RESPECT THE MUSIC

I can't play a thing but the radio, but I've been spoiled rotten when it comes to musicians and singers . It's to the point that I expect every one I encounter to know what they're doing--especially if someone I trust says, "They're good". 

Case in point: I recently sang at a vow renewal ceremony. I was told a musician would be there. We shook hands across the keyboard for the first time about 30 minutes before the ceremony started. I told him "B flat, and I'll follow you". He laughed (‘cause apparently that’s not the way it goes, but it’s the way I prefer it). He played a little bit, and I said "That's fine". That was our rehearsal. It may have been a minute and a half. After the ceremony we exchanged info, realized we had mutual friends, and each hoped it wouldn't be our last time working together. He said, "If I had known who you were, I would have been nervous." (I always know what that means, and I have Richard Smallwood to thank for it.) I laughed and said, "Then, it's good you didn't know, because you were outstanding." 

He'd done his musical homework. I'd done mine. It didn't matter who either of us "were". The occasion was important. Pleasing the people who asked us to participate was important. It wasn't about us. It was about the music they wanted to hear. Apparently they knew we'd get it right. They'd had experience with each of us, and were confident that we'd perform well together. He didn't have to play long for me to know that I'd be fine. There would be no need to sing a cappella, or frantically hunt for a performance track. He's on my list of fav’s now: (I won’t name names. You know who you are, Richard, Steve, Daryl, John, Tony, Kim, Vince, Mike, Bryant, Glenn, Evelyn, PJ, Raymond, Derrick, Eric...oh there’s more...lol) 

Am I crazy for having that kind of confidence? Maybe. But when I hear, "Oh, he/she's good", from people who know what "good" is, I believe it.

There is a particular work ethic consistently exhibited by many of the musicians and singers I know. There's no arrogance, boasting, or showboating, just skill and heart, and commitment that tells me, "When others were doing other things as children, these ladies and gentlemen were practicing. They would sing or play if no one except God was listening."

There's a standard that I assumed all musicians endeavor to reach with respect to their own music, and especially with regard to the music of others. I assumed wrong. Not all musicians are as conscientious as others when it comes to another musician's babies. There's a lazy, "good enough" plateau that some aim for, that keeps them from experiencing and producing excellence. They settle for "something like that" instead of making an effort to reach "what it ought to be". 

Not all musicians can set aside their personal preferences and nurture what others have created. People who think they've already arrived don't listen, and reject the very pearls of wisdom that could make them better at what they do, and better people. Some are so enamored with whatever their own, existing skill set is, that they reject the instruction, experience, and wisdom of those who don't have to share, or impart, but unselfishly do. They forfeit the opportunity to expand their musical horizons and become limited. (A good example is found in the weird phenomena that I see in church settings. Again, I can’t play a lick, but how on Earth can a musician maneuver the intricate hills and valleys of "shout music" but can't play a hymn? But I digress....)

Everyone studies someone. The chance to meet and work with pioneers of Music are rare. When, by some happy musical miracle, that someone is in your midst--right in front of you--in the flesh, it may be a good idea to glean as much as you can, as opposed to trying to show them how much you know. If you're going to show them anything, it's that you bothered to study, learn, and nail their music as if your life depended on it. If they've made significant contributions on a legendary scale, you might want to act like you acknowledge that, too. It makes a difference. I've seen it. I've seen great artists smile, relax, give hugs all around, and be grateful and thankful that they don't have to worry one bit about the band. They are assured that the band is of the opinion that the execution of the music is important--even if, after the show, they never play the songs again. 

I've seen skilled singers and musicians humbly and excellently supporting equally skilled individuals, because they believe: 

1.There is always more to learn.

2. In a cohesive team, everyone shines.
3. Good followers make good leaders.
4. They don't always have to be out front.
5. It's an honor to get the call to support artists you've admired, or of whom you've been a longtime fan.

The opportunities are vast that one can be afforded simply by being prepared, teachable, consistent, cooperative, and having a pleasant attitude. No. Not every opportunity is a good one. Sometimes, you DO wish you'd never met certain people. You DO wish you'd never experienced them in person. You just hope they're having a rare bad day, and you look forward to the last note so you can go home. 

It's unfortunate, but bizarre behavior, a puffed up demeanor, or harsh, unnecessary words infiltrate and DO impact the way you enjoy (or used to enjoy) the music someone has made. 

If you got the call to support a singer or musician, that's great--especially if you've been singing or playing along with their recordings, and never dreamed you'd ever meet them (let alone be on stage with them). After the private geekfest, though, get into work mode. Respect the individuals enough to learn the music--not just notes--but the soul of it. My Mom always said, “Take care of what belongs to someone else as if it’s yours.”

Know who you’re working with. Google is your friend. We don’t have to go all the way to the library or sift through encyclopedias. Learn. Forget selfies, Instagram, food and drink. It's not enough to just BE on the gig, at the rehearsals, and engagement schmoozing, styling, and profiling, and calling your friends to tell them where you are. The audience doesn't care about ANY of that. They WILL care, however, if the music sucks. A lot of people apparently think so, based on what's produced, but people don't look at music, they LISTEN to it.

Your new black outfit, shoes, hairdo, or cut make no sound at all. ZERO. Sometimes, the emphasis we put on superficial things makes you wonder if the outfits performers wear are gonna break out in 4-part harmony. By all means, look good, BE happy, do you, communicate with all of the musical terminology you know, and go on wit’ cho bad self sussin’ and bussin’, bendin’ and suspendin’, but LEARN THE MUSIC.

God knows I wish I hadn’t relegated my clarinet to it’s case years ago. I WISH I had learned how to play the piano in our home instead of just dusting it. Being articulate and a wiz at the terminology is fantastic--enviable even--but can you keep time? Can you remember lyrics? Can you hod your note? Can you let the soundman do his or her job? 

Perfect the music so you can have no shame or guilt about adding an artist's name to your resume. Pay attention to the music. For Pete's sake, get the music right. THAT'S the principal thing.