WITH OPEN EARS

For your consideration, a drum solo, under two minutes.

For the moment, the player — a professional jazz drummer playing live in 1973 — will be unidentified. It’s not a trick, and the player isn’t me.  That the photograph is of a Rogers snare is coincidental.

I offer this as a test run for listeners, because I think even the wisest of us are conditioned by evidence other than what our ears tell us. If we’re given the name X, judgments, associations, preconceptions, likes and dislikes spring to mind.  It’s then difficult for most listeners to actually respond with open-eared curiosity to what they actually hear, rather than guessing who the player is, and other kinds of artistic irrelevancies.

“I don’t know who that is, but wow, she sounds great. . . . ” is a start to true hearing.  “She Sounds Just Like ______,” to me, isn’t.

“What do I hear?” is the central question. This is a “blindfold test” of sorts, but  distinctly not the DOWN BEAT version.  There are no prizes for “getting it right.”

Your thoughts?  I will reveal all in two days, so check back . . .

Since JAZZ LIVES isn’t Facebook, I reserve the right to ignore comments that are unkind.  To anyone.

And just sending in a name — “That’s Big Beat Smoochy! His Chicago period!” — misses the point.  Tell me what you hear . . .

May your happiness increase!

 

One response to “WITH OPEN EARS

  1. Wise enough to pass the challenge on to more qualified ears and brains, preferrably those who themselves are drummers and can discriminate between early executers like Baby Dodds, Gene Krupa and Buddy Rich and the suchlike, whereas I already know that I cannot. The knowledable might ask how bad things can become with the nowadays early jazz listeners´ capabilities and the answer will be that we don´t know that yet since there is still a future. Thanks for the listening opportunity though.

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