As children we
have a natural curiosity about the world which leads us into learning by having
to conform to adult systems of education and expectations of social and
financial status. The more worldly, technical and knowledgeable we become, the
more likely we are to lose contact with our innate innocence and openness.
Spontaneous music making is an opportunity to experience this innocent
creative energy flowing through us, as if we are conduits – a more dynamic
example might be like lightning conductors channelling cosmic energy down to
ground.
The joyful reality for free
spontaneous musicians is that no matter how wild, dangerous and risky their
musical expression – no-one gets hurt. Whereas in many other human activities,
wild and dangerous behaviour can cause serious harm and might result in a prison
sentence or a visit to A and E. When my children were
young and going out to play, I often said to them: “safety first – fun second”.
But when embarking on 21st Century musical adventures I say: “fun first –
safety last”.
Music is a combination of invisible
sounds, vibrations and scientifically measurable frequencies which resonate
with human thoughts and feelings. There is music that conveys shock, horror,
anger, sadness, grief, violence, aggression, melancholy and countless other negative
emotions. There is music which is technical, dense, intense, complex,
commercial, intellectual, primitive or sophisticated. And there is music which
is simply sublime and evokes our sense of beauty, peace, awe and wonder.
Worldwide there is music available for all levels of awareness. But there seems
to be very little music which includes our human sense of humour, wit and fun,
or even mischief and satire – or just happiness.
Why is it that so much music is so
serious? For me, this remains an open question which can only be partly
addressed by being open to humour, wit and sheer fun to flow freely through Mad
Band music as well as other projects including writing a collection of essays
on the madness of man.
I’ve always enjoyed music that contains moments which make me smile,
chuckle or laugh out loud. A few obvious examples are Frank Zappa, Spike Jones,
Harry Partch and the Portsmouth Sinfonia, and also Bob Dylan’s words and the
keyboards on the classic ‘Blonde on Blonde’ album. Musicians are known to have
a dry acute sense of humour in the bandroom and at the bar, but there is little
evidence of it in their music – is there some unspeakable self-censorship going
on in the studio and on stage?
One of the best unexpected compliments about a live Mad Band concert came
from a woman in the audience who said afterwards, that our performance was like
5 schoolboys having fun with musical instruments and playing with found sounds.
To me her comment was spot on in terms of 5 grown men having a healthy
relationship with their innocent inner children.
When we allow man-made walls of conditioning to crumble, so much is
revealed about our existence. We don’t need brute force to break down these
walls – we only need the benign power of awareness to see and be and make music
above and beyond conformity, convention and compliance with commercial rules
and regulations. It feels good to shed the heavy weight of accumulated
knowledge and travel light with no expectations when exploring unknown areas of the musical universe.
We are only human beings, albeit with big brains capable of much internal
self-delusion combined with a passive acquiescence to external illusions
conjured up by our fellow men. However, I am fascinated by the unlimited
possibilities of making music without smoke and mirrors, and without armour
plating.
21st Century turbo technology and global economic systems are increasing
our separation from innate human instinct, wisdom and a sense of well being.
But there is also an increasing minority who want to eat wholesome, healthy,
organic food – so I hope there is an equivalent move towards wholesome,
healthy, organic music.
Whether such music is pre-meditated or spontaneous doesn’t matter that much.
What does matter to me is how many music factory processes the original musical
life force is subjected to. There is a strong tendency in live and studio
performances, for written music to become highly organised and disciplined
which automatically reduces a musician’s freedom to be himself – he must only
play his part as written and rehearsed – with the exception of a pre-planned
and often overblown solo to relieve some of his frustration and show the
audience a small token of his humanness, before being put back in the cage a
few bars later.
But with free spontaneous music, including the Mad Band, no-one knows
what will happen next. There is no need to take a solo on top of the other
musicians churning away on a chord sequence, because all the musicians are
instinctively listening and responding to what everyone else is playing – it’s
freedom and democracy in action. There is no leader, no front man, no backing
group. All the players are equal and sharing. One musician may lead for a
while, until another player has an instant idea that moves the music in another
direction. It’s as if there’s no beginning and no end – it’s all transient. But we do start somewhere, possibly where we
left off at the last performance which of course was silence. We do also end in
silence by some magical mutual telepathy, usually after a complete surprise at
arriving somewhere we’ve never been before.
While extolling the joys and virtues of free music making, I am aware of
what could be called ‘flat spots’ where almost nothing is happening – but are
these spots really flat? Maybe they are
beauty spots or intriguing pregnant pauses which draw the listener in. They are
definitely natural rest periods which allow fresh ideas to emerge. In these
valuable voids of stillness we only need to resist the temptation to force something to happen out of
embarrassment, anxiety or a feeling of failure.
In nature when a sailing ship is becalmed by no wind, no amount of
anxiety will blow the ship along – so why not enjoy the calm, stillness and
silence before the next natural burst of energy. We might well do well to go
along with nature rather than fight it, force it, change it or try to conquer
it.
Silence is the canvas on which music and sound are painted – so all
silences, even short spaces between notes and beats provide the context for
playing and listening to music. This is why dense continuous loud music with no
dynamic range, and no spaces or reference to silence can be so tiring. Music
needs time, space and silence in order to breathe. Miles Davis is an excellent
example of this awareness in action.
Music making by humans is as natural as all the other sounds that nature
makes. However, human intelligence has devised systems and technology for
making music as well as industrial mechanical noises which are far removed and
separated from what we call the natural world. Humans including musicians are a
part of nature, and nature continually begs us to integrate with its immense
power.
As only one human musician, I feel happy and free to join in with, go
with the flow of, and be guided and inspired by nature’s life force and
universal energy. Indeed, who am I to refuse when there are so many joys and
wonders available and beyond strictly conventional systems of making music.
Yes, of course we need a few instruments, objects, sound sources, a
studio, a stage and a bit of technology and equipment – but these are only the
physical means by which we transform and transmit our musical ideas to other
people who may have very little access to, or knowledge of those working
practices.
Does an audience really want to know about musical training,
qualifications, years of practice, technical problems, composition time,
rehearsals, travelling arrangements, financial costs, record companies, damager
managers, accountants, roadies’ agendas, sound men, lighting rigs, stage sets,
bandrooms, hotels, airports and the motives, intentions, ambitions and
expectations that go into recording an album and a live stage performance? With
the exception of a few genuine enthusiasts for behind the scenes information, I
don’t think I’d be wrong in assuming that most audiences want to enjoy hearing
musicians who are honestly communicating via their chosen music, whether it’s
plugged in, completely acoustic, entirely composed and rehearsed or totally
spontaneous.
Part of the excitement of a spontaneous Mad Band performance for us
musicians as well as an expectant audience, is not knowing what will happen
next – or if the performance will crash and just become self indulgent lack-lustre
‘noodling’.
Composed and rehearsed music provides a strong safety net for musicians, only
allowing the tiniest of ‘dropped stitches’ to slip through, hopefully
unnoticed. But spontaneous Mad Band music with no computer back up is
completely vulnerable, naked and exposed – at the mercy or enhancement of all
positive and negative forces. So what happens during a live studio or stage
performance is entirely dependent on each musician’s state of awareness and
instinctive response to being in the moment with no safety net. Although this is fast moving, there is also an
opposite effect of time standing still – as if past memories and future
expectations are diminished or disappear under the bright light of the present
moment. To enter and make music in this relatively unknown zone of heightened
awareness is a rare and valuable experience. It inspires me to do it again and
discover more about the heights and depths of human consciousness.
Even though the dubious security of childhood conditioning pushed me
towards where I am today, it has paradoxically caused me to become more aware
of the restrictions of that conditioning. So it’s a pleasure to take spontaneous
music breaks away from it, let go of it, transcend it and feel free to explore
the vast unknown musical universe. Whatever the results, they speak for
themselves, they are what they are – I’m not exactly responsible – I just
happen to be there enjoying being a part of something going on in the moment.
“The void, the unknown, the
nothingness, is where all energy begins”
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