Monday, March 8, 2010

Hiring a Live Band

When it comes to great performances, phrasing is everything. It’s what makes Tony Bennett so delightful, and Frank Sinatra had it in spades. So did Peggy Lee, Ella Fitzgerald, Nat King Cole and others from their generation, mostly gone now.

And when you hire a band to perform live music as your corporate event entertainment, you want a great performance, right?

But how can there be phrasing, and a really great LIVE performance, when the band, singers, horn players and even the drummer are performing with pre-recorded “tracks,” lip-synching and playing along with a record as so many corporate event bands do today?

The following excerpt from a note I received this morning is an insightful perspective on this phenomenon:

Dear Judy,

We spoke earlier on the phone today. I just wanted to say again how nice it was to talk to somebody in the music business in this town that wasn’t immediately dismissive to a newly-arrived musician looking for opportunities. Kindness and compassion seem to be a rare commodity in this town from time to time, so thank you again.

As for the issue of “tracking” in performances here, I have to say I am pretty surprised that music has deteriorated to that level. Back home I don’t think I’ve ever heard of anyone using pre-recorded music in a performance – it was always assumed that if you needed more music than you could play yourself, you got another musician to help out… so here are my thoughts on this issue:

In order for music to be emotionally effective, it needs to be able to breathe and flow depending on the energy in the room, but more importantly by the energy and emotion pouring out of the performer. By using tracks, the performers have locked themselves into a static rhythm of expression and phrasing, and cannot allow for the subtle changes in tempo and dynamics that are required to really make a performance memorable and lasting. The push and pull in between the pulse of the music needs to have an elastic quality that allows for it to bend and shift as the phrase requires. Tracking seems to me no better than simply putting on a CD… at which point you should just hire yourself a DJ and call it quits.

Anyway, that’s just my two cents. Thank you again, and it was a real pleasure meeting you.”

Wednesday, March 3, 2010

The Music of George Gershwin, Irving Berlin & Kermit the Frog

It’s my fantasy, a one-woman show:

“Judy Chamberlain sings the hits of George Gerswin, Cole Porter, Irving Berlin & Kermit the Frog”

Hmmm…and maybe Jerome Kern, Harold Arlen, Harry Warren & Kurt Weill.

Yes, definitely.

The intimacy of this music is an extraordinary element. This is music that can make us laugh and cry for all the dreams left undone, all the people who left us too soon… and remember all the blessings that we do have in our lives. Our partners, families, friends and children.

And the music…

Songs like “Swanee,” “Alexander’s Ragtime Band” and the fine Harold Arlen paon to Winston Churchill, “My Shining Hour.”

Midway through the evening, a Kermit song — sung very sparely and not always in green face paint, either. My favorite is The Rainbow Connection.”

I mean, who doesn’t love Kermit?

A little Cole Porter, a sentimental Harry Warren tune like “This Heart Of Mine” and maybe some Ellington. Songs that take you back to a happier time, a time when you were young or hadn’t even been born yet but just know you would have loved.

“Prelude To A Kiss.” “Take The A-Train.”

And then it’s time for some sweet, sad music. Music to recall a lost love, the story that didn’t have a happy ending. The remembrance of pain and longing we thought we’d gotten over.

It’s killer stuff.

It tugs at your heart strings. It takes guts to listen to sad songs, but they are so good for the soul.

“The Man That Got Away.”

“It Never Was You”

“Smoke Gets In Your Eyes.”

To sleep, perchance to dream…..