Dan Jacobs: Writings

(authors note: Following is a response to a letter from a friend in some distress who was seeking safe harbor to regain a sense of balance and stability. It was intended only as a literary trifle to buoy his spirits with help and empathy. May it do the same for yours. - d. w. jacobs)



THE LAND CALLED ACADEMIA

Once upon a time in a land far away, there was a place known as The Land Called Academia. This land was said to be inhabited by a people called academicians, or thinkers who, though largely incapable of honest work in fronting the real problems of ordinary men in day-to-day life, yet possessed a wide and far-reaching reputation of great altitude and special insight into the ways of the wise.

These peoples were called by various names – not always flattering - but in the main, they were known as scholars, intellectuals and philosophers who lived a life devoted to the systematic examination of such lofty basic concepts as truth, existence and reality toward a professed goal of reaching a more enlightened state of awareness and a greater understanding of life.

So the story is told, they walked extensively through the garden of wisdom, engaged in deep thought, pulling a long philosophical white beard . . . thinking and thinking and thinking . . . and then thinking and thinking and thinking again . . . in a scholarly, largely intellectual study of all things theoretical.

Many long months and years were spent following this method of attaining enlightenment and wisdom. As such was the way of the philosopher in The Land Called Academia.

Sadly, the sought-after results of their labors ended with them becoming mired in the thickets of significance, as the process of thinking about thought largely ending up with dubious insights of no practical relevance or value to the lives of ordinary men and women. And ultimately this effort became an endless, introverted, introspective, self abnegating, self-deprecating, and ultimately useless, ineffectual and futile search for the answers. There was no end in sight and no applicability to the real world of the living.

For by distancing themselves from life in an attempt to understand life, they were missing the primary ingredient necessary to become successful in their quest.

They were seeking to learn about life by looking at the manifestations of life and not looking at life itself.

This is equivalent to examining how a radio is constructed by only listening to the sound that emanates from it. The efficacy of their method is only superficially beneficial.

Mostly, it is a pointless waste of time with potentially disastrous consequences by stirring up things unnecessarily and discovering nothing that can be put into use in the real world that is born, lives, breathes, bleeds and dies.

* * *

As the centuries passed, ordinary people began to realize that these philosophers, scholars and intellectual in fact produced nothing of any real or lasting value and their influence has largely fallen away from the ken of man.

In their place was developed a scientific system of discovering the truths of life by observation and examination of and actual experience with the woof and warp of life itself. Honest, hardworking, normal people found that active involvement with the thing being examined and studied was of far greater value than the speculative meanderings and solutions only based upon theories developed without direct observation.

Thus we come to an address of your dilemma as put forth in your recent letter, entitled, “A Valid Thread,” in which you seek to come to a better understanding of some of the problems extant in your life.

Near the end of the letter your writing indicates a native and fundamental understanding of a route toward sanity and happiness that I wish to point out for emphasis:

” I essentially had a fight with a someone who wasn’t even there . . . it was like I was fighting with my past . . . not even thinking of who was in front of me”

” I should remain calm . . . let it happen . . . don’t doubt. “

“Trusting my heart and not letting the negative voices of skepticism in . . . is the key.”

In my opinion, your statements above resonate with more wisdom and truth than any ivory tower philosopher citizen in The Land Called Academia.

Finally, I humbly submit a few lines from my own writings - previously published – only to remind you of what I’m certain you already know but may have forgotten.

” The end result of doubt, worry and fear - is only more doubt, greater worry and increased fear.”

“The truth of simplicity is camouflaged by the complexity of lies - and the complexity of lies mask the simplicity of truth.”

“Sanity, happiness and power are a direct consequence of living a life of simplicity, truth and worthwhile purpose.”

It is my hope that you might find in this short note, a mental balm to help heal the emotional wounds of which you speak, to soothe the harsh edges of miscommunication in interpersonal relationships and open the door to calmness and spiritual comfort as a result of true wisdom, correctly applied.

daniel w. jacobs

© 2005-2015, all rights reserved

ON TEACHING: a letter to a friend
by Daniel Wright Jacobs
june 2, 2005

NOTE: This is part of a letter that I wrote to a friend, a musician and also a life-long teacher. I wanted to share some of my ideas on teaching and thought that others might find them interesting as well. Here is a portion of that letter. - Dan

Regarding the teaching profession in general, there are many things that motivate action in any direction. In my opinion, the primary ones could be summarized in the following four categories:

a) A sense of duty, often seen as moral, legal, financial, family, religious, or military obligations;

b) A feeling of strong personal conviction based upon deeply held belief or opinion of the rightness of an action;

c) The "what’s in it for me?" type of attitude where the person is mainly looking for a benefit for themselves personally;

d) And finally . . . the thing most people are after, the thing that wars are fought over that kingdoms are lost as a result of, the love of which has made men do unthinkable things, filthy lucre, wealth, assets coins, cash, currency . . . in short . . . money.

I’ve observed people who are motivated ONLY by money who are very weak/wobbly people, for they can be bought and sold by the highest bidder. Their personal convictions are shallow and bend like a willow in the first wind.

I’ve known businesses that had every luxury imaginable, fancy buildings, hot and cold running secretaries and vice-presidents, private jets, limos, apparently making money hand over fist. I have also seen these same businesses eventually fold-up, broke, in debt, corrupt and bankrupt because they lost the focus of what they were there for.

They began to fixate ONLY on money. Forgotten were the fundamental principles of fair dealing, customer satisfaction, being of service to the client and making sure they were delivered what was promised. These businesses began to focus only on themselves neglecting what was needed and wanted to the consumer. To be motivated only by money is risky indeed as the route to betrayal, manipulation, degradation and misery often begins with a fixated attention on money!

Others seem to engage in something only if there is a clear-cut personal benefit for them. Even if it is not something they can pocket, it must be a gain that is measurable such as fame, more exposure, a promotion, or their name in the press. If this is not apparent to them, they will often drift off and lose interest.

One step higher on the scale are those who live their lives in a certain way because of deeply-held beliefs and not because of money or personal gain to any significant extent. They normally gain influence, power and position because of the stability these beliefs give them. In the morally wishy-washy, alley-cat society we live in, they are seen as someone to be admired, someone to count on when all around them are falling apart. The result is that they are normally quite successful in whatever they decide to do.

Finally, the top of the scale is to do anything because it is your duty to do so and for no other reason. At this level the degree of responsibility expands beyond oneself to include all others as well. Like following your own internal moral compass, you don’t need others to tell you what is right or wrong. You know what needs to be done and you do it without thinking of how much you’ll be paid, what promotion or medal you might receive, or because you’ve been told to do so . . . you act because your character obligates you to do so for the good of all.

People who can manage a balance of the four points as above will see happiness attained without seeking it. People who short cut or ignore the four points above will discover unhappiness to be their constant companion.

To me, the teacher embodies the best of these four points. A teacher is as a teacher does. There are experts in their fields who are lousy teachers yet others seem natural at it. Teaching is a profession requires training, discipline and experience in and of itself.

The dictionary tells us that to teach is: “to impart knowledge or skill to somebody by instruction or example, to bring understanding to somebody, especially through an experience.”

What greater role can one strive for in life than to impart knowledge and understanding to another? To help another to open the door for expansion, certainty and growth has value beyond comprehension.

Teaching is a calling and a duty that does require a strong personal conviction about its value. A personal gain ensues from the satisfaction of a doing an important job well and competently and one is rewarded financially as well as a consequence.

Regarding teaching in general, I have always held teachers in the highest regard possible in my mind. I've always considered that the lucky people on the planet are those who can be of service to others and teachers definitely fall in into this category. My mother and many of my closest friends have dedicated their lives to this profession and I support them completely. I've always thought of myself as one of that group and though I've not done it to make a living in my life, I've always tried to do it to professional standards when offered the chance to be involved.

Anyone active in the teaching profession is to be very highly commended. The sanity, stability and inspiration they bring to your students, the community, the culture and the environment generally is immense.

Like dropping a pebble in a pond, it affects everyone it touches. They're on the top of my list that's for sure.

ON REFLECTION
By Dan Jacobs
May 20, 2005

The occasion of my birthday joined with a natural inclination toward reflection, has resulted in this somewhat spontaneous writing of my thoughts of the day.

I am instantly reminded of my birthday, two years past when I penned an essay entitled, “THE TRUE FRIENDS GROUP” and presented it as my gift of acknowledgment to my friends.

Little did I know or suspect the immense positive effect this would have on my life and the lives of others. For simply acknowledging that such a group existed and that I was part of it, precipitated changes never anticipated. It became evident that some powerful influence was at work, apparently acting to strengthen me and facilitate my continuing to help others - something I love to do - as that is what has occurred. Not that I became anything different but that I was able to do much more.

Without enumerating the details, suffice to say that the past twenty-four months have been a whirlwind of expansion and increasing “reach” effecting every aspect of my life, and happily so. Horizons I had earlier only dreamed of are now within my grasp; challenges and difficulties of life somehow have diminished into insignificance when compared to the joy of creating; but most importantly, my attention is more closely focused on doing everything in my power to help others become stronger and more able to expand in areas of their interest.

As I consider it of no small benefit to discover the source of this change - if only to acknowledge and strengthen what has been working - following is my realization of the year 2005 which in my humble opinion could be a benefit for everyone.

My true friends do better when they are connected to me . . . just as I do better when I am connected to them!

And further, it is the mutually created positive expectancy, which creates the coincidence of intention that is virtually unstoppable in achieving worthwhile goals individually and collectively.

So, as my birthday gift to you this year and as a nod to the truth contained herein, I am re-sending the essay, “THE TRUE FRIENDS GROUP,” with little change.

As I have read this little essay again and again and found that it moves me emotionally as much now as when it was written, it is my wish that you may experience the same.

What is described is a powerful concept; it has the potential to change your life in profound and magical ways . . . as it has in mine!

With respect and admiration,
Dan Jacobs, on this 20th day of May in the year 2005

THE TRUE FRIENDS GROUP
by Dan Jacobs
May 20, 2003

There is a group that exists which I had not before recognized or acknowledged; yet it has had an influence on me throughout my whole life. Lacking anything better, I have simply called it “the true friends group.”

Members of this group know who they are and simply carry on, often unnoticed without fanfare or flourish. They do not waiver in their allegiance, no matter the circumstance or “challenge de'jour” that life presents them. They have sufficient real-life experience to know that hard times are often more temporary than imagined. They also have enough good sense to cherish good times and good friends, as these can often be all too transient.

They are willing to share the burden of hard times as well as the enjoyment of the sweet glow of success in good ones. They possess a depth of compassion for their fellows built upon a firm foundation of understanding of human nature gained from living life as a participant and not simply a spectator.

Members of this group simply refuse to change their basic belief in the goodness of mankind in spite of all invitations to do otherwise. The bond of this true friendship is stronger than anything imaginable, nearly indestructible, founded upon honesty, integrity, loyalty and mutual action toward a better life for all.

It is also apparent to me that this bond of true friendship is strengthened as a result of being tested; and perhaps it even needs such a test from time to time, as it grows stronger as a result. It has also become evident to me that even if the situation is troublesome or stressful, members of this group want to be included; they want to help and would think it an insult were they not allowed to do so.

These are not just “fair weather” friends; for it is when the chips are down that you learn who you can really count on and who really deserves your support in return. I have also discovered that sharing my life experiences with members of this group lessens any burden I may have experienced and enhances any joy of accomplishment.

Finally, I have discovered that being of service to others is the greatest gift I can offer; as it also enhances my own life, thus making me even more able to help others.

This note, written on the occasion of my birthday May 20, 2003 is my recognition of the help and support I have received from so many throughout my life. For this, I acknowledge and thank you more than words can express. Suffice to say, you and I both know who you are!

With respect and admiration,
Dan Jacobs, on this 20th day of May in the year 2003

ON IMPROVISATION: PART ONE
by Daniel Wright Jacobs

The key to success in this area, is to take it in “doable doses” as the song lyrics sung by James Taylor so aptly state. If you skip a step in the development process and try to run before you can walk, you’ll find frustration to be your constant companion. Start practicing slowly at first, singing the lines (jazz syncopation) that you hear and then play the lines with right hand only on the piano. Time spent practicing the connection between singing and playing (slowly) is more valuable than anything you can do in accomplishing your objective.

I practice piano far less than I do trumpet, but when I do, I may play only 10 minutes at a time, two or three times a day, for a week. And, I may only play five notes, one at a time, during the entire practice, placing the thumb and four fingers of the right hand over the keyboard and playing each note VERY slowly, over and over and doing nothing else for 5 or 10 minutes, focusing entirely on what I am doing in the moment. When finished, I get up from the piano and go about my business with other activities.

The first time I did this, to my surprise, the next time I sit down to play (without other practice) my facility to perform what I wanted was significantly higher than I expected. To me, this proved my theory that playing an instrument is 90% mental and 10% physical.

Now then, as to jazz improvisation . . . here are a few general basics, some of which will be very familiar to you, some you already do very capably already, but all are still worthy of a fresh look.

The first item is worthy of it’s own position above the rest and I’ll take it up first to acknowledge that importance.

Sound is the most important element in soloing on any instrument. Technical expertise is a distant second. The music is always more important than the technique in my mind. As long as you keep that order of importance in mind, you can push your technique up as far as you want and you music will simply come out easier. But above all, a disciplined and professional sound will separate you from the crowd faster than any flashy display of technique.

Following are some of my ideas on the subject generally, perhaps an entertaining, even enlightening story or two as illustrations.
Some of this may be somewhat controversial but these are my opinions and experience and they are most certainly true for me.

I once was told the story of the incomparable jazz pianist Bill Evans being at a party where there was an old, out of tune piano. Other good, competent players in attendance occasionally sat down to play and invariably complained that the piano was out of tune. However, when Bill sat down and played, magically, no one noticed the tuning of the piano. His musical intention and the aesthetics of his music was so powerful that it seemed to transcend the mechanical limitations of the instrument almost transforming it to an “in-tune” instrument instantaneously with his unique touch. I witnessed the same phenomena when I attended a “rent party” in Detroit in 1963. The legendary ragtime pianist and composer, Eubie Blake was there and I was lucky enough to see and hear him play piano. There was so much music that came out of that piano that no one noticed or cared about the mechanical tuning! His extraordinarily long fingers caressed the keys like he was in love with every note. Which I’m sure he was!

Not to compare myself to the genius of Bill Evans or Eubie Blake, but when I play a note, I am always aware of the sound I want to create before I play it. The sound I make on trumpet, piano or flute is my inner voice and a reflection of the language I am speaking at that time, further, it changes from time to time depending on my emotional state (witness the difference between my first two albums). I consider my sound the most valuable asset in my music. I really don’t consider that there is a “bad” note. Just notes that sound good to the ear at a specific moment in time.

A case in point: In 1928 when famed trumpeter, Louis Armstrong first wrote and recorded the hit song, “STRUTTIN’ WITH SOME BARBEQUE,” and played that Major 7th note on the 8th note of the melody, everyone listening exclaimed in horror that he had made a mistake! For it sounded “wrong” (really meaning unfamiliar) to the ear at that time when listeners were used to concert band trumpets playing tonic and diatonic notes that fit within a set of familiar patterns and sounds. Yet, the Major 7th of the chord was evidently exactly what he wanted to write and play and was the sound (and likely the effect) he wanted to create. He was a musical genius and innovator to be sure, but it was his integrity to the sound he wanted to play that made “wrong” notes sound “right.”

Again, not to compare myself with a player of Louie’s caliber (whom I had the distinction of meeting personally twice), but only to provide an example of my own - of the many different brands of trumpet I own, no matter which one I choose to play at any given time, I always end up sounding like myself. I even have an old Shepard’s Crook cornet made in 1867 that is very much like what Louie played in the 1920’s, yet when I play it, I only always sound like me and never like Louie. I also have a 1942 Martin Committee trumpet like Chet Baker and Miles Davis both played in the ‘40’s, but it doesn’t make me sound like them. The horn is a mechanical device like a piece of plumbing which does nothing without my input. This is the case with any other trumpet I play, as the sound is formed internally before it comes out the horn, which I feel certain, is exactly what Louie and the others did as well.

Another quick example with a different instrument: I started playing flute in the 1960’s with an old $20 student flute that someone gave me in exchange for a debt. I loved it instantly and could play it the first time I ever put it to my lips. To me it was the most beautiful sound I had ever heard. Held together with rubber bands and love, it still sounded as good to me as an expensive, hand-made, solid-silver, 1917 Haynes closed-hole flute that I dreamed of (and which I currently own). And from the feedback of others, they shared my feelings about the sound produced on that old first flute (which I still own with fond memories attached).

Finally, and please forgive my philosophical ramblings, but my old Yamaha G1 Baby Grand, manufactured in the 1960’s, a veteran of many a smoke filled bar gig with the cigarette burns to prove it, holds its tuning because I intend it to do so. I love the way it sounds even if it is “technically” out of tune (which is always someone else’s consideration and not a technical fact anyway). Further, as what is beautiful or ugly is fundamentally a factor of one’s considerations, perhaps the piano is responding to my admiration for it and for no other significant reason in sounding in tune when I play it. At least that is my story . . . and I’m sticking to it!

Now, to address some other elements of jazz syncopation as applied to improvisation. Following are some fairly well accepted tenets of becoming an accomplished soloist on any instrument, given that there is at least some basic expertise on the instrument of choice to begin with.

1. Know where you are in the song at all times. Listen and pay attention to what the rest of the section is doing. If you hit a note that sounds wrong or inappropriate for the moment, move it up or down a half step and you’ll usually be correct. This is where making the connection between singing a solo and playing what you hear is crucial. If you’re singing a line, it will come out like you, not some memorized technical exercise.

2. Don’t be afraid to be obvious and repeat yourself. Repetition is natural in all music and of course in all rhythm. If you can’t think of anything interesting to play, play the melody. Every tune or song has a melody that the composer spent many careful attentive moments designing. Melodic interpretation is a totally valid form of improvisation.

3. The listener needs repetition and sequences in a solo to hang on to what you’re saying musically. It can be as complex as you want it to be, but when you repeat it, it begins to make sense to the listener. Dizzy is said to have stated that when he plays a wrong note or phrase, he just repeats it and it then sounds good! Another aspect of this is that if you are interested in playing the note or phrase, it will sound good to the ear no matter how dissonant you may think it is.

4. Beginning or ending a solo phrase on a chord tone (1,3,5,7 of a scale) give the listener some stability and predictability in what you’re playing. It will make sense to them. Now, having said that, I very often do exactly the opposite of my own advice and intentionally play a note that is not a chord tone and the beginning or end of a solo. But the key factor is “intention.” I’m doing it knowingly, purposely departing from musical convention as a something that I hear in my head and only because I’m interested in playing it, not just because I want to sound hip or cool or anything else. Also, if I want to be right in the pocket, I can do that as well and there are times when nothing else is called for. But, even in those circumstances, if I hear something else, I’ll play it regardless of the circumstance, if only to maintain my own interest and musical integrity.

5. Listen to others that you would like to sound like. Find someone that touches you with his or her music, even if it is a different instrument than what you play. Listen to the musicians that have come before. Imitate them if you like what you hear them play. Your own sound and style will come soon enough. The greatest artists in history were could also write, paint, and perform in the style of nearly any other great artist in their field.

6. Finally, to me the end result of musical performance is to connect with and impact the audience and let them share in the creative process with you. Practice alone. Rehearse with a group. But perform for and with the audience. I never think about what I practiced when I’m performing. My attention is on the audience, the band and my playing . . . in that order. I always seek to keep my attention totally in the present, not in the past or in the future, when I’m playing. In that way, I can respond to the inevitable surprises that are part of any musical experience.

7. Of course, this brief write-up is only a small part of the whole story but hopefully you will find something of use in your quest. May you never be the same!

- Dan Jacobs, May 15, 2005

ON THE CREATIVE PROCESS
by Dan Jacobs

As I get questions on this topic all the time in my clinics, here are some of my thoughts on the creative process in improvisation in general.

To begin, I must say, I have never improvised or played a note I haven't played many times before. While there are no notes per se on the horn that have not been played in practice millions of times, no note is "exactly" the same, no matter how many times you practice it.

There are literally an infinity of other mechanical, mental, emotional and spiritual factors that enter into how a note is played or how any sound is produced from a musical instrument.

Sometimes I think of the process of producing any musical tone as a thrilling, though inexplicable, supernatural kind of exquisite mystery that anything vaguely musical comes out the end of what is basically an artfully crafted, somewhat aesthetic piece of plumbing . . . called a trumpet.

Still, through countless hours of diligent practice I have mastered some degree of proficiency in tone production and musical performance such that I can play what is called for to a professional level at the desired moment in a musical production.

I am constantly and pleasantly surprised by the countless magical musical surprises that occur in any live performance. This is because the other musicians contribute to the overall creation AND the addition of the audience can be as important as another band member as they add to the creative process as it is occurring in a very significant way. In fact, it's been said that the contribution from the audience is THE most important part of any creative process.

Therein lies the rub. How do you capture the essence of a live performance while performing and recording in the studio without the audience present? To do that is partly a "slight of hand" by the producer and the engineer, partly the vast prior experience of the musicians and the artist, mostly because the group as a whole loves what they are doing so much that this enthusiasm and exhilaration shows up and becomes an integral part of the recording.

Of course, you could just record it live with an enthusiastic audience, but then there are other variables to contend with, as with any movie that is made . . . to shoot on location with the freedom that affords, or in a sound stage where everything is controllable. There is always a tradeoff.

You want a somewhat "controlled burn" to occur so that the spontaneous creative process can take place so that the "magic" is allowed to take place. Overcontrol it, (really meaning "force") and you'll stifle or kill the process completely. Undercontrol it, (really meaning "no control") and you seriously compromise the quality of the technical and creative aspects of the production. Neither of these two options is workable as should be apparent. The key to success lies somewhere in the middle. To me, perfect control in a musical setting could be defined as "somewhat predictable change." Just enough control to hold the edges and allow the creative process to occur within generally defined guidelines but not too much micromanagement to clamp down hard on individual creative artistic contribution.

For example, recently I overdubbed a cellist for a project I'm producing. I had a cello part all written out and as the professional he was, he could have played it perfectly, as in fact he did in the rehearsal. But, the idea came up to record a take with him improvising the part behind the vocalist instead of just playing the notes that were written. As you might suspect, it became one of those magical moments in the performance and added enormously to the overall feeling we were looking for.

Overcontrol would have made this impossible. Undercontrol, ending up with a "freeform improvisation" would have also been unacceptable for the song.

The perfect combination of “overcontrol vs undercontrol, was to allow for a “somewhat predictable change." I knew that the cellist was a pro with years of professional experience and
competence, I also knew the general guidelines of what we were trying to do with the piece generally.

As long as his improvisation added contributed to and supported the vocalist, I was willing to allow for his individual artistic contribution, the result being a greatly improved final product that will be a high point of the album.

Another example is an with an interview I did with the April 2--5 issue of JAZZ IMPROV magazine. it was somewhat more controlled than a pure spontaneous interview in that I was given the general questions beforehand. Who knows what would have come up with the give and take of a true "Q and A" process? I was looking forward to doing that, as sometimes I come up with things in a live setting that I might never have thought of otherwise. It is those magical surprises that make up the creative process in my opinion, I thrive on them as they represent to me, the pure joy of creating!

With music, I know all the elements of breath control, tone production, scales, chords, melody, rhythm and songs and tunes necessary to do a competent, professional job under almost any conditions.

But, it is important to note that when I am involved in a performance of any type, the mechanical elements of producing music are far from my mind.

During any performance, I only put my attention on the audience, the other musicians and my own playing . . . in that order.

I never plan out my improvised solo or performance to such a degree that it ends up sounding canned. For that process ends up being boring in very quick order, for the audience, the other musicians and for me! I do my preparation in the practice room, my rehearsal with others going over the material, but the performance is totally for the enjoyment of the audience. When I am improvising, I play completely "in the moment" never thinking of what i have practiced or rehearsed. I respond to the stimuli at the exact moment that I receive them. With sometimes some very interesting and exciting results.

I feel that it is my duty and responsibility to give them more than they expected in term of a satifying musical experience resulting from my performance.

Rather than gauging my success on myself and my performance, I focus entirely on how well I have accomplished my purpose of engaging the audience with my music and inviting them to share the supreme joy of the creative process with me. - Dan Jacobs

CHANGE IS LIFE - LIFE IS CHANGE
By daniel w. jacobs

That class altered my life forever. “Change is the only constant!” he said.

“Huh?” I thought.

“There is only one predictable element in nature and that is CHANGE!” he said again.

“How could change be a constant?” I puzzled.

“Nothing stays the same . . . except this fact. Change is inevitable!”

I suspected he wouldn’t repeat it again; but thankfully I got the needed, “whack on the side of the head,” and the dim bulb of enlightenment began to glow through the thickets of significance in my freshman brain . . . it was finally starting to sink in.

What he meant was, "change IS the only constant!" Ah, ha. I got it!!! He smiled with knowing and obvious delight at my discovery of this basic truth.

As he was the most highly respected Professor of Economics at the University I was attending, I was happy to have grasped the concept, if only to please him. Faculty and students alike admired Mr. Mandelstam as he had a way to drawing upon his love and knowledge of economics to make the subject come alive. It wasn’t all just about dry graphs and dusty and ivory tower, untested economic theories.

When he lectured, he was talking about life and living . . . and change is one of the vital ingredients of existence itself.

CHANGE IS INEVITABLE

This one basic law stayed with me - as simple as it is profound. Things do change. And what’s more, if they aren’t changing for the better then they are getting worse. Things just do not stay the same, even for a minute. Things are going on all the time around you. New inventions, developments, conflicts, disasters, unpredictable elements of various types. All these can change your life in a minute . . . for better or for worse. Stuff does (and often does) happen!

Just having the fact that “change is inevitable,” as a stable concept to hang onto was valuable when things did get out of control. I realized I could do something to change the downward slide, as change was not only possible but also inevitable. I just had to use this bit of wisdom to my advantage and turn things around.

And when everything seemed to be going my way, I used this knowledge to be alert to the rapidly shifting winds of fortune and to prepare for this contingency before disaster struck so as not to be left shipwrecked on the shoals with no hope of rescue.

In fact, this insight has done more to strengthen my outlook in life than anything else I have studied or experienced. Failure never affects me for long as I know that change is just around the corner and it's all part of the process of living. I just have to ensure it is a change for the better.

RESISTANCE TO CHANGE

The real difficulty comes from a resistance to change. For this can stop your chances for future success dead cold and past achievements can easily become as meaningless as a canceled check.

The old saying, “don’t look back, they might be gaining on you,” has some merit in this circumstance. Unless you’re using your experience and accomplishments to find new markets and ways of presenting your products or services, you’re losing ground. If, rather than embracing change and using it to advantage, you resent and reject any change out of hand, you’re doomed to hold on to the past, mentally, emotionally, physically and perhaps just as importantly, financially. But, fortunately, you hold the keys to adjust your future to the way you want it.

CHANGE YOUR ATTITUDE

When your attitude changes from dwelling on the past (whether successes or failures) to being constantly on the outlook for future opportunities, you’re back in the drivers seat. And from this positive state of mind, you inevitably find what you’re looking for. “Failure is not an option” becomes the byword along with, “the future is what you make it.”

Deciding on some worthwhile objective begins with you. If it’s something you really want to accomplish, the small setbacks and obstacles won’t bother you. They simply become incorporated into the overall process of winning.

Even the handling of success is easier once you have recognized that change is inevitable. No one can be “king of the hill” forever and just rest on the laurels of past triumphs. You must accurately discover what exact elements led to your present success so you can strengthen them, set new goals to shoot for, get back in the game and play to win.

Things are going to change and if you don’t get into action to change them in your favor, the inevitable fact of change could work against you. The worst thing you can do is to do nothing. Only then would change inexorably erode away at what you now have.

Your attention has to be in the “here and now” while being alert to the possibility of changes on the horizon and finding ways of using them to improve your condition and your future.

Now . . . say it with me, “Change is the only constant!”

Got it?

ONE SENTENCE
By Daniel Wright Jacobs

FIRST:

DO NOT READ THIS SENTENCE!
(Unless you are willing to experience potentially irreversible changes as a result of acquiring knowledge by the use of reasoning, intuition, or perception . . . and also possess a sense of humor).

Now for those brave souls who have decided to give no heed to the above announcement, I have this added advice: READ NO FURTHER!

And to those radical free-thinkers who refuse to conform to the dictates, orders and demands of so-called authorities and who instead are willing to go where angels fear to tread, I offer this guidance: ABANDON HOPE ALL YE WHO ENTER HERE!

For you will find the words of the following writing entitled, “ONE SENTENCE,” to be without ruth for the uninitiated, without pity for the uninformed and without compassion for the undisciplined in the use of the English language. And, to those of you who have made it this far in perusal of this writing, if any doubt still exists that words do have meaning, that actions do have consequences . . . I urge you to put this page down and STOP READING NOW! For once you begin to put your feet on the route toward knowledge, wisdom and truth through the written word, there is no turning back.

SECOND:

DO NOT CONTINUE – AS YE MAY NEVER BE THE SAME AGAIN!

Be forewarned by this notice given hereby and herein that the aforementioned writing to follow may precipitate a high degree of epiphaneous intellectual stimulation, cognitive arousal, cerebral aspiration, and/or amusement requiring and/or inspiring a increased ability to think, reason and understand; as the above referenced work designated, “ONE SENTENCE,” is a discourse requiring something more than a passing interest in the written word as a requisite for enjoyment thereof. Further, in rare cases, the resultant comprehension and understanding created thereby may cause a state of cognitive dissonance or anxiety to surface as a direct consequence of the conflict between two or more simultaneously held, though possibly inaccurate or false, beliefs or attitudes previously clutched to ones’ bosom as sooth.

Symptoms associated with such afflictions may include uncomfortable sensations of enlightenment, mental and/or spiritual expansion and growth resulting from the direct involvement and application of the mental processes of abstract thought - - - as this faculty may well have been neglected, ignored or abused for decades and the unanticipated calling it into use could result in great, though temporary, discomfort and instability.

THIRD:

GO BACK - CLEAR THINKING AHEAD!

In particular, do not attempt to read or comprehend the writing to follow while operating heavy machinery or flipping lightweight hamburgers . . . as an epiphany could occur; resulting in a sudden intuitive leap of understanding and enlightenment, which may serve to whet or awaken a voracious, insatiable appetite for further knowledge, awareness and freedom, which can only be quenched by an even greater exposure to the written word and the concomitant pleasures contained therein . . . and in this way, threaten an otherwise dull and doomed existence dictated by the domination of prejudice over observation, the nullification of reason by ignorance, the subjugation of individual will by force and at last the suppression of freedom by making the chains of slavery seem inevitable and yes . . . even desirable.

And finally, for those hardy few who have taken no heed of the previous warnings, and who are still with me, ready and willing to examine the pith of this discussion . . . a final proviso.

PROVISO:
Do not begin reading "ONE SENTENCE" in the middle of your favorite TV program, if you're rushing out to pick up your cat from the veterinarian or if you’re excitedly immersed in planning your next trip to Disneyland or Las Vegas. Rid yourself of all distractions, dispersals and diversions so that your attention is under your control and directed to the matter at hand. In so doing, you may discover, possibly for the first time, a degree of control over your thoughts, emotions and body never before imagined. But please don’t take only my word to experience efficacy of this concept.

Take a moment and try this for yourself:
Observe that whatever your attention is on will tend to dictate what you are thinking about - which eventually tends to simulate various emotions and reactions associated with such thoughts, invariably bringing about subtle or dramatic changes in the body itself. The changes thusly created can be desirable or not as they are controlled largely by what your attention is on. Now then, if the application of this concept leaves you feeling somewhat more able to control yourself and your life, don’t blame me for simply reminding you of who is really running the show.

Further, as the writing soon to follow (“ONE SENTENCE”) will do nothing for you and will indeed fall on “deaf eyes and blind ears” unless you have your attention thoroughly under your control before you begin, please quit now and proceed no further until this proviso above has been satisfied.

DISCLAIMER:
The author disavows any responsibility for the unexpected awakening of any personal mental, cognitive abilities or other such natural occurrences producing desirable changes or developments resulting from reading and understanding this writing. For any awareness that may have become stimulated, any new ability to reason, think, cogitate or form complete sentences of rational thought as a consequence of this writing is due solely to becoming reminded of ones native awareness and abilities - which is in fact the true source of any benefit obtained thereby and has nothing whatsoever to do with the author himself.

PREFACE:
No, this is not an "April Fools Day" joke. This missive was written in one sitting early on the morning of April 1, 2005 in response to an email that I received from a friend in a distant state, (and not just a state of anxiety), which email started out as follows:

" . . . this week has not been one of great accord, harmony and enchantment. But I have attempted to reconcile it as best I could . . . "

The email when on to describe a plight of some considerable distress. As I knew this friend had a propensity toward understatement and a great appreciation of interesting writing and compound thought, I felt compelled to do something to help lessen his stress.

Contemplating further that others might derive some slight benefit from this exercise as well, my response to his email, in the form of "ONE SENTENCE," is hereby tendered for your scrutiny, edification, enlightenment and/or possible amusement.

So, here it is. Certainly the longest sentence I've ever written and even if it does contain commas etc, it hangs together pretty well. Basically, it is a mental exercise designed to stretch the mind and enhance the spirit with an embedded message thrown in for good measure.

- Dan Jacobs April 1, 2005


ONE SENTENCE
Daniel Jacobs, Ph.D.
April 1,2005

Noting the lateness of the hour of your writing and the troublesome nature of the first sentence as indicators, I suspect that your "dis+stress" level has been rising to a degree inconsistent with any healthy mental, physical or more importantly, spiritual condition . . . but unfortunately, all I can offer is sympathy and the words of this correspondence to provide a temporary respite and mental diversion from the stress . . . hopefully to provide an opportunity for creating something more interesting and engaging than the "noise" of the "real world" in a manner which you might find worthy of your time and attention . . . so it is with this writing, which is offered to you as an exchange for your contribution of same to my well-being in your current and previous emails, as I have found that I look forward to each correspondence as I know they will be at least, a meaningful combination of printed symbols, representing in text a particular sound or combinations of sounds, forming a single word or a group of words that express a complete thought resulting in an accompanying feeling or idea in a language that I can comprehend, understand and derive insight from as a result of absorbing the concepts contained therein; and yes, I know . . . the preceding passage is an obvious exercise in sophomoric verbosity and rhetorical pretentiousness - not exactly a subtle point really - but I find that I also enjoy such exercises from time to time, as I'm sure you do, if only to engage sometimes underutilized interests and abilities, to provide some vital mental exercise to keep on top of my game so to speak and also simply for my own personal satisfaction - to see if I am still able to hold together the coherent development of an abstract concept that can often only be appreciated intellectually, but at the same time still deliver the intended message in an engaging and compelling manner . . . all in the face of what is now rapidly becoming a protracted, copious and convoluted thought process . . . (I'm reminded of something my youngest son Evan says about how, on the rare occasion when he begins to get noticeably light-headed when talking, that even HE is aware that he's been going on too long) . . . however, I trust you will forgive my effusive excesses of voluble loquaciousness, and further that you will not find it too tediously long-winded, complicated or professorial . . . for this was intended only as a humorous trifle to capture your attention for a moment, give you pause for thought of something more interesting and enjoyable than the troublesome, hidden attention-grabbers of the unfortunately and inaccurately named, "real world," and finally . . . I would hope that this sentence, which I am excruciatingly aware is composed of well over 550 words (and that IS excessive) . . . will be received in the manner in which it was intended . . . to bring a smile to your face and put a spring in your step that might not otherwise have been anticipated . . . so at last, this exhaustive communication can be concluded and finally reach a happy ending and a satisfying conclusion.

SO THIS IS YOUR LIFE?
daniel w. jacobs

Once upon a time there was this little, happy, able guy, going through life without too much trouble, finding his way the best he can and mostly ending up on top.

But for some strange reason, he appeared to delight in creating a more interesting "game" for himself in life . . . one with more obstacles and challenges than one usually runs into in the normal course of living.

No matter that he was trying to win a game that has routinely killed off anyone else who threw their hat in that ring; the incautious thrill of doing something that others fail at excited him. This game didn't sound all that interesting to others . . . but it did to this him . . . and so he continued playing in the face of numerous cautions given to him by others with more experience and maturity.

This "game" might be generally described as something like this:

Trying to become a success as a professional musician at the highest levels in the world, in a fiercely competitive, cut-throat environment, with both hands tied behind ones back because he was living the life of a "first-rate addict," at the same time . . . all without killing oneself (at least not quickly) in the process.

And just to make it more interesting, one of the penalties of losing in the game was that if the "players" in this "game" didn't actually wake up dead in the gutter some morning, they usually ended up with their lives ruined, a shadow of their former selves, wounded and weakened to a point where they can't even now sit on the curb of the sidewalk of life.

And if that weren’t enough, they are relegated to the ever-growing pile of degraded "has-beens" and “throwaways,” living in the gutter, on the sidelines, not suitable to participate in the REAL game of life. They're used up . . . losers! Left with the dim and fading memories of “how it used to be.” Or at least it would appear so to some bystanders.

Now THIS is a contest that has some real challenge right? Something that would truly test ones abilities in a stimulating way right?

Well, at least our guy thought so . . . and, what’s more, he "appeared" to be winning the game, at least for a time. But was he?

For it was a strange and unusual game that he had created. One with a very unpleasant, even malevolent twist in it.

The nefarious secret of this game was this: the deeper you got into this game, the more it "appeared" you were winning . . . the more you were actually LOSING!

How's that for some genuine sport, right? Something with some teeth in it.

Sure, some can eventually become able to perform music on the world stage . . . but try doing it while at the same time being strung out on drugs . . . now that’s an obstacle that presents some challenges!

Of course, this lifestyle has a downside. The rest of his life is in ruins. He has wasted his friends, family, health and career . . . but he’s winning right?

Fortunately, this story has a happy ending. The creative, able guy in our story finally figures out that the only way to win this "game" was not to play it in the first place and he goes happily on about with his life without the serious consequence that have killed off so many other "players." He "won" by no longer playing the "game” and went on to create more expansive and interesting games.

But, unfortunately, the fact that he created the game in the first place and on the surface, had the apparency of winning and influenced others to follow in his footsteps. And they, not being as creative or as able, weren't able to figure out the secret of winning this game; they became stuck in the sticky, black tar of a life of drugs, degradation and loss.

But, that really had nothing to do with our guy right . . . . or did it?

Eventually, the subject of our story began to realize that his actions did have consequences, his words did have meaning and what he did for good or evil did influence others. A sobering but undeniable thought.

His luck held out once again. He realized that what he was doing was not just hurting himself, but it was hurting others . . . compounding the harm. It was indeed a painful awareness to come to but it did open the door for a positive change.

For this is the first step to change: awareness that things are getting worse and they NEED to change. Without that awareness, any change is all wrapped up in the niceties of politeness of social veneer.

When he began to take the wrappings off, he discovered that he didn’t like himself when he was hurting others and then solved that problem by numbing himself even more.

A vicious circle of self-destruction ensued that began to unwind only when he faced it head on. It was, after all, his life, for good or evil. Only when he came to grips with that was he able to start on the long road back to sanity, health and stability.

Our story has not ended; it only has taken a turn, hopefully for the better at this point. But there are many pitfalls that lie ahead for our guy. Stay tuned for the rest of the story as it develops.

For now, at least he has a fighting chance of survival when before he had nothing.

Dan Jacobs
March 2005

HAPPINESS & SUCCESS

"Only after I quit looking elsewhere for it and simply started being myself did happiness and success finally find me."
- Dan Jacobs

WHAT SCARES YOU? - an essay
by daniel w. jacobs

"Don't hide your music inside you . . . share it with others.” He continued, “Do what you fear most and you will fear nothing,” this said as a command meant to be obeyed. And I'm glad I did. An older, more experienced friend gave this advice to me long ago and it's a concept I highly recommend, adding only . . . do it now!

Don't wait until your music or art is perfect to get it out there. Perfection is a trap designed by someone trying to reduce the competition. Some of the best musical albums and performances have imperfections and no one cares as long as the art has some personal meaning to them.

From decades of being involved in performing and recording music, I have found that listeners want something they can connect with and something that connects with them; something that touches, excites, moves, enthuses, reminds, inspires, arouses, affects, transports them on a journey to a new and different time and place, lets them hear old things in a new way and new things in an old way or simply something that allows them to share in the joy of creation with the artist.

And mostly, they want to connect with the world of the artist, to see what they see, hear what they hear and experience what they experience. From the viewpoint of the artist, this requires that you expose yourself to them through your art. And this can be very scary indeed, for revealing yourself through your music or your art is far more important and often a lot more challenging than just striving for technical perfection. Most artists find that letting people in on what you're really about while performing live in front of an audience takes far more courage than practicing in a room with only a metronome for companionship.

Sure, always try to push your technique as high as reasonably possible but the audience is still always more interested in your message. And it is certain that hiding behind the “veil of technique” because you're afraid to reveal who you really are will not help get your point across.

Stop chasing technique for its own sake - - - slow down and let people hear and see what you've got to say artistically. Open those emotional doors and let them in on where you're at, what you're really about, who you really are, what you feel, what you've experienced and how it's affected you. They'll feel it with you and you'll both be better off for it.

Put yourself out there and let people connect with you and you'll connect with them.

Truly revealing yourself may be the scariest thing you'll ever do . . . but that's what being an artist is all about anyway, isn't it?

DREAMS INTO ACTION
by daniel w.jacobs

Note: this was written in response to a letter from a friend who was pretty convinced that music and the arts were largely unappreciated and that it was pretty much a hopeless uphill battle.

My letter follows. – dan jacobs


Dear J.

I agree that when the culture sinks to a level where there is no appreciation of the fine arts (only the crude arts, hastily presented) with little thought to the subtlety of the art form - - - when there is little or no real support of the artist as a valuable, contributing member of and to the society - - - where the entire collective societal goal is to get more “buck” to buy more “stuff” - - - and where we are sold on this idea by a constantly incessant, unremitting onslaught of advertising reminding us of our inadequacies at not making “enough” money to buy this stuff - - - when you are "somebody” only when you have a new, shiny car, a big house and hot and cold running secretaries at your disposal - - - when the higher institutions of music consider “learning to play jazz” as being accomplished by a focus on mimicry and memorization of notes without meaning, style without substance, sound without aesthetics, technique without message rather than innovative, creative individual thought, then that culture is degrading rapidly and is on its way out. Thus went the Greeks, Rome, England and the U.S. . . . but don’t get me started on this subject . . . I also have a cute essay I wrote some time ago that covers this subject called, “Economic Seduction” (or “How To Boil A Frog”). I can send it if you’re ever interested.

We live in a world of instant gratification where all that is seemingly important is the sizzle, not the steak; where the focus is only on “being” a rock star or whatever. Little or no attention is paid to what goes into bringing ones skills up to a professional level sufficient to accomplish the final result. Then once one is “rock star” it is discovered that the road down is often very rocky indeed.

Success and happiness come from having and following a dream that you desire. Pleasure comes from moving through the inevitable barriers and challenges along the way. This process also provides the knowledge and experience of how you can do anything and bring it up to very high standards.

Yes, the situation can appear grim on occasion with little financial reward and even less stardom. But, I’m not particularly pessimistic about all this. Of course, even my wife thinks of me as the “glass ½ full” type guy with an irrepressible, sometimes irritatingly annoying sense of good will and optimism for the future.

But my viewpoint is based upon one observable, axiomatic fact:

As long as life is in you, it is possible for you to have something to do with the nature of your future.

I think you’ll agree that the artist is the dreamer of dreams and the creator of new future possibilities. So what if new artistic ideas or creative, imaginative solutions or approaches are resisted resented or fought? If you’re not up to it, maybe you should think about looking into a profession that requires little or no original thought, so that you can be “accepted” and fit in to society’s “norm.”

But wait a minute . . . you’re already an artist! How about just facing it and move on. All the things you complain about go with the territory. On the other hand, you get to experience a level of intense aesthetic sensation that others only dream about.

Just keep putting it out there. Keep creating YOUR idea of what you would like the future to be. If you don’t put it out there, it won’t exist. It’s your dream; why not just keep putting it there in spite of every invitation to do otherwise?

The way I figure it, I am going to just keep creating a future the way I would like it to be and putting my dreams into action.

Because, before you can say, “wha’wazdat?” the past becomes the future; and that future has a tendency to look suspiciously like what you were creating all along.

Why not make it something desirable and worth moving into? You’ve got nothing to lose . . . except your dreams.

Anyway, that’s my story and I’m sticking to it! ☺

"Truly revealing yourself may be the scariest thing you'll ever do . . . but that's what it's is all about anyway, isn't it?" - Dan Jacobs

THE JAZZ ARTIST
By Daniel Wright Jacobs
 
A jazz artist has many talents
Of  this there is certainly no doubt

Composing, performing, arranging
All those people who know him will shout.

Perhaps genius, he'll sure not admit it

But he'll give you his best, that is true

He'll play what he means, he'll mean what he says

As all true artists must do.  

A  treasure, we're lucky they’re with us

Like a beacon of light they impart
In our brief lives their magnum opus 

Is their sharing what's there in their heart.        

Knowing one is an inspiration
In this real world of sadness and trial

The jazz artist is close there among us

With his music his art and his smile. 

J"BLUE AFTER HOURS" - the back story
by Daniel Wright Jacobs

The CD, "BLUE AFTER HOURS," began with the idea of trying to capture the unique essence of a live jazz performance in a club like Caveau de la Huchette in Paris or Bakers Keyboard Lounge in Detroit.

It's the feeling you get while experiencing an exhilarating night of listening to jazz, where you're transformed by a club full of strangers united for one common aesthetic purpose; the smells and sounds of people, smoke, booze and jazz; the feeling of being crowded around a small, well-used table in front of the bandstand at any one of a thousand small jazz clubs around the world being pleasantly seduced by the sounds of live jazz being played in the environment in which it was born.

Perhaps this CD might jog memories of some of those times in the past . . . or let you imagine what it might be like to experience it in the future.

So, sit back, take it down a couple of notches, relax and enjoy . . . "Blue After Hours."

- Dan Jacobs

CO-MOTION an essay
By Daniel Wright Jacobs

I've learned a couple of important lessons with this recent adventure of organizing a large benefit concert for those affected by the hurricane Katrina disaster that I thought might be universally useful.

The first is: DON’T TRY TO DO EVERYTHING YOURSELF.

This whole project started out with one purpose: to help those people who had suffered as a result of the hurricane, doing what I could with what I had available . . . music and musicians willing to help.

My confidence in myself initially propelled me forward. As a professional musician, I knew that I could perform and touch people with music and if I had to do it alone, that I could and would. And importantly, as I often come up with wild and often unworkable ideas, my wife, Myrna (my sanity touch-stone) agreed that this benefit concert could actually happen!

My confidence and certainty seemed to resonate with others and the idea began to gain traction with each passing minute. Within twenty-four hours of my original proposal, it was clear that a juggernaught was developing. By that time, we not only had three additional bands confirmed to perform but also a great venue and a workable plan.

I further realized that it would be bigger than I could handle alone. Interestingly, the exact people that I needed to fill the missing gaps in the team appeared in my universe also by the end of the first day. What started with my wife, soon became a team of six people that volunteered without hesitation and decided to play this game I envisioned.

It was in fact, this co-motion that set the stage for the concert to become a reality in less than two weeks. There were of course, many others who contributed greatly, but the fact remains that without this team of six individuals, each willingly taking responsibility for the outcome in their areas, this event could have easily have become derailed at any one of a dozen points. As it was, I trusted that each of the people I had helping me, could and would do their jobs once they knew what was needed and wanted. And all of them came through, each one contributing even more than I initially expected. While I acknowledge that I played a part in getting this off the ground, in the end, it was the self-confidence and competence of the individuals making up the team that carried the day.

Everyone who helped now shares in the glow of success at having accomplished a major musical event for this area to the benefit of people who desperately needed it. I'm very proud of all of everyone who, without complaint, simply saw what needed to be done and found a way to do it.

The second lesson learned was this: LET OTHERS IN ON THE GAME.

While is commendable to have a vision of accomplishment and purpose, in fact, vital to have such dreams, trying to grab all the glory for yourself will in the end disappoint you and leave others with bruised feelings of resentment, less willing to help in the future.

Bringing dreams into reality requires involvement and active contribution of others. You must let them help and let them in on the game. For it is the co-motion and mutual action of the group, pressing forward toward a worthwhile goal that creates the momentum necessary to overcome obstacles encountered on the way. Often, the only "pay" considered really important comes from this element more than any other.

After all, working together, overcoming obstacles, accomplishing a worthwhile purpose with others that you can trust and count on is really what life is all about isn't it?

EACH NOTE CHANGES SOMEONE

“I play every note as if it has the capability of changing a person’s life . . . because it does.”
- Dan Jacobs

PLAY WHAT YOU LOVE AND LOVE WHAT YOU PLAY

If you don’t believe in and love what you’re playing, no one else will either.
- Dan Jacobs

WRONG NOTES?

There are no wrong notes. Only notes you don't believe in.
- Dan Jacobs

MUSIC IS ALIVE

Listen! Create live music in the "hear" and now.

Play to live.
Live to love.
Love to play.

- Dan Jacobs

"POSITIONAL POWER" AND THE PRICE OF FREEDOM
By daniel w. jacobs

Following is a letter written to my friend responding to a mail wherein he relates his experiences with the government vs. the individual. In this mail, he states:

“I have been exposed to the inertia, implacability, indifference and incompetence of the federal bureaucracy; the four "I’s” of anarcho-tyranny as described by the late conservative journalist Samuel Francis. They occur wherever overgrown power collides with disarmed individuals.”
. . .
Your advice would be welcomed.

Best,
R.S.

And here is my response to his letter which I thought might be of some general nterest to others.

Dear R.S.

Your letter describing distasteful interactions with governmental agencies reveal a visceral repulsion for and a reasoned understanding of something of which I am not unfamiliar.

To coin a phrase, I have termed this concept, “positional power.”

Intuitively, it means simply the power that comes with the title of a specific job, used exclusively at the whim of the position-holder, however unreasoned. Bureaucrats often fall under this heading, as outside of their defined area of control, they are virtually powerless to influence others except to infuriate, incense, irritate and inflame with their “inertia, implacability, indifference and incompetence,” again to quote the four “I’s” by Samuel Francis.

When some odious clerk at the DMV arbitrarily applies positional power it is annoying though perhaps ultimately forgettable. Conversely, when used by someone who has the ability to cost you untold amounts of wasted time and money, not to mention years of your life because of their nearly criminal negligence, or worse, nefarious intent combined with a taste for cruelty, such oppressive domination becomes intolerable.

Yet, what to do?

Under the circumstances described, I suppose one could say glibly suggest you simply need to persist and eventually prevail. But, this is no guarantee either, as getting oneself across the lines of what is laughingly called the “justice system” is a crapshoot at best.

Perhaps you should fight back as directed by the “I'm mad as hell and I'm not going to take it anymore” tradition. While that solution might provide an adrenalin rush and some momentary satisfaction, history has shown that raised fists, rakes and pitchforks when matched against tanks and disciplined, well-armed troops don't go very far to further one's cause. And despite the brief public spotlight focused on the injustice, such violence often does little to right the wrong.

Now then, to address the subject of becoming hardened and a bit cynical by the mis-adventures of which you speak; I’m sure you’ll recall that familiar phrase, “Everyone should live in New York, but not long enough to make you hard and in California, but not long enough to make you soft.” Perhaps there might be some applicability to the immediate situation.


As I suspect is true of you, hardness is not really part of my innate personality. We were both raised in a part of the country where trusting people was seemingly inborn; distrust only coming after getting stung a few times too many. For myself, my inclination still leans toward trusting the basic goodness of people as the first assumption. I subscribe to this belief - sometimes to the exasperation of my wife who thinks I am far too disposed to see the glass half full instead of half empty.

My time, attention and life are important to me as yours are to you. Therefore, I think you would agree that to not act in such a way to safeguard others and oneself is an act of stupidity, lacking intelligence, perception and simple common sense.

My advice then, is to follow a path I have found successful. When confronted with circumstances you’ve discussed, I have adopted the idea of doing whatever I must to handle unpleasant situations - while at the same time, pouring the coals on personal production, promotion and into creating a life worth moving into when the “emergency du jour” fades into the past. In the main, this strategy has worked to keep me stable and in motion with the result being that any covert or overt attack coming my way ends up strengthening me in the end.

I offer the following counsel with some increased awareness, certainty and good judgement born of bad experience in the trenches.

My attitude and personal conviction is that one must become alert to the slightest hint of anything improper in self or others and be willing to face the situation directly. Further, I have found that dismissing, explaining, justifying or defending wrongnesses in self or others actually worsens the situation and creates nothing but unmitigated disaster in the end.


And finally, it is my considered opinion and experience, the price of freedom is never to great when the cost of indifference is so dear.

Such is the state of mind that your letter finds me. I hope that some of my remarks might find fertile ground and use in your situation.

RE-COGNITION
by Daniel Wright Jacobs

Something had changed. I could sense it; I could observe it; and I knew I liked it . . but what was it?

In starting to figure it out, I realized that at this stage of the game in building a musical career, the "pay" I was getting for doing all this work (in front of and behind the spotlight) is mostly the "recognition" factor; and translating this into something that the local McDonalds will accept in exchange for a burger or that the IRS will accept as payment for taxes is something else indeed.

Now, I’ve often seen far too many musicians and artists of various types (myself included at times) feel that the only valuable thing was cash. And that if you’re not getting paid for what you’re doing, you’re a loser. For some reason, I’ve never totally subscribed to that point of view. I’ve always had the idea in the back of my mind that I'm simply trying to create something that I find desirable and If I find it interesting, that others might as well. That process takes whatever time and energy necessary to make that happen. It’s like creating a brand name product, instantaneous gratification is not part of the equation. You just have to keep putting it there anyway.

It is true that in our current culture, one has to have enough money to pay your debts or one soon becomes the target of bill collectors and other unsavory characters. Yet living ones life only chasing the “buck” in an attempt to avoid that ubiquitous economic whip makes for a very dull fellow and an equally dull life! Therein lies the rub.

It is almost axiomatic that money is almost magnetically drawn to oneself when you attract attention and interest from a desiring public and deliver a valuable product in exchange. Examples from the sports field, celebrities in the movie business or entertainment field are all around us. We pay to see these people when they perform because they have attracted our attention by their charm, talent, beauty or skill and competence, and we’re willing to pay to see them do their thing. And when they cease to attract our attention or our interest, their income and visibility drops off rapidly off our radar screen.

So then, how does anyone, let alone an artist, begin the process of attracting attention in the first place? So that one can end up with enough money to continue working on your art?

My realization (re-cognition if you will) was that recognition was the first important step of this process. In becoming aware of this point, I began to look at the many ways that I was being more widely recognized as my primary “income or asset” in the beginning stages.

It kept my spirits up and my energy sufficiently high to continue the often thankless work required to get to the point where I was getting sufficient money to continue doing what I loved.

This also led to my attention being extroverted, ever on the lookout for new way that I could get my music or myself recognized. When someone noticed me on the street or heard my music on the radio or from a CD and it came to my attention, I mentally kept a tally of these incidents as part of my “recognition account.”

And as this account grew, I found another door opened on my path.
I discovered that my communication to and from others suddenly freed up as though a huge boulder had been removed from a river. The resultant flow was as effortless as it was enormous. I almost couldn’t stop it.

It appeared that the more I was willing to be recognized, the more I was willing to communicate. Further, the more I found myself willing to communicate, the more others were willing to communicate to me.

This “willingness” element somehow seemed to be the key that unlocked the lock.

Once I digested this bit of newfound wisdom a new and interesting phenomena occurred. I began to just “be” more of the person and musician I always knew I was. And, strangely, I began to be perceived by others as a success - in spite of the fact that I still wasn’t making a lot of money. And it was then that the penny dropped!

It occurred to me that I may have stumbled upon the key that unlocked the lock . . . and it was as subtle as it was powerful.

My willingness to just be there as myself and be recognized plus a willingness to communicate and be communicated to led to a change in how I perceived myself and more importantly, how others perceived me! I really hadn’t changed all that much, but others perception of me changed and I became something more in their eyes. Further, when this perception of me by others became widely agreed upon, it began to take on a life of its own.

I became a larger source of life and energy for myself and for others just by being myself. And the more I was myself the more powerful I became for myself . . . and for others!

Now this sounded like a game I was interested in playing! As the potential for expansion seemed limitless and any success included others as well . . . it was a game where everybody wins!

Sounds easy doesn’t it? Well it is . . . once you know the right steps to follow.

Boost up your willingness to experience anything. You’ve got nothing to lose except your inhibitions that are holding you back anyway.

You’ll soon be recognized; be communicated to; and you’ll be perceived as the successful artist you already know you are!

ESSAY: A FIRST FOR ME!
by Daniel Wright Jacobs

I had an interesting gig yesterday and a first for me in a way. I was asked to conduct a clinic and perform at a concert at Oakland University (near Detroit, MI), that ended up being a surprising success.

I was asked to introduce the idea of jazz as an art form to kids attending a music/art camp. During the clinic the initial feedback was very enthusiastic and open to the idea of jazz which should have given me a clue of what was to come.

The evening concert at a beautiful venue at the university was filled with music students excited to experience the end of the first day of the music/art camp with a live concert. I was supposed to be a featured soloist to perform with the big band but also got drafted into doing an "instructors feature" number at the very last minute. So, practically while walking on stage, I wrote out the chord changes to a song for the pianist to accompany me on a trumpet feature number with an extended solo intro, melody interpretation for a chorus, a jazz improv chorus and finished with a cadenza ending on the obligatory high"F" as the finale.

I knew something was different; as, while I was playing the tune, the audience spontaneously began clapping in time and obviously enjoying the music . . . but I wasn't prepared for the spontaneous and extreme reaction after I finished.

Apparently my performance really resonated with the audience as it brought the house down! I thought, "so this is what a rock star feels like eh?" . . . with screaming girls, whistles, strong applause, standing ovation, it was quite an experience and perhaps a first for me as a jazz trumpet artist. Although no one was throwing intimate articles of apparel on the stage or offering me other demonstrations of admiration and affection, I had the definite feeling that they were willing to!

An excellent classical violinist who performed just before I went on came up to me after my performance and said, "I've never heard that much emotion come out of an instrument before" and she was quite visibly impressed. The other performers shared similar sentiments with me as well. I don't think these kids at the camp had any previous exposure to the jazz idiom and if my experience was any indication, the future may look brighter for jazz artists than otherwise expected.

Anyway, it was a first for me and made the long day worth it in the end!

ADVICE TO AN ARTIST, an email exchange with a friend
by Daniel Wright Jacobs

(this is his email to me)

Hey Dan,

When I moved to LA, I thought I could just walk in here and make it. On many levels it's been a reality check down here and
I just started to lose my will to really go for it in life.

So lately I've been feeling untalented and about as sexy as a dead moosehead. It's easy to understand why. When you are alone you fill the vacuum with your negative perceptions, your demons come out.

So, I broke down, got a regular job and bought a $99 suit awhile ago. But I wore it to a black tie event
and got called out. Someone was like, "Damn where'd you get that
cheap thing!" So I ditched it for another cheap thing $200 one,
more convincing and very lightweight to accommodate the sweating that will occur in my new job.

So the idea is "one day at a time" and stay the course. Any tips?

J = soleman

(and my response to him)
2.12.05

Dear J,

I'm sure you know that old story about one of the richest men in America; about how he shows up at this big event dressed in this somewhat average looking black suit and tie, then when he got up to speak, starts by saying, “It's really an expensive suit . . . it just looks cheap on me”

In my mind, the man makes the clothes my friend, not the reverse. It has to do with a sense of certainty, confidence and competence that emanates from you. You can wear anything or nothing and people will think it's the latest fad if you can carry it off.

Most people are living in a semi-hypnotic anyway most of the time. They'll copy nearly anything and call it fashion or whatever the newest word is to describe such. They're desperate for someone to come along and tell them what to think, feel or look like to be “hip” whatever that means. It's an affliction that affects many artists.

A weakness is that they are afraid to be obvious or sound simple and let others feel or experience the artists' true emotions through their playing. They would rather dazzle with flash, amaze with showy technique, blind with the glare of brilliant execution thereby depriving others of the supreme joy of experiencing the depth of real emotion that is going on inside the artist. They are most likely afraid to reveal themselves in what they consider to be a dangerous environment.

Yet, the real secret of success in any field is to do the opposite.

One of the most valuable commodities in the universe is real, live, personal connection or contact with another human being. Absent that, life deteriorates into a sort of mechanical, robotic, “put a nickel in the slot” type of existence.

But, an artist is a "different reality creator."

They are in fact the visionaries, the dreamers who delight in the fantasy of seeing how things could be - - - and finding a way to bring their brand of reality into focus with their individual artistic expression.

The words of Miles Davis resonate through the corners of my memories like the bell ringing in a centuries old cathedral . . . “it takes a long time to learn to play like yourself.” While I may disagree with the addition of the arbitrary time factor, the basic truth is sound. (pun intended)

To play like oneself is the key. It is, after all, the only truly unique thing anyone has to offer. Being willing to be duplicated takes courage as being willing to be recognized makes you a bigger target and often just being there and communicating is sometimes seen as undesirable. So, it can seem that the safer route would be to “not be there” and “not communicate.”

Just don’t go that route. Instead, become willing to “be there” and communicate with your own unique voice, your own vision of reality. And let others agree with you for a change.

You are going to have to give up on trying to be “normal.” It is a level of existence and awareness that is far below where you are. Yes, you may have to play the game of “sole-man” for a bit to regain a sense of your “soul-man” in earning a living in this anti-aesthetic world we live in. Wisdom, beauty, arts, spirituality are rarely rewarded and often fought. Still, just keep putting it there anyway. Someday, they'll catch on.

But, I didn't mean to get off on a rant . . . back to your email . . .

You know, when you moved to L.A. it is possible you may have been unconsciously seeking a greater “environmental challenge” from where you were before. I know that too much “challenge” can overwhelm; too little can drive you up a wall, but you've survived and are now in a better mental state than when you started. In my humble opinion, it is exactly what the Dr. would have prescribed had he been consulted.

To extricate yourself from the sticky tar-like experiences in your recent past, like driving your four-wheeler through the car wash after an afternoon of splashing through the mud, it is refreshing to realize that you have bested what the environment has thrown at you . . . and you survived! And now, armed with the knowledge of the experience, are far better equipped to handled future challenges . . . which will inevitably occur.

HOW TO BOIL A FROG - PART ONE (an expose' on economic seduction)
by daniel w. jacobs

I’ve been mulling over a theory that I have called, “Economic Seduction.” I liked writing about the concept, but the title sounded all too professorial, which I am not. So, I ended up with “How To Boil A Frog” which gives the subject of the essay a well-deserved intention of irreverence.

In any case, I thought it might be of some slight interest, so here it is.

The concept is this. We’re going along . . . self-sufficient, self-reliant, helping our neighbors and ourselves as best we can. We were happy enough, productive and surviving fairly well with our individual rights and liberties safely guaranteed . . . thank you just the same! The government was there to “help” us if we really needed it but stayed out of our way if we didn’t and mostly we got along fine.

Then, when we weren’t looking a very strange thing happened. It’s akin to the story of how to boil a frog, and in case you don’t remember, the story goes like this.

If you throw a frog into hot, boiling water, he will jump out immediately! But, if you put him into cold or lukewarm water, he will stay there. Then as you gradually raise the temperature, he becomes comfortably accustomed to the heat and will not jump out, even when it is boiling. In fact he will stay there until he becomes a boiled frog . . . willingly! And without resisting. And unless something changes, we could easily share the same fate.

We all got sold this bill of goods, (willingly, or at least unknowingly) that if we went along with the higher taxes solution to everything, then the government could and would do more to help us. If this had happened all of a sudden, like being thrust into boiling water, none of us would have gone along with the taxation rates we’ve now grown accustomed to. But like our friend, the frog, we have become accustomed to it and do little except complain. The way this was accomplished is interesting.

EMERGENCIES

Usually it was precipitated by some real or fancied “emergency” situation that no one could really argue with . . . like a war or something equally bad like a natural disaster. Then, while we weren’t looking, somebody was turning up the heat by increasing taxes to pay for all this. And as if that weren't bad enough, the idea of giving up some of our “inalienable rights” now seemed somehow understandable and acceptable under the circumstances, right? Well, okay, maybe just until the “emergency” was over. Seemed innocent enough, so we went along with it. Now the first step of the seduction had been accomplished, with our tacit agreement. The water did seem a little hotter, but we got used to it . . . and now the plot thickens.

Eventually, the war, disaster, or “emergencie du jour” comes to an end with a whimper or a bang and life goes on. But somehow, those pesky taxes seem stay the same as now some new emergency appears that also can’t be ignored. We dismiss the thought (as too incredible to be believed) that someone could be actually creating emergencies to distract us from what they were really up to. Further, everyone seems to have grown used to getting along without all those individual rights, so they don’t ever get restored either.

The attention gets shifted to helping out the poor or less fortunate for who would argue with that? And of course the government, being the only entity big enough and strong enough to accomplish this, ends up running the show. Soon, we have floods of entitlement programs, welfare programs and hand-outs galore and it seems everyone was on some kind of government payroll or entitlement program or at least wanted to be and hardly anyone notices that the heat just went up a couple of more notches.

To cut to the chase, we end up with generations of welfare addicts who have become hooked on, “the government will do it for me.” An addiction as dangerous as any drug, fixating attention, commanding thought and directing actions only toward the goal of obtaining the next hit.

At the higher income strata, we have individuals and companies feeding at the government trough growing fat and lazy with their newfound wealth, gradually eroding any individual thought and ingenuity. It seemed so innocent and helpful at the beginning but now at the end of the day, this economic deception and manipulation is nearly complete. We’ve been had!

Those hardy individuals, self-reliant and self-sufficient with character built from honest, hard work will soon be an endangered species if we continue to be seduced in this way. We’re giving away our rights, our privacies and our freedoms in exchange for what? An easy life? Money for nothing? A free lunch? No . . . sadly we’re trading our most valuable freedoms in exchange for a life of slavery! We are now owned, lock stock and barrel by the powers that be, in charge of handing out the dough . . . the water is now boiling and we stand by indifferently, thinking we can do nothing about it.

Just when you thought it couldn’t get any worse . . .

THE KEYS TO THE KINGDOM

A well-known fact in international banking circles is that you can let anyone run the politics of the country. As long as you have control of the economics, the money of the country, you hold the keys to the kingdom as you have all the power.

This is the game being played and we’ve damn near lost before we even knew there was one going on. (We were too comfortable soaking in the economic hot tub of easy money to even notice) Now, once we’ve given up our rights and they’ve got us all hooked on entitlements, what do you think is going to happen?

Inevitably, they are going to pull the plug or somehow shake up the “feeder-line” thus threatening your survival and you grimly realize they could take you off your life-support on a whim. Again, some created emergency will precede this and “explain” why this is all happening now. (The spin-meisters will have a field day with this)

Suddenly, you start to feel just a bit “spinny” like someone just pulled the chair out from under you. Frantically you search for something that will restore your life of ease. You’re willing to do almost anything to get back to that safe, secure, worry-free life you thought you had. After all, when you’re in the cage, depending upon the breast of “momma-government” for your sustenance, you’ll give up almost anything for your next “fix.” And you become even more susceptible to the next bit of entrapment slowly sliding into place.

THE FINAL STEP

The final step is accomplished by the implementation of a program designed to “expose” those few still believing in the value of individual freedoms, liberties, and rights as “enemies or traitors” to the common good. Now, anyone who starts beating the drum for less government, more individual rights, privacy or liberty is seen as your “enemy,” as they seem to further threaten your supply and your apparent life-line.

For example, the person who doesn’t want to live on credit and be owned by the bank is looked upon as “odd” and out of touch with society. The individual who likes the “cash and carry” method of handling purchases is viewed as “money hoarder,” probably with terrorist connections and therefore dangerous.

In short, anyone still believing in individual freedom tends to threaten your dull and doomed existence and is regarded with disdain at best, hatred at worst. (The sound and heat of water boiling ever more vigorously becomes harder and harder to ignore)

We have now become the “boiled frog” . . . willingly, if not knowingly. And the economic seduction is now complete.

We now vigorously demand that we have the RIGHT to be fed and cared for by the government. In fact, we rebel if the government for some reason decides NOT to care for us and feed us. We will even revolt for the privilege of being ruled and enslaved by the government. And all we had to do was give up our personal sense of worth, our dignity, our individual rights, our liberties and our freedoms. Not all that bad . . . or is it? Where does this all lead anyway? Lets take a gander and see what our future might hold.

Well, unless there exists some individual intention and effort to retain or regain our freedoms, we will have lost what we always considered most dear . . . our own sense of worth.

It is now obvious that rewarding people for doing nothing ultimately reduces individual initiative and resourcefulness creating a welfarism of dependency upon something other than oneself. The result is that the torch of “freedom” will have been nearly extinguished and replaced by the domination and dictates of the state.

Freedom was once the battle cry that established our country, a cry that echoed around the world. America was held up as beacon in the darkness as proof that the spark of freedom did still exist. It still does, but it is rapidly growing more and more faint. In two hundred years or so, American culture has just about taken over the world. Peoples around the globe love our Coke and Pepsi, our Levis and McDonalds hamburgers. But like a company that has long since run out of cash, the concept of freedom is “running on fumes” or even worse . . . the memory of what fumes used to smell like!

However, there is still hope . . . however slight. For the true source of freedom, the individual and his or her sense of worth and individual identity never really gives up. The spark of life resides in free will and power of choice. Though fought and overcome by the slave masters, it yet lives on to fight again. It never really dies.

Free will, if acknowledged, nourished and held in high esteem will grow stronger. Almost magically it comes to life when fed even the smallest bit of hope. And happily, it is infectious and is easily passed on to others.

It remains that it is the individual, not the group, who can accomplish this resurrection of the will. There are many that have not accepted the slave-chains of government subsidies and are doing what they can in their own areas to regain the freedoms that have been lost or retain what little is left. Others know they should do something but never seem to get started. They are stuck with this vague anxiety that things are not right but don’t know what to do about it. In the end, there is really only one person we can turn to for help.

This person has a face that looks back at you from the mirror every morning. This is the one of whom you have to demand action. There must be a demand for improvement before any meaningful positive change can begin. It is up to you. Speak up! Communicate in whatever form, by whatever media, as it is the one freedom we still tenuously hold on to. Do what you can in your own area. Use it or it will be surely lost forever!

Only by constant vigilance against tyranny, raising an outcry against oppression, exhibiting a willingness to speak out against attempts to further erode our liberties, rights and freedoms . . . will we find a way to avoid the outcome of sharing a warm bath with our friend . . . the boiled frog.

The choice is still yours . . . at least for now.

WILLINGNESS TO BE RECOGNIZED
by Daniel Wright Jacobs

Note: The following letter was written in response to a request for me to review and critique a singer/songwriter under consideration.

Here is my letter:

Dear E.M.,

Well okay then!!! I think you’re on to something here.

With the proviso that I’m an expert or experienced listener for this musical style, I'll give you my overall opinion as a musician/producer/reviewer.

Her voice caught my attention from the first note, peaking my interest and desire to hear what was coming next (always a good sign). Then when she actually did deliver something of substance and vocal depth within a very short period of time, I began to relax and gradually was seduced by her sound and enormous talent. More importantly, the message of the song (a factor of the songwriters’ words and the vocalist as the carrier wave of that message) came through, was received and did create an emotional impact on the listener in my case.

To take this a step further . . . as I have stated in other writings, the most valuable commodity any artist can have is the willingness to be recognized.

To be willing to stand emotionally naked in front of an audience and expose your innermost feelings and emotions and still be and sound like yourself takes great courage. Only the strongest possess the ability present their message openly by not hiding behind a veil of technique as a substitute for substance.

Further, it is an elusive and somewhat counterintuitive element in that you can’t fake it. It’s either present as a natural consequence or it’s not. The more attention you put on trying to “be sincere” the more it sounds artificial and shallow. Artistic fads, fashions, gimmicks in current vogue will not provide any access to this ability.

The willingness to be recognized is a factor of having lived through whatever life throws your way yet maintaining a sense of your own personal identity and character, personally, musically and artistically in spite of everything. It’s simply having the strength to be there and communicate from the heart, letting others hear what you have to say . . . no matter what.

This song, “After Coming All This Way” (I assume penned by you, a great song by the way) contains a universal message, yet it deeply personal (a winning combination in my mind).

Perhaps it is as the title suggests, but for me personally, that was not the emotional hook that grabbed me. The message of the song for me was
" . . . Maybe you're not strong enough to let yourself be loved."

This then, relates directly to my statement above, as to “let yourself be loved” requires a willingness to be recognized, doesn’t it? To me, this message is without borders and something that will resonate with a broad listening public.

I think people need to hear this message of this song and this artist. Your role is to provide a musical means of conveying this message that allows it to penetrate, contact and impact the individual in this culture saturated with sounds without meaning substituting for music.

Best,

Dan J.

WRITING: ON GROUPS
by Daniel Wright Jacobs

NOTE: this is an email I wrote to a friend (and one of the best jazz trumpet players in the world). It contains some remarks on groups that might be of broader interest so is included here. - Dan

Greg,

Sure, lets get together again sometime. Glad to hear that you're enjoying some happy times . . . guard them jealously as they are the treasures you work for! And to unashamedly mix a metaphor, it just may be possible that some old, familar thorn in your side has finally bitten the dust.

Regarding your comments on groups, it is my experience that setting out to handle the political elements of any group activity is adventurous indeed and fraught with peril fo' shizzle!

Carefully tread these grounds that are strewn with hidden land mines and traps. Constant alertness is the key.

All groups are aberrated . . . some just less than others. This is especially true of any groups involved in the arts or aesthetics, quadrupled in intensity when the group has achieved some kind of fame.

Here is a somewhat pithy quote I wrote some time ago that might apply to the immediate situation if you can get your wits around it:

"The power of the group stems from the individual. The power of the individual stems from the group." – D. Jacobs

Think about it a bit.

Give me a call and we’ll talk when you get back from “across the pond.”

Dan Jacobs

QUOTE: POWER & the GROUP

The power of the group is the individual.
The power of the individual is the group.

– Dan Jacobs

JAZZ IMPROV INTERVIEW WITH TRUMPETER DAN JACOBS
January 2005

JI: What is your most important discovery as a working musician in Los Angeles?

DJ: My close friend Bobby Shew, definitely one of the “A-list” trumpet players internationally, gave me this tip when I first came to Los Angeles. He said, in the music business, people would rather work with musicians they like to be around and can get along with. He went on to say, of course it is vital to be able to perform competently and professionally, but given a choicewith all other things being equal...people would still rather work with their friends!

On reflection, the simple and now obvious truth of this statement made all the difference in my career. Further, it put things in perspective for me in a way that nothing else had done up to that time. Yes, I had been trained and experienced as a trumpet player for years before, performing with all types of musical organizations from small groups, big bands, rock opera, road shows, etc., and getting gigs had always come easy for me. But, I never really examined why I got hired, thinking it was only because of the way I played. I now realize that actual performance is only part of the picture. Being able to get along with people you're working with is the other side of that coin. After all, the people you're playing with or hanging around with during the breaks are able to make the gig a pleasurable experience or something quite the opposite.

A recent experience might help to illustrate this point. I was hired to produce an album for an artist in another city. Though I had performed there before, when I needed players to work in the studio, I called upon my old friend and top studio player to get names of other guys to work on the project. He told me, “Lots of guys could cut this gig, but get this guy because he can play anything and he's fun to have around.” He was right! I did hire the guys he recommended and was happy I did. Now, they are also my friends and they would be my first choice for any future project.

JI: How has working in the music business affected your life?

DJ: To begin, I read something by a famous producer that clarified this area for me. He said, there are two words in “music business,” music and business! You can't completely separate them and remain viable. Unless you know something about the business side of music, in addition to the fact of creating music, you'll run into difficulties unnecessarily. There are lots of books on the subject, seminars you can attend and other sources for information on the subject so that you can easily get a working knowledge of the area. These days, there is really no excuse for not having at least some working knowledge of the business side of things.

I've got musician friends that simply don't want anything to do with the business side of music. They have dedicated themselves to being a player and that's all they want to be. Admirable though this may be, it also is a limiting factor in my opinion. I was lucky enough to enjoy not only the creation of music but the production, marketing and promotion of it as well. Having produced over 30 albums, I've found that it requires 100% of your time, attention and dedication to create a professional musical product suitable to offer for sale-and another 100% of your time, attention and dedication to market and promote it successfully. This is where the “music business” operates. And you need to know something about it even if you can't stand doing it yourself, so you can hire competent people to do it for you.

For myself, I consider that I've got the best job around; to be able to do what I love every day, whether in creating a musical product or in creating a way of reaching the public through marketing and promotion. None of this is work to me. It's fun! Perhaps it's because I enjoy every step of the creative process from conception to finally completing a project and getting it demanded and sold to the public. Whatever it might be, when I'm able to make use of my musical skills and combine that with my experience in the business side of things, I find that things go easier and life is much more enjoyable.

JI: What kinds of encouragement did you receive growing up, and what was the environment like that led you and your two brothers to pursue this creative path?

DJ: With my two brothers, Chuck and Rod, I grew up in a very musical family and received ongoing encouragement in any musical pursuits from parents, friends and relatives as a normal part of my life. Everyone expected that we would follow some sort of creative musical career path, as it was so much a part of our lives from a very early age. Our family band, including me on trumpet, Chuck on bass and Rod on drums, our mother on piano, our sister on clarinet, and our “other brother,” Rick Culver, on trombone, won local and regional contests from the start, resulting in performances around the Midwest at any number of shows, concerts, misc. gigs etc. These experiences lead to all of us becoming seasoned performers in addition to being competent instrumentalists. To some degree we became involved in the “entertainment business” in addition to the “music business” as a result of these experiences. From this, I figured out that: a) all practicing was done alone and was for my benefit; b) rehearsing was done for the benefit of the group; c) that the performance was for the audience! And that concept stays with me to this day.

JI: Tell us about the concepts you had for creating the music on your two albums Jazz Standard Time and your recent release, “Blue After Hours”

DJ: The question is best answered with this short story that my wife, Myrna, wrote around the time that “Jazz Standard Time,” was recorded in late 2001: “One day on a rainy Paris afternoon, over a cup of espresso, Dan, the oldest of the three brothers, decided it had been long enough without a 'Jacobs Brothers' CD. The idea was then born to just set a studio date, have everyone show up, then figure out where to go from there! So, that is what happened. Chuck showed up with his bass, Rod set up his drums Randy Dorman, was there to play guitar on the project and Dan on trumpet. It was early in the morning and they set up and began to play. They played, improvised, and tried new things, each adding their own special influences. It was loose yet disciplined by experience and professionalism. Music is best played that way and it turned just how Dan envisioned. Everyone had fun, had something to contribute and left wanting to do it again.” And, it turned out to be a very popular CD.

The second project, Blue After Hours was conceived one evening when my wife and I were listening to some jazz during dinner. We got the idea of producing a project that was deeply personal and yet universally acceptable. We decided to try to capture the unique essence of a live jazz performance in a club like Caveau de la Huchette in Paris, Bakers Keyboard Lounge in Detroit, or the Blue Note Jazz Club in New York. It's that feeling you get while experiencing an exhilarating night of listening to jazz, where you're transformed by a club full of strangers united for one common aesthetic purpose; the smells and sounds of people, smoke, booze and jazz; the feeling of being crowded around a small, well-used table in front of the bandstand at any one of a thousand small jazz clubs around the world being pleasantly seduced by the sounds of live jazz being played in the environment in which it was born.

We wanted the CD to stir old memories of some of those times in the past...or let the listener imagine what it might be like to experience it sometime in the future. That was the birth of the concept for, Blue After Hours now released and available worldwide. From initial feedback and media reviews, we accomplished our objective with this project.

JI: How has your playing and overall perspective grown as a result of the two jazz albums you've recorded, “Jazz Standard Time” and “Blue After Hours?”

DJ: My appreciation for all the “invisible” steps that have to occur for any project to be released has grown tremendously. What you see and hear at the end is the finished product, but what you don't see is all the other things that have to be done expertly for the final CD to reach the listener with the level of quality that was envisioned. I've also learned that seeking only perfection is a trap. This is because as you get closer to perfection, your skill and awareness inevitably get better and you now see how it could be improved even further. You have to learn when to call it done. And when is that? In my mind, any work of art is done when the technique involved is sufficient to touch the listener with the intended message.

I feel that works of art are experienced by people; they are heard by people and felt by people...not just for a small clique of insiders. I've always thought that the message of the music was more important than the technique used to accomplish it. If what I'm playing doesn't touch people, to me it doesn't matter how much technique I display. I'm convinced the reason for technique is to help facilitate the delivery of my message, which is always more important to me. The focus of my playing is to do whatever is necessary to reach people, to touch them with my music. Everything else is secondary in my opinion.

JI: What were the jazz recordings or performances that you first heard that inspired you to develop your improvisational skills, and what kind of feeling did you get from those?

DJ: I first heard Louis Armstrong shortly after I began playing trumpet. I got to meet him twice after the concerts and two things stuck with me. First of all, he was a consummate entertainer and was also a phenomenal musician. He was really the first one of his stature that I'd seen who was competent and comfortable in both areas. As a player, his tone, phrasing, dynamics, sense of time, note placement and ability to always swing made him the ideal performer. And as an entertainer, he always seemed to thoroughly enjoy playing for the audience. Like all the really top performers I've played with over the years, from Woody Herman and Mel Tome to Linda Ronstadt and Kenny Rogers, they all made you feel that this performance was just for you!

The next jazz recordings that really turned my head around were the Stan Getz/Chet Baker Quartet records of the '50s. I had never heard anything like it before and it definitely touched me emotionally! The tone of the Chet's trumpet and his sense of harmony and phrasing were and are pure aesthetics to me. I practically wore the grooves of that LP down to nothing from listening to it over and over. Miles and Kind of Blue and subsequent albums also opened more musical doors for me. Both of those records inspired me to further develop my improvisational skills to be able to get out of the horn what I was feeling inside. Since then, I've listened to and studied not just trumpet players, but all types of music. I've found that any great music will reach me, sometimes in profound ways.

JI: Who have been some of the most influential musicians in your development, and what specific ways have they impacted your music and artistry?

DJ: From my viewpoint all current trumpet players owe a debt to the great players who paved the way; Louis Armstrong, Bix Beiderbeck, Dizzy, Clifford, Kenny Dorham, Chet, Miles, Blue Mitchell, Freddie, Woody Shaw, Tom Harrell, Wynton, Enrico Rava, Randy Brecker, Bobby Shew, Nick Payton and too many others to mention. Each contributed in their own way and they all have and are continuing to contribute to the development of jazz trumpet specifically and the art form generally.

JI: Could you share some of your perspectives about learning how to improvise and the process of improvisation?

DJ: At twelve years old, when I started playing trumpet, I was able to improvise before I could read music; it just came “natural” to me so then I had to backtrack and fill in the technical gaps from my early training. Primarily, I concentrated on learning the melody to the songs I was playing, as I was the lead instrument in the band. Consequently, my soloing was mainly melodic interpretation in the beginning, but, as my solos made sense in that context, it gave me the confidence to continue developing my skills and competence. At that time, I was playing mostly standards so I began to learn the words to the songs, too.
This exercise helped me tremendously as it gave me a “connection” to the songs that showed up in my solos. Later, as I learned more scales and alternate chord changes I would think of my own melodies, write them out to practice over the chord changes to the song. This too, was a “rapid-launch” method to gain confidence and certainty in my improvising that I would recommend to anyone. When I was coming up, there were always jam sessions and places to play jazz live. So, I took advantage of this and sat in wherever and whenever I could. This gave me some great exposure to better players resulting in lots of growth for me personally.

My perspective on the process of improvisation in general is basically simple. Improvisation means to create spontaneously and play what you hear naturally. In the beginning stages of learning about improvisation, I feel it is important not to edit yourself too much. Just get used to hearing a note or phrase in your mind then try to play that same note or phrase with your instrument.

The old saying, “strive for tone” is still the most important part of improvising in my opinion. Never compromise speed or range for sound. Your tone or sound is the most personal and identifying characteristic of your playing. It is your musical identity and it's who you are on your instrument. Listen to players you like. Emulate those that inspire you. Don't worry about being perfect before you start. Be willing to face up to and work on your weak areas when they show up. Practice them until you don't have to think about them anymore. Listen to players that have come before you. There is nothing wrong with imitation especially in the earlier stages. Your own voice will develop

“I believe that artists are arguably the most valuable people on this earth. For they seek to inject the culture with all the art, beauty or aesthetics you find on this planet. Without the working artist, the world would not be as livable, and, I'm proud to be counted as one of them.”

naturally if you are playing what you hear. Persistence, perseverance and patience are the keys to competence in mastering the art of improvising.

JI: I've observed that two diverse approaches often influence or tug at the direction that trumpeters focus on-the amazing technique of Maynard Ferguson, and or the depth of content and unique sound approaches of Miles Davis, Clifford Brown, and Freddie Hubbard, among others. Could you comment, and discuss the temptation to focus on or be drawn to technique over the music itself that some artists experience.

DJ: Back in 1971, I was given a wonderful article discussing the relationship between art and communication. At that time, I began to really take a look at what was going on with technique, content, sound and the musical experience itself. I relied on my old, dusty dictionary to find that technique is simply the procedure, skill or expertise in handling something, like an instrument or a voice. Art, on the other hand, is usually defined as the creation of some beautiful or thought provoking work, as in music, painting or writing etc. So, I puzzled, how much technique do I need to get my musical message, (which can be any feeling, sensation, desire or anything else) across to the listener and make it a desirable artistic experience at the time? It was clear to me that technique was just a tool to help me reach people with my music and to touch them emotionally. It is there to push the idea forward and give it the power and punch to impact the listener and the audience. Seemed simple enough, I just had to keep my priorities straight.

“The old saying, 'strive for tone' is still the most important part of improvising in my opinion... your tone or sound is the most personal and identifying characteristic of your playing. It is your musical identity and it's who you are on your instrument.”

The message, the idea...was dominant! As long as I remembered that the purpose of practicing technique was to get my message across more effectively, I was okay. And if I started working on technique only for its own sake, I knew I had fallen off the rails. And, significantly, I began to make rapid progress in finding my own musical voice at that moment. I knew I wasn't going to be the new Maynard, Miles or Chet because even at my best I would only be a copy of them. I discovered that the more I trusted m