference lies.

Quite a few years ago, when I lived in Wisbech, I volunteered to help at a disco for teenagers in the Great Hall of the Isle College (just inside those windows in the photo above). The din from the stage, on which the operators and their battery of equipment were placed, was unbearable. After a while, I decided I could endure the evening only if I took up a position in the corridor outside. Even there, if I wanted to exchange a word with anyone, I had to shout and then struggle to make out the reply.

Occasionally teenagers would run out of the hall into the corridor for a while, screaming, shrieking and sweating.

At the end of it all, we adult volunteers were left with the clearing up, after which I was truly glad to go home. I would never do anything of the kind again.

I was reminded of that evening while reading a book by Susan Tomes, a very fine pianist whom I admire.

She said in one of her chapters that amplification had 'become the main event' in much modern pop music and that the youngsters embrace this music out of a kind of tribal allegiance. I am sure she is right. These young people are in danger of missing so much if they never hear music played quietly by genuine musical instruments, unamplified. I hope they will in maturer years happen upon a recording of the Quatuor Mosaiques playing Mozart's String Quartet KV 590 or Tuba Skinny playing Cold Morning Shout and be amazed by a new source of great musical joy.

There must be some nuggets somewhere in modern pop music but I long ago gave up the struggle to find them. If you asked me to explain the deficiencies of this type of music, I could come up with a kind of list. But Susan is brilliant at putting her finger right on so many features of the music world. So here she is doing the list-making job for me:

     'You need only spend an evening listening to any pop radio station across the world to know that songwriters in all countries work to a formula. The same disco beat, the same tiny short phrases, timid harmonies, melodies culled from just two or three notes, real instruments replaced by electronic sounds, performers who can't even sing.....'!

Post 321: 'DUSTY RAG'

It was 23rd December 2015 and I started the day as usual by dealing with my large email jazz correspondence and then checking to see what was new on YouTube. I found that RaoulDuke504 - the great Louisiana-based film-maker - had just put up another video of Tuba Skinny playing a few days earlier in the French Quarter.

On the face of it, this video is nothing out of the ordinary. The tune is May Aufderheide's Dusty Rag (from 1908) in the sort of performance that the Tuba Skinny musicians probably regard as routine and unexceptional. They give a simple unpretentious interpretation, without special effects and complexities. What's more, there seems to have been a workman using an electric drill somewhere off-camera, so there are irritating occasional whirring noises in the background.

And yet, this is such an enjoyable performance that it reminds me why I consider the playing of Tuba Skinny to be streets ahead of most of the bands whose efforts I watch on YouTube.

Todd Burdick

It's not easy to put my finger on exactly what makes them so good. I think it's a mixture of the following. The drumming (by Robin Rapuzzi) is so intelligent, tasteful and unobtrusive. The string players are completely solid in supplying accurate harmonies and four-to-the-bar rhythmic support. Todd Burdick (tuba - though he plays a sousaphone on this occasion) as ever provides a bass line that is elegant, accurate and appropriate. The 'front line' (clarinet, cornet and trombone) listen to each other carefully: they interweave their musical lines and harmonies with subtlety and with a total absence of flashiness or exhibitionism. The emphasis is on teamwork: players support each other. (Note how even when the sousaphone has a little 16-bar 'solo', Barnabus gives gentle support on the trombone.) Also, the band takes care with setting a perfect tempo - and maintains it. Finally - and I think this is very important - there is no electronic amplification of any kind. Everyone plays acoustically. We can hear every instrument, and we can appreciate the various 'voices' and blending tones.

I hope you will share my pleasure if you watch the video by clicking here.

What makes other bands less good? They nearly always fail in one or more of the respects I have mentioned. The drumming is too loud or insensitive: one or more of the players is an exhibitionist; there is limited evidence of teamwork; amplification is allowed to unbalance the band and distort sounds,.... and so on.

Tuba Skinny at the end of 2015

On a related matter, I would like to quote from two emails I received. The first is from a gentleman who lives in Florida. He became a keen fan of Tuba Skinny after discovering the band early in 2015:

I have commented to others that Tuba Skinny is, in my humble opinion, the best trad jazz band in the world. Of course I haven't been exposed to every band in the world, but I haven't heard one better. Shaye forgoes what I call 'acrobatics' on the horn to play the actual music with her impeccable phrasing and reverence for the music. There is no show off in her, trying to prove how facile she is on the cornet like many players, who only do so to the detriment of the music.

And this one is from a gentleman in England:

I've just been listening to the 3 recordings on You Tube of Tuba Skinny playing Blue and Lonesome. All are good but the one that thrills me most is played on Royal Street 4/11/14 on Digitalalexa. Erika's singing and the instrumental work are in perfect sympathy. They caress the melody and play both individually and collectively in the best New Orleans tradition. How do they do it so well? I've now listened to several of the other New Orleans busking groups and there isn't one, including those involving some of the regular TS musicians, which comes within a mile of what they achieve. Wonderful, wonderful jazz . What a find.

Post 296: OUR MUSIC IS CHAMBER MUSIC?

I have been interested for more than thirty years in the presentation of acoustic performances by small music groups. I listen to and play in traditional jazz bands and I also attend chamber music concerts (especially those given by string quartets). So I am offering the following questions and my personal answers to them as food for thought.

What do chamber musicians and jazz musicians have in common?

They play one to a part and their music is not popular with the masses. Playing a type of music that does not attract large audiences, they do not make a fortune.

Why do we choose to be ‘unpopular’?

We take pride in being miniaturists. We like hearing music played acoustically. It is easier to appreciate details. The noise level is bearable. There are delicate textures. We better appreciate the drama of the music’s dialogue. The individual players - playing just one to a part - are more free to express themselves.

Does such a group need a leader?

Do not be too democratic. It is helpful to have a leader (or to take turns at being leader). It may help to have two leaders – one who manages bookings and one who 'directs the traffic' of the music.

Do we need to get on well together socially in order to make good music?

It helps, but is not essential. Musicians who do not get on well socially sometimes make wonderful music together. Conversely, musicians who get on well sometimes make a poor job of performing. 

How can we give a decent performance if we are just starting out and some of our players are inexperienced?

Choose repertoire within your capabilities. Then, however limited the players' abilities, aim to make the whole greater than the sum of the parts. This means not just playing the notes; it means concentrating on teamwork and interpretation.

Can we get away with practising alone, or should we often rehearse as a group?

Group rehearsals are essential for chamber music; and many jazz groups would be more worth listening to if they rehearsed together more often.

How can we ensure that practice brings improvement?

Do not use much time playing pieces you already know well. Seek new challenges; and focus on the mental as well as the physical. 

How do we get bookings?

The following methods may help - but not much: the Internet, Leaflets, Small Ads. Agents may be helpful but should be treated with caution. Being seen and heard (for example, busking in the street) is the best form of advertising: one performance leads to another. Next best is word-of-mouth. 

How should we dress when giving a concert?

For most venues, a group should look good and adopt a unifying style, even if this means some formality. Individuals have to forego personal preferences for the good of the group.

How can we win over our audience?

It is essential to keep in your mind that your listeners are giving you two hours of their precious time. So you owe it to them to communicate well. Look involved and interested. Smile. Speak to them: they love information. Your programme should be balanced and should match the needs of the audience. Don't be too esoteric and don't risk a built-in fidget ingredient. Welcome feedback and learn from it.

If we develop a good programme, can we be sure it will always work?

Don’t be surprised when you discover that no two audiences are the same. Every audience acquires its own collective mood. A piece of music that is received enthusiastically by one audience may fail completely with another. Also, you must never take seriously anyone's promise that all the seats will be sold!

Should we use microphones and amplification systems?

Wherever possible, play acoustically. Instruments carry surprisingly well, even in large halls.

Will a piece of music become stale if we play it often?

Staleness may set in eventually, but not for a very long time; and during that time, you play the piece better and better. Do not complain when asked to play a piece you have played a hundred times before. You must please the paying public. 

How should we relate to the people who help put on our concerts?

Support in every way the entrepreneurs, promoters and sponsors who give you opportunities to play, who publicize events and attract the audience. They rarely have much cash to play with.

Will the piano be in tune?

Expect pianos to be unsatisfactory even if they have allegedly been tuned recently. Regrettably, it is best to have your electronic keyboard in the car.

Should we make a CD?

If it gives you pleasure, fine; but you are unlikely to recoup the cost. Also, recording will highlight mechanical noises, coughs, unwanted resonances and especially errors; and a good balance will be hard to achieve. So think twice before making a CD. ‘Demo’ recordings should not be necessary and are unlikely to pay for themselves.

How should we arrange the performers at a public performance?

If you have enough space and not too many players, go for an ‘arc’. A well-known jazz musician friend of mine wrote this after first trying this arrangement: ‘The difference when playing in a semi-circle was amazing. I could hear every instrument, and see everyone. More importantly, I could see all signals. I feel that, where possible, it is a good formation for a 4/5 piece band. Also, the audience can see everyone too!’

Post 203: MUTES, MUSICIAN DEAFNESS, HEARING YOUSELF

Here's an interesting correspondence that occurred recently between bandleader Mr. A, trumpet-player Mr. B and trumpet-player Mr. C.

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Hello B and C,

How are you? I hope you are getting lots of gigs.

As you know, we have Mr. D .. in our band playing trumpet and he says he is going deaf (although I don't think he is as deaf as I am). Anyway, he says he can't hear himself when we play outside.

I have noticed that you sometimes play into a metal dish that presumably reflects the sound back to you. Am I right? If so what is it and where can he buy one and how much does it cost, please?

Best wishes,

A.

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Hi A, 

Hope all is well with you.

No one realises what we trumpet players go through. When you play, the sound from the trumpet goes away from you and as you are directly behind it you don’t really hear yourself until it strikes a surface and returns to your ear (trumpet is even worse than cornet because of its length). That is why Dizzy Gillespie bent the bell of his horn up into the air.

Sometimes when the drummer, amplified keyboard, amplified guitar, amplified bass and ringing banjo are blithely roaring away and on one side the trombone and on the other the reedman are blowing in towards you, it’s near impossible to hear yourself without blasting away at ffff.

Playing outside is even more difficult. People then comment on how loud the trumpet is and think he doesn’t need a mike and wonder why can’t he play with more sensitivity and more pppp.

When you play with mikes, a monitor or fold-back system will cure this problem and the whole band can hear each other and play in a more balanced and sensitive way.

When playing without amplification, any device or method that reflects the sound back to you can perform a similar function.

Sometimes you’ll see a trumpet player suddenly hold his hand over the bell, not necessarily for a special sound effect but to simply hear himself.

Metal hats, plastic-covered music scores, wa-wa mutes, brick walls or just the hand are all methods to this end.

As you know, when playing a wind instrument you need to hear yourself clearly enough in order to strike the balance you want in volume and tone etc.

Well, that’s my rant over and I feel better for it - hope I didn’t bore you.

To answer your question re availability of such devices: I have tried for ages to find a metal derby hat but have been unsuccessful. If they are in production anywhere it’s a well-kept secret. I have a felt-lined derby which I bought on Ebay for £20 which isn’t too bad but my own device is simply an Ikea stainless steel salad bowl (£3.00) screwed to a microphone stand.

The best thing is a metal derby (Ken Colyer used one for years and other trumpet players likewise). This, when no microphones are available, pings the sound back to you and the band with a nice, clear ringing tone and saves a lot of wear and tear on the lips. 

Hope this answers your question and tell D.... best of luck. 

B.

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Hi Folks,

I'm pleased to join in this correspondence since B's comments so accurately reflect my own experiences.

I was playing cornet recently in a seven-piece band in a church hall. There was amplification of some of the instruments. I could not hear myself at all. I felt I was struggling even to play an audible melody for the clarinet and trombone to 'decorate'. But my wife (who for once had come to a gig) told me in the interval that I was playing FAR TOO LOUD and I really must try to curb my sound. That taught me something. I would never have believed it if she had not pointed it out.

On the other hand, if I'm playing in a not-too-noisy band (e.g. an unamplified quartet) with a good BRICK wall facing me (e.g. outdoors in a shopping centre) I can hear myself perfectly.

I believe the above confirms all that B said. And I hope it will be of some comfort to D.

Regarding the danger of deafness, I have on rare occasions tried using home-made cotton-wool earplugs in exceptionally noisy environments. They reduce the impact on the ear-drums but they have the disadvantage of leaving me unable to assess the tone and balance of the music I am involved in.

As for mutes, I have become addicted to them in recent months and have built up a collection. My favourite is the Humes and Berg 102 stonelined cup mute. But this is for special effects and not to enable me to hear myself better.

I also wanted a 'derby' mute and have just acquired one - the Humes and Berg 120 stonelined derby mute. I got it from Myatt's of Hitchin for £30.

It's good; but not quite what I wanted because it is indeed felt-lined, producing just a little too much 'fuzziness' and I shall have to practise hard with it if I am to play the highest and lowest notes in tune.

Seems I'm in the market for one of those salad bowls!

I hope this all helps.

Happy blowing to everyone,

C.

Post 13: SIMPLY THE BEST - SHOTGUN PLAY 'WHENEVER YOU'RE LONESOME'

In March 2016, correspondents Bill Stock in England and Dave Menashe in California alerted me to a short new video. They thought I would like it. They were so right!

It's The Shotgun Jazz Band playing Whenever You're Lonesome, filmed in the New Orleans Radio Station WWOZ studio on the morning of Tuesday 8 March 2016. You can watch it by clicking here.

To my mind, this is as near perfect as traditional jazz gets. The performance is relaxed; it makes everything sound simple (which of course it is not). It is tasteful and relatively quiet: we can hear all the instruments very clearly. In the third of the four choruses, Marla sings the vocal with passion.

For the occasion, the band was without a trombone or drummer, but they had Ben Polcer on piano. Marla states the melody with minimal fuss on the trumpet, and James Evans on clarinet provides lovely decoration. John Dixon and Twerk Thompson are - as ever - absolutely solid 4-to-the-bar. Ben and James take half each of a sweet solo chorus. Marla's playing in the final chorus is a model of how to do it. (You can study her fingering - and use of the bowler mute - in close-up.) And, interestingly, she sings out just the penultimate 8 bars - something unusual and effective that perhaps the rest of us should think about doing.

As a little bonus, the performance ends with a moment of comedy from Ben.

Whenever you're lonesome,
just telephone me.

For those who like to know such things, I believe the song was composed in about 1922 by Pete Wendling and Max Kortlander. The Shotgun Band plays it in the key of C. The song's pleasant effect depends very much on its use of The Georgia Chord Progression (about which I have written HERE - CLICK ON TO READ).
But enough from me. Enjoy the video for yourself.

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P.S. Chris in Sheffield has sent me this:
Hi Ivan, I couldn't agree more about your comments. It is a really great performance. Chris
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The book 'Enjoying Traditional Jazz by Pops Coffee is available from Amazon:

Post 9: WHEN TRADITIONAL JAZZ DISAPPOINTS

I have been trying to put my finger on the reasons why I enjoy some traditional jazz performances far less than others.

I like to hear all the individual instruments clearly. The quality and balance of the sound matter. I like the musicians to play in tune and to listen carefully to each other so that they are truly a team. This involves producing appropriate harmonies and also giving the music a conversational quality, where phrases are complemented and responded to by other players. I like the lead to be passed around, with the backing instruments putting in subtle, appropriate decoration, or working together in creating harmonies and varied rhythmic patterns. I like the tempo to feel appropriate to the piece of music and to be properly maintained. I am not impressed by mere exhibitionism.

It does not matter whether the tune is a simple 8-bar number or a complex multi-part rag. In all cases, that's how I like it to be played.

So often, performances of this kind are not what we get.

A common cause of poor quality is loud, insensitive drumming. Similarly, amplification frequently makes it impossible to distinguish particular instruments, or distorts the sound. I wish bands and organizers would ask themselves whether they really need so much amplification.

Sometimes I am unable to hear clearly the notes played by a keyboard or by a string bass because the musicians have plugged their instruments into amplifiers that give a pulpy sound, blurring the clean, percussive natural timbres.

Sometimes the tempo is fine at the start but the band gradually slows down and the tune begins to drag.

It takes only one musician playing out of tune or failing to listen carefully to the others to spoil the performance. In those cases where a band has both a clarinet and a saxophone, each going its own way (but often trespassing on the other's notes), the result can be unpleasant, to my ear. Saxophones in particular, if played too loud and without attention to what the other musicians are doing, can have a blurring effect.

Sometimes, several of these forms of distortion go on at once. It is as if treacle is being poured over the music.

So I am disappointed by what I hear.

But maybe it's just me. Even when I do not enjoy a performance, there are plenty of other people in the audience who seem happy with it and applaud heartily at the end. I suppose I'm just a finicky old fuddy-duddy.