The StoryThis topic is probably verboten for musical instrument retailers. Since I have never felt comfortable with that identity and really only began retailing because friends and family told me it was time to stop doing it for free, so I guess I'll just go ahead and mutter. I grew up in a musical theatre family so of course performing was important. Perhaps the difference in my family, in which my father was a songwriter and my mother a UCLA English major/Actor, was at the very core of every performance, the heart and soul if you will, was the story. The story could be enthralling, tragic, humorous, demonic, twisted, a lesson in morality or what have you. The absolute was that there was one. Without it, there could be no songs, no words or action. An actor, dancer, singer, musician's first objective was to serve the story. Sets, costumes, lighting, staging, orchestration could range from opulent to minimal the success of these additions depended on how well they enhanced the telling of the story. As the oral tradition of relaying news and providing tribes with a link to their histories evolved accompaniment was added. Drums perhaps were the first, eventually lyre, lute, harp etc. As this form matured, so too did the skills of those doing the telling. These tellers were esteemed and many rewarded for their great skills. These skills originally were not solely interpretive for as it was and so it remains: the tale is first and foremost. With the evolution of classical instrumental music came an enormous societal schism. These complex musical compositions were still stories though written in musical notation not spoken language, opera and chorale being of course the exception. The composition, the copying of all the parts, the payments to the musicians required massive subsidies by the ruling class. The peasant and working class heard very little and understood even less of the pomp, bombast and complexity of this form. Yet despite this division of class, the story telling continued musically though viewed condescendingly as simple peasant or folk music. Despite its lowly stature, this music endured, crossed the great ocean and emerged in America assuming the forms we know as Folk, Country and from somewhat different origins, Blues, Boogie Woogie, Swing and Rock and Roll. The reason these forms have not only survived but continue to thrive is that they tell a tale, they are accessible, and through their simplicity, they stick in your head. When we evaluate a player's performance what is our criteria? I would suggest that at least for me is how successful, how evocative did the player communicate the story. As players ourselves, besides the obligatory note for note rendering when we are wood shedding, perhaps a portion of our session should be spent in evaluating what we are conveying. What nuance can we add to embellish the story? Maybe a bit of time spent every session working on telling our own stories would be a worthy addition to our practice routine. Lou Reed tells of a time he met Andy Warhol one afternoon at The Factory when Lou was in residence there. "How many songs have you written today," asked Andy? "Why none," Lou replied. "Aren't you a songwriter," Andy inquired. Lou mutter, yes." "Then write some songs," Andy replied trailing past Lou. What I'm getting at with these musings is that as a musician and or songwriter, it seems to me that at least as much time should be spent in skillfully telling the story through your musicianship and if so moved writing one of your own. At least as much as is often spent drooling over gear ads, auctions, forum reviews and UTube gear demos. This is probably not wise advice from a retailer, but the payoff is a gift freely given. Besides you can always buy gear. Blessings from the Garden Island, Tyler(T.Dogg)J. Barnes
