Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

The Art of Possibility: Transforming Professional and Personal Life Review

The Art of Possibility: Transforming Professional and Personal Life
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'. . . The objective of this book is to provide . . . the means to lift off from . . . struggle and sail into a vast universe of possibility.'
Benjamin Zander is the conductor of The Boston Philharmonic and is well known for his orchestra's passionate performances. Rosamund Stone Zander is an executive coach, family therapist, and private practitioner who brings enormous psychological perspective to enhancing human behavior. They have written a fascinating book in which they alternate as voices in sharing principles and examples in the form of compelling stories.
They have striven to make what they share ' . . . simple, not easy.' The idea is to help you create in yourself and in others 'transformational' improvements.
They share a series of perspectives designed to improve your understanding of what and where the potential is.
First, humans tend to focus on very few things, missing most of what is going on around them. By shifting focus, you will see many opportunities for the first time. Much of this book is designed to do that for you. You will visit our old friend the nine dot square and be reminded that connecting all of the dots in four lines without lifting your writing instrument from the paper requires you to go outside the box that we mentally draw at the circumference of the dots. Be careful about your assumptions! They can fence you in!
Second, measurements can cause us to focus too narrowly on where we are today and encourage scarcity thinking -- the glass is half empty. The Zanders encourage thinking about the glass as half full, citing the well-known perspective of optimism as being empowering. This can help you 'step into a university of possibility.' I like to call this pursuing the ideal practice.
Third, if you assume that people will do well and help them see how they can, they will. Mr. Zander gives every student an A in his class, and simply requests that the student write a paper to tell what they will do to deserve the A. This gets the students focused on excellence, and takes away the tension that harms accomplishment.
Fourth, as a mindset, think of your role as 'being a contributor.' 'You are a gift to others.' How could that change what you do? As someone who thinks that way now, I find it a very useful perspective, and was glad to see it in the book.
Fifth, lead from any chair. This is a reference to involving everyone. Mr. Zander asks his players to write down how he could improve practices and peformances, and pays attention to the suggestions.
Sixth, follow rule number six. That rule is to 'lighten up.'
Seventh, be present to the ways things are. Many of us are disconnected from reality. By re-touching it, we can see more possiblities.
Eighth, give way to passion. Going with your strong feelings allows you to be more authentic, and to go to new heights of accomplishment.
Ninth, light a spark. See you role as creating a spark of possibility to be lit that others can see.
Tenth, be the board of the game you are playing. This makes it easier to see how you can make a difference.
Eleventh, create a vision that generates 'frameworks of possibility' for others. Martin Luther King, Jr.'s famous 'I Have a Dream' speech is cited.
Twelfth, tell the WE story. Focus on being inclusive and considering what is best for all. Move from I to We, as the Coda to the book encourages.
Each section has exercises you can use to deepen your understanding of the principles and to help you practice, in order to create greater skill.
The principles are similar to those in many other books about improving performance and creativity. What is different about the book are the unique ways that the principles are expressed, the exciting examples in beautiful stories from music and business that will be new to you (as they were to me), and the passion with which the Zanders write. I would love to hear them do this book on an audio cassette! Both do public speaking, so you may get a chance to hear them.
Can we ever get too many great inspirational stories and reminders to live up to our potential rather than our pasts? I don't think so. This book will reignite your passion for making a larger and more positive difference. It will make you more human as you do so.
After you have finished the book, consider where your passion, gifts, and influence can combine to all you to most effectively live these principles. Consider that as a calling for at least some of your leisure time. If you are lucky, you can find some way to make that a primary calling for your working hours, as well. But find that place, and spend as much time as you can there!


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Blues People: Negro Music in White America Review

Blues People: Negro Music in White America
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This book is probably the greatest ever written on the early history of black music in America. With rare clarity and glowing intensity, Baraka traces the evolution of black forms such as blues and jazz back to Africa, and presents the reader with genuine insight into the world of the creators of these important 20th century art forms. The book is as gripping as any novel you will ever read, and also crammed with facts and mindboggling lines of thought. Anybody with even the slightest interest in modern black music needs to read this book, and consider its contents thoroughly.

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"The path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music -- through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music."So says Amiri Baraka in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls "negro music" on white America -- not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history.

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From the Murks of the Sultry Abyss (Volume 2) Review

From the Murks of the Sultry Abyss (Volume 2)
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This book is awesome but I don't understand why it is so expensive on amazon. It's half the price that's listed here if you buy it from Brandon's website:
www.brandonboydbooks.com

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From Exorcism to Ecstasy: Eight Views of Baptism Review

From Exorcism to Ecstasy: Eight Views of Baptism
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Especially on hotly-debated issues of baptism, many books claiming to be fair and balanced really aren't. This one really is. Haitch gives a fine overview (scholarly but very readable) of eight positions, from the Eastern Orthodox with its concern for exorcism, to the Pentecostal with its emphasis on ecstatic speech.
Approaching baptism as a window into different theological frames of mind, this book let me see the scriptural reasoning behind denominational differences. Equally important, it gives some reasons why baptism matters for everyday Christian life and ministry.

I found biographical notes on Aquinas, Luther, Calvin, Wesley and others interesting as well.
To quote William Placher (from the back cover): "Pastors and students wanting a clear account of the alternatives within the Christian tradition could not turn to a better resource than this one."


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The History of Jazz Review

The History of Jazz
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Anyone purportedly writing a "History of Jazz" faces a daunting task: A complex history of interwoven musical strands, the linkages and evolutions (sometimes skipping a generation), the geographic spread to Europe and elsewhere, the eventual fragmentation of jazz into diverse sounds and approaches, and the opinions of knowledgeable, rabid fans.
Ted Giola succeeds magnificently: This is the best single-volume history of jazz I've seen. While not without some minor flaws (see below), this is a comprehensive, generally very well written, and intriguing story of the genesis and development of jazz. It is a compelling story, and Giola writes without mythologizing jazz, or constantly needing to remind us that this is, indeed, art. The giants of jazz-- Armstrong, Ellington, Parker, Holiday, etc. are critiqued rather than lionized.
Giola proceeds through the now familiar African, American, African-American, and European roots of jazz that emanated first from New Orleans. He traces its developmental routes through Chicago and New York, the Armstrong solo evolution, and the diverse "territory bands" such as those of Bennie Moten and Count Basie.
Fortunately, Giola does not limit himself to a strictly chronological narrative. He interrupts the timeline with revealing excursions into topics such as the development of instrumental styles (e.g., piano, trumpet), and jumps ahead to show the impact of early influences on later styles (e.g., Lester Young and bebop). He also pays attention to cultural, technological, and economic context, without letting these subtexts blare over the music. Giola knows music from the "inside" as well as the outside, and his discussions of jazz technique and harmonic and rhythmic innovations are detailed and precise. His deconstruction of various solos and styles is illuminating: Charlie Parker's "Indiana" is a version "where almost every bar features one or more altered tones-an augmented fifth, a major seventh played against a minor chord, a flatted ninth leading to a sharpened ninth...a textbook example of how bop harmonic thinking revolutionized the flow of the melodic line in jazz." Yet Giola is also astute in directing our attention to the "core of simplicity" ...the "monophonic melody statements" in bop.
Giola's critiques of various musicians are generally fair and accurate, and he discusses the famous as well as the overlooked. Every jazz fan, however, will probably find some favorite musician given insufficient coverage, or will disagree with a Giola critique. There's no mention of Carmen McCrae, about half a page on Sarah Vaughan, very little mention of European jazz, not much discussion of Miles Davis' or Basie's later work ("The Atomic Mr. Basie," for example). For my tastes, there is not enough on Mingus' sidemen (other than Eric Dolphy and Rahsaan Roland Kirk) and he describes the Mingus Town Hall Concert as a fiasco. (Organizationally it was a disaster, but musically it succeeded.) Giola's statement that "Mingus was the closest jazz has come to having its own Ezra Pound," is baffling. To a large degree, however, these are editorial (the book is only 395 pages long), as well as critical decisions. Not everyone would agree, as I do, with Giola's dismissive statement that Kenny G. "sold over $20 million of emaciated pseudo-jazz to a devoted audience. A critic cannot and should not please everyone.
Giola commands our respect because of his thorough knowledge of jazz and its web-like variations and influences. He knows his material well, whether it's the origins of jazz or the "Third Stream" and "Free Jazz" movements of relatively recent years. I recommend this book very highly to both musician and non-musician alike, jazz aficionado and novice. You may read the book as an introduction to jazz, or to achieve a greater synthesis of what you already know. It may also serve as a springboard to more narrowly focused jazz writing, such as Rosenthal's "Hard Bop" or Lees' "Meet Me at Jim and Andy's." There is a general index, an index of songs and albums, 15 pages on recommended listening, eight black and white photos, some notes on sources, as well as suggestions for further reading. This book, and perhaps a copy of the "Penguin Guide to Jazz," could easily serve as the core of a jazz lover's bookshelf.

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