I've spent quite a bit of time mulling over whether or not to write this post. In the years in which I've edited Nextbop, I've learned how to present the work of talented musicians to the public around the world and have had to contend with those who have not necessarily learned the skills necessary of dealing with the press, establishing a good web presence, and most importantly the fundamental notion of presenting one's work to another human being in a way that is appealing. I recognize that this is all part of the job-- I'm an editor, self-made at that, of a website that deals with artistic types with various skillsets, artists young and old of different experiences and different perspectives. Not everyone is going to know everything. Making music is a different skill set than promoting music, than writing about music for journalists to write about it, than writing about music for fans to get intrigued, than discussing it in an entertaining fashion over the air. Working as an editor continually gives me insight into the ever-spreading and ever-morphing tendrils of the music industry; it's also driven me slowly insane explaining to the yet-initiated how best to send music. I considered writing a column like this to be too inside baseball-- a general readership may not find this particular subject helpful. It may have been too negative-- the Nextbop mission of positivity runs directly against the idea of writing a rant about the appropriate way to send information while I'm boiling over inside and not revealing every invective I'm spewing at my computer's & smartphone's screens. However, with every spammy tweet and every two lined, info-less email I receive, the more I realize for my own peace of mind, I had to spread the word. Musicians, journalists, and random fan alike, these suggestions for submitting work may not be universal, they may not always work, they may not always even work for submitting to Nextbop, but they'll certainly give whoever you're sending things to a hell of a lot fewer headaches.
In journalism, there exists a device that many fall into using but should be avoided whenever possible called the false range. It involves describing something as having various disparate attributes and inferring that these attributes range from one to the other, all the while there being no true order to the range, hence it being false. Thus, in many write-ups on the music of vocalist José James, journalists will often say his music goes from R&B to rock to jazz to soul. Yet what determines this order? They aren't chronological or alphabetical. Style cannot be put in a determinate quantifiable order. A range is stated that cannot truly be. James truly does have all these sounds in his music, but I would certainly want to avoid using a false range to describe him. (All the while using the same trope to do so and simultaneously describing why I shouldn't. Paaaaaaralipsis!) Once you can see the device, you can't unsee it. It's effective but faulty, like a headline asking a vague clickbait-y question or implying you won't believe what happens next in this story (when you totally will). Such is the case-- José James performed his first show in Texas last Saturday, June 21st in downtown San Antonio's Charline McCombs Empire Theater as part of his tour supporting his new album While You Were Sleeping and you won't believe what happened (like I said, you totally would).
Chris Galvan asked me to guest host once again and I was more than happy to oblige to give myself a couple more hours to play some more brand new music. I did a lot with this week's Line-Up, but I just couldn't resist having a larger canvas this week to work with.
Nu Standards for 7 June 2014
Guitarist Chris Schlarb has never really held himself to one sound. The inventive musician can be described as playing in the vein of jazz as much as he can be described as playing along experimental music, drone, or folk veins. There are folks out there who may talk about playing without regard to genre, eliminating those confines, but Schlarb lives that life. Last year, he and his band Psychic Temple did their interweaving on the still gripping II, now he keeps the same new age potpouri vibe with everyone but him stripped away on his new solo release, Making the Saint, out now on Asthmatic Kitty.
San Antonio just didn't dance. It's not as though they weren't feeling the music. It's not as though they didn't clap on beat and rise at every appropriate moment for an ovation at the end of the show and for the encore. It's not as though the show wasn't great, it was. Jason Moran seamlessly navigated between piano, Rhodes, and the art of just getting out of the way and dancing around the stage. It was truly a joyful night, literally and figuratively moving. But the folks at San Antonio's Jo Long Theater last Saturday night just didn't get up to dance for Jason Moran's Fats Waller Dance Party.