New York/Tampa

A very fitting start to this time - two days with Alice Parker in Manhattan. Five of us sitting around a dining-room table studied several scores: some brand-new compositions of Alice based on Gregorian chants - very beautiful. We then studied and sang Bach's motet "Lobet den Herrn" and Britten's "Rejoice in the Lamb" We thoroughly studied each text, then analyzed the scores, hearing the music; getting past "the page" (which Alice loves to villify!) - the page only gets us to making music, and it not THE point.

Another great gift of this time was attending a Jazz club at Lincoln Center on Wednesday night. Amazing - very complicated jazz patterns - over my head to be sure. But I was stuck by something that applies: each player really has to put them selves out there on a limb at all times - letting go always. However, it has to be done in a way that does not over shadow or over power the ensemble. They also take turns with the spotlight, where they let go even more. This reminded me both of congregational singing, and choral singing. Everyone needs to step up to the plate; let go; put themselves out there. That way a powerful unified voice of the group is formed. If individuals to not put themselves forth from deep within, the collective is tremendously weakened. But when everyone does let go and put themselves out there - a unique and powerful voice is formed - singing fully out - yet with an ear to everyone else, knowing when to "take the turn" (singing a theme, entrance, phrase, stanza...) and when to step into the ensemble. But - if one person does NOT step up to the plate - the others have to step down in order to not overshadow. Let that NOT happen!

The other gift of "letting go, stepping up to the plate" is that in doing so we encourage each other to respond, which is what Jazz is all about. I'd watch them smile at each other in approval, and they would play what they heard, or join in - contantly playing off each other. This is what Paul Manz talks about in two ways: Regarding improvised hymn introductions: at first he was encouraged to "do what you feel" (i.e., "let go") and don't worry about anything like time. When he did, people responded, sending him energy back and he got braver and braver and developed into what is now internationally known. This leads to what he also described as "the circle" of energy - he would present his imaginative ideas at the time of the hymn, the people would respond in their song (they becoming braver and braver) and that came back to him which in turn led him to more, them more, and so on and so on. If any one piece of that circle breaks, it doesn't work. This is jazz. This is congregational song. This is choral music.

Now it's Tampa - a very late arrival alst night, today to the church to spend the day practicing, hymn festival tonight, workshop tomorrow, tomorrow afternoon and evening: to the beach! I hope it stops raining.