What happens when we change a standard?

Last night I had the pleasure, once again, of hearing the Jazz at Lincoln Center Orchestra perform in Rose theatre. The celebration was in honor of Stan Kenton‘s centennial and featured one time Kenton band member, Lee Konitz.

The performance was powerful; the brass and reeds sections were bold and forceful as would be expected of a presentation of Kenton’s work. The added personnel filled the sections and enriched the performance. The bass trombone added depth and fullness to the section’s sound that made me want to jump from my seat. The trumpets were brilliant and the virtuosity on display last night was breathtaking. My bias in favor of reeds aside (I played alto), the reeds section was tightly woven, powerful, and added texture to the performance that simply carried the show (smile).

So, I really enjoyed the performance and hearing Kenton’s music was a special treat. I was particularly intrigued by the Bill Holman arrangements, “Stompin’ at the Savoy”, ““Malaguena” and “My Funny Valentine.” Bringing so much brass to those songs changed them (in good ways) for me but the uniqueness of the arrangements really made an impact on me and got me to thinking…

“Stompin’ at the Savoy” is a personal favorite and I was prepared for a different rendition but got more of a change than I expected. Wynton announced the song from the stage but when the band began to play, I couldn’t identify the melody. I just couldn’t find my way into the song I have loved for decades. What would I do? How could I access the piece? Where was my point of entry? Before those thoughts set in, I was pulled into the piece by the sheer power of the sounds on stage, the breadth of talent and the virtuosity of the solos. I applauded enthusiastically when the song was done but still, I wondered: “What happens when we change a standard?”

So, I talked with Vincent Gardner (trombone) who explained Bill Holman’s style of arranging, his use of counterpoint, and the general work of arranging. Victor Goines (reeds) talked to me about the melody and gave me some history on Kenton and Holman. All good stuff that will certainly help in my research. I am always grateful for the time musicians give me and their patience in explaining the intricacies of what they play and what I am hearing.

In seeking an answer to my question, “What happens when we change a standard?” I’ll need to delve into arrangements and consider their different variations (the actual chart and the sound performance) for a given song.  If we think of jazz as improvisational music; then, shouldn’t the score be open to change as well? Changing the structure of what is written, also changes the improvisation that occurs. Albert Murray says, “not only is tradition that which continues; it is also the medium by which and through which continuation occurs.” (Hero and the Blues, 72). So, the change that comes from altering the score on a well-loved standard is an indication of continuing the tradition of innovation associated with jazz.

Is it problematic that I didn’t recognize what I was hearing as a song I loved? Not necessarily. You see, I loved what I was hearing even though it was different than what I expected. When I think of governing systems and of documents like the US Constitution that set the parameters for conduct and societal expectations — the contract, if you will, for guiding the populace and checking  the power of government — I think of how emerging and even established democracies may devise relevant documents that share certain characteristics but that also may differ markedly, reflecting individual or country-specific desires.  I also think of a recent NYT article, “We the People Loses Appeal With People Around the World” by Adam Liptak that considers the idea of changing the US Constitution because it is not in step with contemporary needs and the efforts of emerging democracies to create more vibrant documents that govern in accordance with their current realities.

Well-loved standards represent a certain level of comfort and familiarity. I really enjoy “Stompin’ at the Savoy” and listening to it delights me and also brings back memories I associate with hearing the song over the decades. Changing the arrangement in such a way that it doesn’t immediately register with me, changes my interaction with the song; limits my access to the memories I’ve linked to it over the years and makes me uncomfortable. This type of uncertainty is the stuff of the blues.

Managing uncertainty from my seat in the audience is tricky business because it requires me to engage difference and exist outside my comfort zone. Managing uncertainty requires an openness to innovation and to difference, top items for business leaders seeking to maximize their profits and relevance in today’s global economy. The good thing is, musicians work in the realm of uncertainty and change every day; they actually sit down and alter standard charts, transcribing structural change and then test it via performance. So, as part of my thinking on why cultural literacy is so important, I’ll say this: by infusing the creative arts into various sectors, we stand to improve the ability of people in various sectors to successfully manage change, face difference and innovate. Harvard is really onto something in this regard. (See the Harvard Arts Report)

What happens when we change a standard? Well, a lot happens and it is instructive. We can think of a standard jazz chart such as the one that led me into today’s post but we can also, by extension, think of a standard as the US Constitution or governing document for a country, corporation, school system, etc. I listen to the music and the delight I experience is multifaceted. I keep going back to the music because it feels good and it inspires me to think creatively. I am enriched immeasurably.

So for the purposes of my specific research projects, thinking about arrangements and the requisite technical and creative work, helps me reconsider the relationships between the US and foreign nations because there are guidelines that manage those relationships and policies to be written and revised. This will require creativity, innovation and technical skill. Also, restructuring the jazz ensemble by adding instrumental voices changes the sound and dynamics of the group’s performance as well as the interpersonal interactions (personnel). The organizational structure is decidedly not hierarchical/vertical, but operates on a horizontal plane, multilaterally. This, too, is an important feature to examine in earnest as relationships with foreign nations and within and between corporations and government agencies takes on new form.