Re: [Harp-L] SPAH Jazz Jams

[Joe and Cass Leone <leone@xxxxxxxx>]

On Aug 24, 2006, at 6:17 PM, Tim Moyer wrote:

> John Balding wrote:
> > Is there a possibility that the Jazz Jams could be divided
> > into two ability levels, i.e. - Pro and Beginner/Advanced?
> > To me, this would help alleviate some of the ego problems or
> > beginners' fear issues which may have surfaced in the past.
>
> I don't support ideas that further attempt to divide people at SPAH
> on any lines.

Me neither, we're supposed to be a team.

>   One of the beauties of the blues jam is the
> egalitarianism, where an unknown first time attendee gets the same
> number of bars to express themselves as a seasoned pro.  You just
> have to check your ego at the door.  It helps to have a moderator
> like Buzz Krantz, who while he can be a big teddy bear, can also
> clamp down the thumbscrews when he needs to.  I still remember that
> look he gave me when I was shouting from the peanut gallery to
> extend the solos to 24 bars.  Sure shut me up.

I had this idea a long time ago. The premise was to have the players  
who 'thought' they were not up to pro? (ha ha) level to play Thu. and  
the pros to play Fri. Here was my reasoning (at the time). To use  
Denver 2001 as an example: The players were Randy Singer, Mike Turk,  
Rod Paparozzi, and Michael Polesky. And those were the ONLY players  
who played. Once or twice, a lesser player got up and the tune was  
'cut' at that point.

Due to the presence of these aircraft carriers and battleships of  
jass, the intimidation factor was pretty high. Several top top  
players and myself (a mediocre player) opted to sit it out. Another  
factor that was present was that the players NEVER placed their mics  
back in the stand and took a step back to show that mics WERE  
available. They basically hung on to them through the entire tunes,  
therefore giving the impression that they 'Had it', and no one else  
needed to apply. (I'm sure it wasn't intentional) and they traded  
'16s' the whole evening. I had no problem with it because I wanted to  
listen to some of the best. But several people voiced their  
displeasure to me. Why me? I don't know. Maybe I was wearing my  
collar backward.

Now I'm not saying that I couldn't have walked up and pried a mic  
from someone. I'm just not that pushy and I didn't feel comfortable  
doing that. At several Buckeye & Spah jass jams, I have had the good  
fortune to play with Chris Bauer, Lee Oskar, Will Galison, JimLohman,  
and I didn't feel that pressure because as soon as one of us would  
walk up to participate, one of the 'Biggies' would hand us a mike  
without asking.

At the last Buckeye I played on a show (05), our jass jam went a mere  
13 minutes. I had to play 2 tunes by myself. Finally Phil Gazell got  
up to help me out. It was a fiasco. No one WANTED to play.

At THIS Denver, I and Phil Caltebellotta kept eye contact with each  
other and each of us were ready and willing to relinquish OUR slot to  
anyone who wanted it. As Timothy so aptly put it, egos have to be  
checked at the door. Some people go to spah and want to play. That's  
only natural. But some want to play continuously and get so engrossed  
they don't realize that there are other people who would like to play  
too. One fellow even made the statement: "I came a long way...I'm  
gonna play". OK, good, good for you pal. Meanwhile. I had come 1717  
miles to his 859.  Some people are self oriented, some are 'people'  
oriented. I happen to fall in the second group. I even gave up my  
slot in the matinee because time was running short and adjustments  
were necessary.

I go to spah for the comaraderie, I don't HAVE to play. I have as  
good a time listening and learning.
> Sure, some people find this too intimidating to play.  To help with
> this, Michael Rubin started a "pre-jam" to help newbies with their
> jamming chops and etiquette, and Jimi Lee was running an afternoon
> jam that usually had smaller groups.  All these things have sprung
> up from the grassroots to support the blues jam
>
> Similar things can happen with the jazz jam if there is interest and
> participation.  I'm not saying that the jazz jams should be
> structured this way at all.  I like the idea of being able to maybe
> sign up, and then call a tune, and share it with one or two or three
> other players, rather than spending 30 minutes making the rounds
> with one progressions, as the blues jams do.  But my point is that
> if people are encouraged to participate the jam can find its own
> solutions to problems that might arise.

Yes, as long as the players don't make it into a contest. And as long  
as they support each other. I stand on my suggestion yesterday as to  
how to play at one of these things. As for who plays on what. That  
has to be worked out (amicably) between the players. AND calling  
tunes that are unbeknownst to most players because it makes you look  
'cool' is not cool under THESE circumstances. There, I got it off my  
chest and now I won't dwell on it again.

smokey-joe
> -tim
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