{"id":707,"date":"2022-09-01T14:44:24","date_gmt":"2022-09-01T19:44:24","guid":{"rendered":"https:\/\/nassaubaymusiclessons.com\/?p=707"},"modified":"2022-09-01T14:44:24","modified_gmt":"2022-09-01T19:44:24","slug":"banishing-stage-fright-with-the-jazzmen","status":"publish","type":"post","link":"https:\/\/nassaubaymusiclessons.com\/?p=707","title":{"rendered":"Banishing stage fright with the Jazzmen"},"content":{"rendered":"
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Banishing stage fright with the Jazzmen<\/h1>\n<\/header>\n
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Last week I told you the story of Darryl Jones<\/a>, who played bass for Sting when he started his solo career with the album Dream of the Blue Turtles<\/em><\/a>. Today I want to tell you about another of Sting\u2019s musicians, so that we can learn another useful tool to conquer stage fright.<\/p>\n

To recap the story\u2026<\/strong><\/p>\n

If you recall, Sting was trying something totally new. He was leaving a very successful band, and was striking it out on his own with a whole new group of musicians. They were about to play their first concert \u2013 a new band, playing a \u00a0set of songs where half were completely new and unheard, and all of which were being re-interpreted. Sting, if you recall, hadn\u2019t got together just any old band. He had found a group of jazz musicians, and was creating a whole new jazz-rock fusion sound.<\/p>\n

Director Michael Apted filmed the build-up<\/a> to the concert. He asked each musician in turn if they were nervous. Last week we learned from Darryl Jones\u2019 reply. This week we turn to saxophonist Branford Marsalis, to see what he can teach us.<\/p>\n

\"Marsalis\"<\/a><\/p>\n

<\/div>\n

The other jazz man.<\/strong><\/p>\n

Branford Marsalis is another profoundly inventive jazz musician. Back in 1985 he was just at the beginning of his career, but he already had an impressive resume. And he was never one to mince his words! So when Michael Apted asked him if he was nervous about the upcoming gig with Sting, this is what he said:.<\/p>\n

\u201cIf I was Sting I might be nervous but I\u2019m not Sting, I play jazz, I know what it\u2019s like to be shat on, you know what I mean? I am a jazz musician, I know what it\u2019s like to play some stuff that nobody wants to hear.\u201d*<\/p>\n

I know this is a little stronger language than normally appears in my articles, so bear with me\u2026 \"\ud83d\ude42\"<\/p>\n

Branford Marsalis isn\u2019t nervous. Why not? Because he is used to an audience not necessarily liking the music he is playing! Marsalis here leads us towards what I believe is a very strong motivating factor that lies behind many performers\u2019 stage fright<\/a>:<\/p>\n

they fear the audience\u2019s bad opinion.<\/strong><\/p>\n

Fear of the audience is a strong reason why people fear going out to perform. Back when I worked in professional theatre, I can remember actors nervously \u00a0peering out from the wings, scanning the audience suspiciously, and wondering if they would be a \u2018good\u2019 house that night. And by \u2018good\u2019, they meant an audience that liked them and liked the play.<\/p>\n

Wanting to be liked is completely understandable and natural. The problem arises when we think about the audience so much that we begin to lose sight of what it is that we need to do in order to win their good opinion.<\/p>\n

We need to perform.<\/strong><\/p>\n

In other words, we need to summon up all that we have learned from our hours of research and rehearsal, all the work that we have done, and carry out the performance in a way that we have reasoned out is going to best achieve our goals<\/a>.<\/p>\n

\u2018But shouldn\u2019t we be thinking about the audience?\u2019 I hear you cry. Well\u2026 Yes, but not in the way that most people do. Obviously we need to remember that the audience is there. But do we need to tie ourselves in knots to try to please them? Well, no, not according to Branford Marsalis! His experience very clearly included situations where, in pursuit of his creative goals, he played in such a way that the audience just didn\u2019t like it. On that day. At that time.<\/p>\n

The thing is, not everyone can be happy all the time. But what might you sacrifice in order to satisfy your audience? What if Stravinsky had burned the score of The Rite of Spring<\/em> straight after its controversial first performance? Western classical music would have been very different!<\/p>\n

FM Alexander said, \u201cwhere the \u2018means-whereby\u2019 are right for the purpose, desired ends will come. They are inevitable. Why then be concerned as to the manner or speed of their coming? we should reserve all thought, energy. And concern for the means whereby we may command the manner of their coming.\u201d<\/p>\n

Branford Marsalis, when faced with the choice of playing the way he wanted, or trying to be \u2018right\u2019 for the audience, chose to play in the way that he had decided was best. He stuck with the process he had chosen. And fear of the audience\u2019s reaction became unimportant as a result.<\/p>\n

What about you? Will you stick to the process you\u2019ve reasoned out will get you to your goal?<\/strong><\/p>\n

* Sting, Bring on the Night<\/em>, directed by Michael Apted. Quote occurs at about 60.58 on the DVD release.
\n** FM Alexander, The Universal Constant in Living<\/em> in the Irdeat Complete Edition, p.587.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Banishing stage fright with the Jazzmen Last week I told you the story of Darryl Jones, who played bass for Sting when he started his solo career with the album Dream of the Blue Turtles. Today I want to tell you about another of Sting\u2019s musicians, so that we can learn another useful tool to … <\/p>\n

Continue reading “Banishing stage fright with the Jazzmen”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[11,12],"tags":[],"class_list":["post-707","post","type-post","status-publish","format-standard","hentry","category-musicians","category-stage-fright"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pafaYH-bp","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/nassaubaymusiclessons.com\/index.php?rest_route=\/wp\/v2\/posts\/707","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nassaubaymusiclessons.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nassaubaymusiclessons.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nassaubaymusiclessons.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nassaubaymusiclessons.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=707"}],"version-history":[{"count":1,"href":"https:\/\/nassaubaymusiclessons.com\/index.php?rest_route=\/wp\/v2\/posts\/707\/revisions"}],"predecessor-version":[{"id":708,"href":"https:\/\/nassaubaymusiclessons.com\/index.php?rest_route=\/wp\/v2\/posts\/707\/revisions\/708"}],"wp:attachment":[{"href":"https:\/\/nassaubaymusiclessons.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=707"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nassaubaymusiclessons.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=707"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nassaubaymusiclessons.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=707"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}