As I cross over the 150 show mark this year (with three months still to go) and since I’ve had a couple of slow weeks I’ve been reflecting on how I’m still spending close to half my gigging time playing for dancers as I’ve been doing over the past decade or so. As I prep my Bach and the Muslim World project/recital, I’ve been exploring another world of dance (baroque) and how that the movements of a baroque suite are comprised of dance movements and how that relates to the dance movements of Turkish Fasıl, Arabic Waslah, and North African Nawbah. Before concert music became a thing, music most often served dance.
Why do so many bands tour directly around Louisville? How can we change this frustrating f**king trend? Do I need to open my own damn venue?
While a number of folks piped in with their explanations and suggestions for how that might be changed, anyone who’s been in any local scene outside of the big music meccas like New York, Chicago, and Nashville has probably felt this way at some point. Indeed, a few (including me) brought that point up–namely, that it’s a pretty regular scenario in most cities. This comment by Syd Bishop, musician and music writer for the LEO (Louisville Eccentric Observer) Weekly, sums up the sentiment nicely:
It seems a little absurd to assume that whatever sort of cliques may occur in Louisville are either unique to our city, or of such widespread knowledge that they would make it out of town. I doubt very much that anyone in, say, Des Moines, is sitting around bemoaning how clique-ish the Louisville scene is when they are booking a tour. This is all about logistics and money and nothing more.
Over the years I’ve performed to an audience of none (some of my Performance Art and Experimental Music performances took place in very odd settings) up to audiences of tens of thousands (stadium concerts) and while I’m tempted to say each performing situation is different, really, it’s not.
I mean, in the end, you just get up on the stage and do your thing, whatever that may be, right?
A couple weeks ago I was talking to a student about performing at stadium shows, mentioning “playing for 50,000 people,” and I recalled that I had a post draft from March (12) of 2014 where I referenced that number. The quoted section above was what I had saved and interestingly, I’ve changed my mind about the “and while I’m tempted to say each performing situation is different, really, it’s not” comment.
One of the local research projects I’ve been working on is charting the evolution of Classical Music in Kentuckiana (i.e. the Louisville-Jefferson County, KY-IN MSA). Being one of the MSA’s which lies over two states, this makes some of the data gathering a little trickier, but lately I’ve decided to focus very specifically on New Albany, Indiana which is where I currently live and where I spent most of my school years before going to music school.
After the recent passing of Rubin Sher and Don McMahel, two giants of music education in this area, I decided it might be time to really get my hands dirty with data in honor of them and all the other music teachers still with us that I’ve had the honor and pleasure of working with since I’ve moved back.
The title of this post is from a recent piece by Andy Lee taking to task some things that Claire Chase (Artistic Director and CEO of the International Contemporary Ensemble) said at a convocation address at Bienen School of Music at Northwestern University. The full quote is actually in the comments section of the piece:
I think a slight clarification on (what I hoped to make) the thrust of my piece would be that I’m saying that entrepreneurship under current conditions will favor the very few and marginalize the vast majority. I’m not saying it isn’t a path to success, but I see it as the great hope that others seem to.