Re: looping with other musicians

[ArsOcarina@aol.com]

Hi all,

An interesting subject.

As for me, I really prefer to play with other musicians (whether
I loop or not). I've performed (while looping) in some pretty large 
ensembles too (some octets and larger) darn successfully. I just
takes some understanding on everybody's part -- even if it's
largely an improvising ensemble.

As for the seeming conflict between the chaos of "free" playing 
and the restricting regularity (spanking) of looping on a muso-
philosophical level, I'd say it would be instructive to read Ilse 
Aichinger's little short story "The Bound Man" sometime. Again, 
if everyone in a group understands the implications of the 
presence of a loop it'll work much better.

There is power and beauty to be found in the "tension" between 
the extremes of chaotic freedom and the restrictive geometric 
"grid" of looping. It's just my opinion though. It's one of the things
that "gets me off" about looping . . . two textures . . . two elements . . .
one sort of free form . . . another sort of regular . . . patterned . . .
yin . . . and yang. Some folks just like yin. Others just like yang.
To each their own.

But, of course, I'm not thinking about any of this while I'm playing
(if I'm doing my job right). I'm not thinking very much at all -- except 
on a reptillian/insect, instinctual sort of level. I'm trying to "feel"
something heart-wise and gut-level and extrude it through my 
fingers. My brain needs to get the hell out of the way to do this.

It's when my brain doesn't get out of the way that I have "bad"
performance experiences. Folks have a variety of ways of
describing where their "muse" comes from. This is mine.

When that happens for a whole group of musicians all at once
it's a really special, transcendent experience. It doesn't happen
very often I am told (nor have I experienced it more than just a few
times myself). Sometimes an audience can tell that something is 
"going on" per se . . .   and sometimes not. It's elusive.

Music making is more "mystery" than mechanical "method" 
for me. I wish I understood some of that "mystery" just a
little bit better. Working in groups is restrictive too. Unless
some level of common understanding is reached the end
result will really be chaos.

We're all back to "understanding" again. There's a loop.

Then again I am babbling. I'm tired. I'm still recovering from Y2K4. 
I think I'm catching Michael Klobuchar's cold and I should just 
go back to bed.

Best regards,

tEd ® kiLLiAn

http://www.pfmentum.com/flux.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.garageband.com/artist/ArsOcarina
http://www.towerrecords.com/product.aspx?pfid=2845073
http://www.netmusic.com/web/album.aspx?a_id=CBNM_17314
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=193

Ted Killian's "Flux Aeterna" is also available at: Apple iTunes,
BuyMusic, Rhapsody, MusicMatch, MusicNet, DiscLogic, Napster,
AudioLunchbox, Lindows, QTRnote, Music4Cents, Etherstream,
RuleRadio, EMEPE3, Sony Connect, CatchMusic, Puretracks,
and Viztas.