From: AM@highwire.net   
      
   "Lane Gray, Czar Castic"  wrote in message   
   news:opsrsxmzbs8955ol@stylgar...   
   > On Fri, 3 Jun 2005 09:01:25 -0600, AM  wrote:   
   >> It's about respect.  To simply show trust and faith in one's fellow   
   >> musician to do something harmonious is to treat him with respect.  To   
   >> constrict, control, hogtie, hamstring, suppress, undermine, sabotage, and   
   >> vampire him - - - is to show him disrespect.   
   >>   
   > I'll agree with that with one proviso: The musician should respect the   
   > various conventions and structures of the idiom.  Andy Statman played   
   > saxophone (along with other instruments) with Kenny Kosek's group of the   
   > early 70s "Breakfast Special" and played lines that still mostly fit in   
   > with the idiom of the music.  He knew better than to go out on Sonny   
   > Stitt/Charlie Parker flights of fancy.  To have done so would have been to   
   > show the music disrespect.  This is why I like Lloyd Green's or Mike   
   > Auldridge's work on pedal steel in a bluegrass setting, and think that Hal   
   > Rugg's work on the Osborne's stuff (actually, in fairness to Hal, he was   
   > *told* to play that way), Doug Jernigan's work with J.D. Crowe or   
   > everything Herb Pedersen has done on steel in bluegrass just makes me   
   > think "Boy, I'd love to be able to play like that, and then NOT."   
   > Especially Herb.  He's a damn fine banjo player, but he overplays the hell   
   > out of a steel.  OF course, that's easy to do, it's fun to play bluegrass   
   > on a pedal steel, I know because I've done it, but you have to keep it in   
   > check.  To do otherwise is to disrespect the music.  And I'd say it's more   
   > important to respect the music than the musician.   
      
   To respect the music within the context of a *jam* is to let it be whatever   
   the *collective* process determines it to be in the here and now, without   
   presumptuously imposing one's own ego-driven, subjective value judgements   
   upon it.   
      
   Offering the use of equipment as an enticement (for what turns out to be   
   exploitation and abuse) could only be a service to those who wouldn't have   
   their own equipment anyway, if theirs wasn't in the way.  This is an issue   
   right out of Marxist theory, where a small number of greedy, capitalistic   
   musicians sieze "control of the means of production" in order to exploit   
   what might otherwise be the sacred, spiritual communion of the "jam,"   
   for purely selfish, pecuniary and egoistic gratification - - - at the   
   expense of the overwhelming majority.  Most of the individuals with   
   psychological profiles that lead them to engage in this type of activity   
   would also attempt to order you around entirely unplugged in an   
   otherwise empty room, where there could be absolutely no conceivable   
   rationale for doing so, so abjectly compulsive is this behavior in them.   
      
   AM   
   --   
   ***************************************************   
   "Oneness is not achieved through conformity or subordination, but   
   through the full expression of everyone's unique piece of the puzzle."   
     --AM, the Synthesist   
   ***************************************************>   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)