willmusic wrote:bodiddley wrote:Then you could argue there is no good or bad in the world either...only stuff that happens because it's supposed to. And I would say that's a crock of new age, mumbo jumbo also. I guess we'll have to agree to disagree on this one. I know a bad show, song, solo, or note when I hear one.
I see both sides on this, and I respect everyone's views, but I have to agree w/ bodiddley on this one. I used to follow the "there are no mistakes" philosophy in regards to both life and music, then I stopped eating acid 8 times a month. I just can't go w/ crapping through the speakers and leaving it open to interpretation. Why should we even bother learning to play proficiently if we can just sound like "Bleh!" and explain it away w/ philosophy? Hope I'm not outta line by saying this, just my 2 pennies. Peace!
And there's the key! I'm not saying that there is no good or bad (although, regarding the world, you certainly cannot take the ingredients of a cake, put them together in such a way thjat you have a cake, and then complain because you have a cake!), nor that there are no mistakes. If you were to listen to John Cage's "Four Walls", you would understand my point. I doubt you'd listen to it twice. And certainly without talent and a deep understanding of music, there would be nothing there that most people would want to hear. I certainly know when I reach for an objective and fail, musically. But I have way more respect for the musicianship of Phil Lesh and Jerry, Billy, Mickey, Brent, Keith, Tom, etc., than to give them disrespect by saying that they don't know what they're doing. I met Phil once in Philadelphia...he signed my bass at that time... and we had just this conversation. He said "You get it! You get it!" and my head popped up to about double. Do I always like everything they (collectively and individually) do? Of course not. Do I always like Miles or Coltrane? They were aquired tastes. Phil's background and stated influences are Stockhausen, Berio, and other avante-garde musicians. In my search to understand Phil's playing, I researched this music fairly extensively. (I would be glad to make copies, as it was VERY difficult to find, for anyone who wants them.) I don't think that without understanding his roots, you can understand how he became the most innovative and creative bassist ever. Do I like THAT music? That taste is as yet unaquired! I have aspired to understand Phil and carry the torch. Not BE him, but understand his approach and make it work.
I quit acid in 1977, so that can't be it! My approach to playing and to music goes unappreciated by those who don't understand it, and that includes Dead cover bands, partly because I lose some in proficiency. Phil doesn't have that problem. He plays more than I do, and always with that
approach. I hope I am becoming clearer!
Peace and Love!