Deep Listening

This topic is proving to be difficult. It’s one I’ve written about before from a different angle, but I’ve been thinking about it again. Listening to music can be done with varying degrees of intensity and concentration—almost meditation like—yet as with meditation, effort is counterproductive. Perhaps intensity and concentration are not the best words. They imply work, stress, sweat. Deep listening is anything but.

The anxiety of daily life interferes with our ability to let go. Focused attention becomes impossible as we’re on constant high alert, bouncing from here to there, ricocheting off every minor sensory input. We often get so tightly wound that we resort to chemical means to reverse the processes strangling our deepest enjoyment of music—and not only music, living itself.

There are many ways to tune-out of the commercial grind and turn-on to the brain’s internal sources of satisfaction, repose, and rejuvenation. Reaching a state of quiet attentiveness helps to focus the mind in an effortless manner. To get there, meditation is one of the ways that has been used for millennia. It can be done with or without special training, yet it takes practice. Some find it boring, some find it difficult, and some find the rewards hard to grasp.

Mind altering chemicals are another means. They have the advantage of being quick and easy. Major drawbacks, undesirable and unavoidable complications, come along with their convenience. There are many of them too, immediate and longterm side effects, upfront high cost and possible down the road legal ramifications. Kinda kills the buzz.

Music, dance, literature and the visual arts are means to the same end, but they’re often ignored. Worse than ignored, not even recognized as a highly effective means. Especially powerful is percussion music. It has a unique ability to induce trance and entrain performers with listeners to produce a vibrant link of consciousness. Paleoanthropologists believe entrainment is one of the evolutionary advantages of music. The connection of thoughts and emotions between artist and audience is a fruitful product of all forms of art. Music stands out as a particularly potent vehicle for producing this link. Letting the self dissolve into a relaxed, attentive state allows for listening below the surface. All the arts are within our reach, but music is uniquely the most approachable and universal. It’s readily available, inexpensive, and been shown to have beneficial side effects on both brain and body.

Sounds as though I’m hard selling music. I am. All three means have their place. All three produce results. All three aim at the same ends. However, music, dance, pleasure reading, and art are forgotten forms of deep relaxation. They help focus the mind and expel stress. They are undervalued for their potential to payback big profits. The kind of profits that feed our minds and hearts. The arts are huge assets directly in front of us. Take advantage of them. They’re cheap, they’re easy. Exploit music, exploit the arts, they’ll yield for you big returns.

From a different angle, the previous related column [Anyone Can Read Music].

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Echoes of a Friend

Often I go through all the recordings of a single artist or composer just to remind myself of what I have. The best part is it’s always refreshing and revealing. The latest to be subjected to this routine is McCoy Tyner, one of my favorite jazz pianists. With nine of his CDs in my collection, they represent only a fraction of the seventy-five releases in his discography. One recording, which I haven’t listened to in years, stopped me in my tracks. There’s no question that McCoy is a jazz giant. Every recording, every performance since his days with Miles Davis and John Coltrane has dazzled listeners and other musicians with his pianistic prowess, but this solo album, dedicated to Coltrane, from way back in 1972, is astounding.

First to stand out is Tyner’s amazing rhythmic independence between his left and right hands, a dexterity hard to find. Then you’re hit with the wild and intriguing places he takes each of the five tunes. At only 35, he’s at his height creatively and technically. There’s no knowing where he ends and the piano begins. They are completely bound together in a metaphysical loop. Tyner and the piano have generated a maelstrom spiraling out of the recording to scoop us up into his whirling imagination. It’s 47 minutes of highs and lows, of chromatic and polyrhythmic waves of passion.

I suspect the inspiration behind Tyner at this junction in his life was the confluence of Coltrane’s death, only five years previous, and the reconciliation with African roots that was strongly influencing jazz during the ’60s & ’70s. You can hear him bringing these influences together. You can hear his soul pushing him to give more. You can hear him plumbing the depths of his sorrow and the heights of his joy in remembrance of John. The solitude of a solo studio recording, without distraction from an audience, without interaction with other musicians, allows an artist to curl up into their own private space. His intense introspection penetrates through the miles of wire, electronics, and space-time that separate us from the original performance of 40 years ago.

The tunes on the CD are Naima, Promise, My Favorite Things, The Discovery, Folks. McCoy stretches out on each of them to develop his ideas, especially on The Discovery (over 17 minutes). There’s one curiosity. Although it’s billed as “unaccompanied piano solos,” and with little other information on the liner notes, cut 4, The Discovery, opens with a gong. After an extended prelude section it is closed with another gong followed by the introduction of new thematic material via solo vibraphone. Did Tyner play vibes, strike the gong? No explanation is given.

Recorded at Victor Studios in Tokyo, 11-11-1972, it’s obviously analog tape. Plenty of tape hiss accompanies the music, but despite the hiss, it’s a testament to how good analog can be when done to high standards and well remastered to digital. Tamaki Bekku’s engineering and Gary Hobish’s remastering save the day for us to enjoy it musically and sonically.

(||) Rating — Music : A ║ Performance : A+ ║ Recording : B ║ Echoes of a Friend, McCoy Tyner, Milestone Records, © 1972, 1991

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