Some Thoughts on the Performance of Jazz
In the performance of jazz, we must be aware that almost anything can happen at any given moment.
Music must be allowed to breathe, and with that in mind, the jazz musician must allow the music to follow a natural course. This is achieved through the musicians ability to access, visualize and realize within a heartbeat. Their maturity level is determined by his ability to perform these tasks with the least amount of physical and emotional tension.
Ignorance on the bandstand reduces the effectiveness of the performance by half
Ignorance and arrogance on the bandstand reduces it by whole.
A musician who ignores the interaction of his listening audience is a fool.
A musician who panders to his listening audience is a bigger fool.
The audience must be respected, but never overindulged. It is up to the musician to react to his audience, but never treat the audience as if they were in a classroom.
When the audience applauds after each jazz solo in the performance of a composition it reduces the effect of the performance by providing an unnecessary addition. Musicians must learn not to define their own levels of a performance by the amount of applause received. Remember that the applause is only the reaction of a single moment and something profoundly stated through music often takes more time to absorb.
In an age where pop-culture has reached a zenith, I more than ever profoundly respect the listener who endeavors to attend performances of quality. The craft of performance is one that can be acquired through proper study and devotion, but the listener is there to experience something and it is the job of the performer to see to it that the listener goes home with something.
The performers first obligation is to themselves.
The performer who plays to only impress is not only wasting his time, but everybody elses.
The jazz musician is always ready to play. They must master their craft: mastery of tempo; mastery of transposition; mastery of standard repertoire (memorized when possible); and mastery of their instrument. This is learned in the practice room not on the bandstand.
Empathy and interaction can only be learned by practicing with other musicians.
A musician can only understand their level of development when they have comfortably experienced #s 12 and 13 and performed on the professional bandstand.
A creative musician is expected to find himself in the music not get lost in the music.
Regardless of the musical situation, perform as if it is for the last time.
Be self-critical, but not to the point of needless persecution. Learn to recognize individual weakness and correct them through proper study and practice.
We are often most disappointed when we judge others as we judge ourselves.
Understand the importance of being an accompanist.
Always practice for tone first. Good rhythm, technique and creativity are bonded by the sound we create.
Creative technique is not an oxymoron.
An hour early is better than a minute late.
Hire dependable sidemen.
A great musician is of little value if he constantly arrives late to a performance and is unprepared.
Joe LoCascio is one of Texas's finest pianists, a prolific and inventive composer and a renowned jazz educator. In addition to releasing numerous nationally acclaimed jazz albums, Joe has played with dozens of world renowned artists including Chet Baker.