To reiterate: the problem is not generating the energy but rather managing it. Taking a moment from a drum-centric view, I think it’s worth considering how energy is presented in songs which handle it more or less the same way, though to different ends.
McCoy Tyner, “Vision,” Expansions, 1968.
Listening the other morning to McCoy Tyner’s Expansions, I was reminded of an aspect of my playing that defies, much of the time, a basic tenet of jazz. Bill Evans once said that jazz is defined by the following equation: it is music in which one minute of composition equals one minute of performance. For my part, I have never, according to Evans’ or any other definition, been a jazz drummer. My playing is too loud, my strokes too discrete, my approach too aggressive to flourish in an environment that requires the high level of trust I admire in jazz.
I’m very excited to have received my copy of The Eternals’ latest release, Approaching the Energy Field. If you’re not familar with their music, here’s the scoop: there are all manner of things cooking in their pot (dub, punk, jazz, soul, hip-hop, etc.) but what they serve up is far greater than its ingredients. This is first-rate music, amenable to any listener who cares as much about music as s/he does the broader state of things.
I do not accept as axiomatic that all musical performances and recordings that are for sale are part of the music industry, or what my friend J. calls the Competitive Music Industry. I do not believe that all performances and recordings are in competition with each other, nor that any performances and recordings are in competition with each other unless they opt into the Industry.