Social Media: Stifle Yourself II

I briefly discussed my frustration with social media here about eighteen months ago. I can’t remember what specifically moved me to write that, but I clearly recall being annoyed while I typed. (The heat didn’t help; I was living in Houston at the time.) Regardless of what was happening then, one things remains true: the social media (over)saturation has only increased, and I don’t think it’s all been for the better.

Sure, I tweet. And have a Facebook page (now a “lovely” Timeline). And have satisfied the LinkedIn and Google+ requirements. And tumbleweed occasionally brushes past my space. (Yawn.) But for those of you who may be connected to me through those various avenues, you know that I’m not the most voracious user. The networks mentioned above are listed in order of activity. I’ll tweet a few times each week, but 99% of those are related to either blog updates or gigs and recordings. Occasionally I’ll tweet something separate, as I did on Sunday about the Charles Lloyd concert. Same goes for Facebook. The rest are pretty much parked to secure the name and satisfy my minimum requirements of existing and have a “friend”/connection. I’ll accept incoming requests, but rarely am I logged in or doing anything. I think I can safely say that my online presence is an abject failure, considering I never created a Tumblr and only recently joined SoundCloud (again, mainly to park).

In full disclosure, I am pretty active with Twitter and Facebook (aside from personal/private accounts), and do see their value. They’re interactive – allowing me to be more interactive via my site and blog – and are helpful tools for getting short bursts of information out to people. With social media in general, I try to stick to the core: information and interaction.

Since first securing michaelteager.com a number of years ago I intended for my website to serve as the hub. I still do. The main site and MT-Headed are where you can find all you need to know about Michael Teager the musician, teacher, and blogger/writer. All else is just a satellite, nothing more than a TIE Fighter to this Death Star. You won’t find much of anything different on the other sites, and that’s not unintentional.

A few months ago I was listening to Paul F. Tompkins discuss his social media presence on The Long Shot, and my jaw hit the ground when he said he’d like to trade in his main website for separate, equally active presences on Twitter, Facebook, and Tumblr. It just doesn’t compute for me. Similarly, Spin magazine recently went über-hipster by focusing on album review tweets. Lame. Have our attention spans really become that short? Is general readership just that lazy? Or are so many figures and organizations so desperate to be on the “cutting edge” of social media that they’re willing to sacrifice part of their core platform in the process? (I fear it’s a combination of all three, with the latter taking the largest bulk of blame.) If someone’s interested, my hunch is that he or she will click the mouse or tap the screen. Perhaps more than once! If twice is too much, then perhaps a “fan” wasn’t really lost…

Perhaps my biggest complaint about social media in general is that with everyone gunning to get everyone’s attention at all times, there’s too much irrelevant information churned out each and every hour. After all, I’m subscribed to a whole host of outlets for updates on items of interest. However, to retrieve that information, I have to suffer through so much garbage that it’s often more trouble than it’s worth. It’s too Who cares?!? as opposed to Hey, that’s neat! I’m sure I spend at least 90% of my time deciding what not to read rather than what to click through to. (There’s a similar correlation to my nightly comb through my RSS subscriptions, but that’s more heavily curated.)

As mentioned, I do enjoy the interaction. However, not every tweet or update warrants a response from everyone else. Not everything requires a snarky comment (and this is coming from a snarky cynic). And not everyone needs to provide a Hallmark-esque comment for every holiday, award, or death of anyone above a D-list celebrity. Too much piffle leads me to likely ignore the more substantial updates and tweets. (Yes, I publicly grieved – digitally – for LeRoi Moore, George Carlin, and Peter Steele, but they are figures who’ve meant a lot to me over many years, especially the first two.)

If only Archie had lived long enough to tweet…

MTH-V: Charles Lloyd

This past Saturday I finally got to see Charles Lloyd (with his New Quartet) live at Ann Arbor’s Michigan Theater. These last five years or so I’ve become quite taken with Lloyd, and he’s perhaps my favorite living jazz saxophonist after Dave Liebman. (At least according to my wallet and library.) I blindly purchased 2001’s Hyperion with Higgins on a whim a few years ago, having been convinced by both the personnel (Charles Lloyd, John Abercrombie, Larry Grenadier, Billy Higgins, Brad Mehldau) and the record label (ECM, his nearly exclusive label since coming out of semi-retirement/reclusivity in the 80s) that it’d be worthwhile. In fact, for many reasons I’ll not list here, I consider that purchase/album to be the watershed moment for my love of ECM, when I went from thinking That’s a great label to That is THE label.

While I’ve since gone far down the rabbit hole that is Lloyd’s output, Hyperion remains one of my most-listened to jazz albums. But most of his other albums are in the running for a close second, and that’s because Charles is 1) always engaging and 2) surrounds himself with great players. Perhaps the single most appealing aspect of his playing, to me, is its gravitas. There’s no frivolity is Lloyd’s music, and even the more light-hearted moments have weight. That’s where I hear the influence of Trane most in his music, although the harmonic vocabulary is evident, its the ethos more than anything that grabs my attention. And even with the most chromatic of runs that may include multiphonics or other extended techniques, Lloyd’s unparalleled melodic and rhythmic phrasing make his playing appear deceptively simple or “in,” especially in the last couple decades. It’s more about subtle nuance than aggressive showboating or gymnastics with Lloyd.

At 74 he’s a solid as ever, and rhythm section of his New Quartet – solidified in ’07: Jason Moran, Reuben Rogers, Eric Harland – provides a nice youthful balance to his more meditative approach. Without writing a full-blown concert review here, suffice it to say that Saturday night’s show scratched me right where I itched. The highlight for me was their powerful rendition of “Go Down Moses.” Stopping only to introduce the band twice, Lloyd & Co. captivated the auditorium for 100+ minutes.

I’ve assembled a variety of videos to serve as a primer for those unfamiliar with him. And if you’re already a fan, you should really dig these if you haven’t yet seem them. FYI – they’re in reverse-chronological order:

“Passin’ Through”
This features the New Quartet (and they performed this on Saturday, if you happened to be in attendance)
http://www.youtube.com/watch?v=QVuXKPr0OXM

“Prometheus” (the first half)
Geri Allen – Piano; Eric Harland – Drums; Robert Hurst – Bass
Geri’s solo is top notch here…
http://www.youtube.com/watch?v=S85RFSoXOdk

“You Are So Beautiful”
Geri Allen – Piano; Billy Hart – Drums; Robert Hurst – Bass
(Yes, that “You Are So Beautiful,” although Lloyd’s interpretation practically transcends any other associations or notions you may have previously held about it.)

“Manhattan Carousel”
His famous quartet from the late 1960s – talk about being able to spot talent!
Keith Jarrett – Piano, Jack DeJohnette – Drums; Cecil McBee – Bass
Keith’s pianistic outburst at 3:15 gets me every time…
http://www.youtube.com/watch?v=bJQPvADWpsE

 

MTH-V: Joni Mitchell Live

I know I’ve mentioned Joni a number of times on this blog. And much like my personal arrival to her music, I was exposed to her via a variety of secondary sources before diving deep into her own catalogue. Be it a couple friends who are devotees, Miles Electric: Another Kind of Blue, James Taylor, Tom Scott, Robert Downey Jr.‘s tenure on Ally McBeal, or my fondness for Love Actually, it seemed like she was always popping up somewhere in my periphery. So a few years ago I blindly purchased Court and Spark, and I quickly burned that entire album into my brain. (“Car On A Hill” is one of the best songs I own.) She always pleases, and my Joni collection and knowledge continues to grow.

Not only is Joni a top-notch songwriter, but she knows how to surround herself with first-rate musicians. While I often like to reference Shadows & Light, for which Joni uses a backing band of jazz giants, that’s far from the only example. She seems to know that by composing and singing she’s done her job, and therefore she doesn’t need to worry about being “shown up” by the other instrumentalists – that’s what they’re there for. Perhaps her decades-long fondness for Miles goes beyond the music, extending to his unparalleled skills as a bandleader. It definitely makes me wonder…

This video is of a live performance of the Hejira‘s title track in Japan. Her band includes the one and only Wayne Shorter as well as Pino Palladino. As with any context, when Wayne’s on stage, great things are sure to happen…

As a little bonus, here’s a rocket-fueled performance of Court and Spark‘s “Raised on Robbery” from 1974 by Joni with Tom Scott & The L.A. Express. Despite the annoying chirping (no doubt a holdover from transferring this damaged old recording to digital…), it’s the highest quality version of this particular performance I could find. Love it.

Game On

Regular readers and/or subscribers may notice that I didn’t post anything last week. I was on a much-needed vacation with my wife in San Francisco and Sonoma, CA. I had considered prepping something before we left to be published while away, but then I would have had to have logged in regardless to pimp the new post via social media. I decided it would be better to just stay offline and away from a computer as much as possible. And it was well worth it…

A couple of things worth mentioning here happened last Tuesday (the usual day for MTH-V posts), which made me laugh. The first actually had to do with my recent MTH-V post on the Grateful Dead. We were hanging out in the Haight-Ashbury district and found the famed Grateful Dead House. Of course, my picture looks far different from the classic photo…


Shortly before taking this picture, I wandered and drooled through Amoeba Music. There are few things I love more than browsing through and shopping at a great independent record store. I walked out with Skala, The Seven Words, Nyman: Concertos, and Harmonious Breath. Lovely. (Of course two of the four are ECM titles…) The Nyman disc has been on my “must buy” list for years, and this was the first instance in which I’ve seen a new hard copy for sale in a store. I could’ve purchased it via Amazon years ago, but I much prefer “the hunt.”

It was refreshing to get away from the horns, computers, and all work/responsibilities for a week. But now, game on…

MTH-V: Zwan @ Pinkpop 2003

This is a real nice trip down memory lane for yours truly. I intended to post some Charles Lloyd this time week, but for whatever reason decided to a (more than) slight detour and opt for Zwan.

Zwan was the first big post-Smashing Pumpkins musical foray for Billy Corgan, and arguably his most successful. 2005’s “solo album” (what large BC project isn’t Corgan-centric?) was interesting, and quite compelling in concert, but nowhere near the mild commercial success Zwan attained. Overall, Zwan highlighted Corgan’s sunny side, which in a way reflects some of the early Pumpkins ethos. However, Zwan was overall more pop-oriented than SP, as evident in most of the songs on their only album, 2003’s Mary Star of the Sea. Zwan was a supergroup of sorts formed by Billy Corgan and Jimmy Chamberlin (both of Smashing Pumpkins), including Matt Sweeney (Chavez), David Pajo (Slint), and Paz Lenchantin (A Perfect Circle). Corgan’s vocals and guitar work alongside Chamberlin’s signature manhandling of the drumset give it a particular SP flair, but the overall music is different (for the active SP fan). I of course championed the band, acting as a walking commercial via joining its street team. I still have a few of those stickers left… 🙂

[Note: It should be clarified for those other hardcore Billy fans that when I write Zwan I of course mean The True Poets of Zwan, the better-known electric incarnation of Billy’s overall Zwan concept. Djali Zwan, the acoustic “yang” featuring the same personnel plus cello, also performed but never completed a studio recording.]

I was fortunate enough to see Zwan twice, 12.17.02 at Cobo Arena in Detroit and 05.06.03 at Aragon Ballroom in Chicago. The latter performance not only turned out to be the band’s final US show, but also proved to be, if I sat down and really thought out the list, one of the ten best live shows I’ve attended (of any genre). It was truly special. Despite the band’s inner turmoil (another BC trademark), they were a solid ensemble and absolutely destroyed the hall that night. Also, with Billy being from Chicago, he was pretty laid back and even jovial.

This video is of the band’s performance of “Mary Star of the Sea” (the album’s title track), closing their 2003 Pinkpop Festival set. (This song closed the first show I saw and opened the second…one of the best opening numbers I’ve seen. I’ll never forget the feeling of their hitting that first big downbeat at that second show.) Now, with all of my defending the distinct stylings above, this particular song is somewhat reminiscent of the more exploratory jams found on SP’s Mellon Collie and the Infinite Sadness. That being said, this live band features an even greater wall of sound. The three guitars comping and soloing in and around one another is one of my favorite features of Zwan. (Corgan is nothing if not epic.) Now, I’ll be the first to say that Billy’s singing isn’t too hot here – that’s unfortunately often the case, though he’s been better on recent Smashing Pumpkins tours – but the vocals are but one part of this piece.

Watching this just takes me back to seeing that final Chicago show, and I can’t get enough…

http://www.youtube.com/watch?v=OMQEZx9PqSo

“Mary Star of the Sea” – Lyrics
Rooms full of salt
Fault my pluck
And a poet’s charm so far, ever far
Little stars that burn the holes in my soul

And everything just feels like rain
The road we’re on, the things we crave
And everything just feels like rain
The nights I sleep, what’s left to dream
When everything feels like rain

Drift as i dive
Find the deep
Out of reach of all light
Stars, ever far
Listless tides along the changing shore

And everything just feels like rain
The road we’re on, the things we crave
And everything just feels like rain
If I should sleep, what’s left to dream
When everything feels like rain