REQUIEM FOR A GUITAR TEACHER

par dh, dimanche 28 mai 2017, 15:55 (il y a 148 jours)

internet is my psychoanalist. two years ago i learnt on facebook the death of mike XXXX, a guitar teacher i had in the years 90-91. he died from a cancer of the bones, very suddently. i did not see him anymore for at least 15 years, but sometimes listened to the two records he did and also exchanged short mails with him.i would like to write a short novel about him, and my relation with him as a student, though i was probably one of the worst student he ever had. i intend to do a lot of unnessessary digressions about various subjects in the tradition of my dear montaigne and let what freud called "free associations" do the work of organizing and give a sens to these unlinked and sometimes miserable thoughs. i will use the english langage, though i dont know it well, as a volontary accepted constraint. at least i have a goal. the idea of achiving a goal (with or without suffering does not matter) is still not dead. i still emit some more or less sensed words and toughs, rather that unarticulated insect sounds like gregoire samsa. alleluhia.

during the interval between the two world wars, andré breton, the pope of french surrealism said in his manifesto for a new and authentic surrealism that the most adequat and admirable surrealist work of art would be to go down in the street, with a gun in his hand, and then shot randomely in the passing people. he did not precise if one must keep a bullet to suicid onself after. // after the twin towers drama, great composer and supra intellectual karlheinz stockhausen declared that the terrorist attack of the twin towers was : "the greatest masterpiece in all the story of humanity". // more recently, kenneth goldsmith, who is more or less to poetry what jeff koons is for plastic arts, used the legist medical rapport of a young black man killed and emasculated by police forces as a text material for one of his great performing act, which the more educated and advanced critics saluted as great objectivist poetry. //

enough for today. to be continued.

REQUIEM FOR A GUITAR TEACHER

par dh, dimanche 28 mai 2017, 16:06 (il y a 148 jours) @ dh

je serais très reconnaissant aux lecteurs anglophone (catrine ?) de me dire si on comprend un peu ce que je veux dire ou si c'est du charabia.

REQUIEM FOR A GUITAR TEACHER

par sobac @, dimanche 28 mai 2017, 20:53 (il y a 148 jours) @ dh

quel est le professeur

REQUIEM FOR A GUITAR TEACHER

par dh, lundi 29 mai 2017, 11:23 (il y a 147 jours) @ dh

in his short autobiography, which is the only book he wrote, fritz zorn makes the conjecture that the cancer he developped, and that would finaly kill him, is nothing else than a psycho somatic consequence of the congenital hatred he has for his family, his country, himself, and finaly the whole universe. he even says somewhere, if i remember well, that his cancer is the olny work he has managed to achieve in his existence. perhaps could we make the hypothesis that mike's cancer of the bones was, in the same order if idea, a consequence of his deep cold hatred against the musical industry, the producers and managers he dealt with, the music critics, and all the people that make profits with music without doing it themselves. to say the truth, mike hated nearly everybody in the modern world, at the exeption of his wife and daughter, and some very few musician friends who shared his ideas about music, art and life. he particularly hated the other guitar teacher of the jazz school, françois XXXX, which he considered as "an honnest and meritant technician of the musical thing" but certainly not as an artist worthy of the name.

REQUIEM FOR A GUITAR TEACHER

par dh, lundi 29 mai 2017, 12:53 (il y a 147 jours) @ dh

mike suffered from the lack of recognition he had, and from the fact he had to give lessons to people like me, to gain enough money to live well. being himself a perfect autodidact, he was not interested in teaching activities and thought his music spoke for itself and need no explanations. his guitar men were jim hall, holdsworth, frisell amongst others. he was a fan of the beatles, the beach boys, from which he did beautiful transcriptions for solo guitare. when i meet him, his material situation was rather good, but he seemed to believe that the relative comfort he finished to obtain happened too late in his life, like schopenauher did, because he was getting old. one day during a lesson, as we heard a particularly winded version of "blue bossa" played by students coming from the neighbour repetition studio, he said : "when i hear this music i want to shoot a bullet in my head."

REQUIEM FOR A GUITAR TEACHER

par dh, lundi 29 mai 2017, 14:14 (il y a 147 jours) @ dh

i think mike was a musician and a composer before being a guitarist. he liked better european written classical music than jazz. his technic was very original. he was left handed but played on a right handed guitar, like hendrix did. he used no pick, playing all with the fingers. he was a kind of virtuoso, but not in the usual, spectacular sens of the terme i.e. playing a lot of notes very fast like paganini or rachmaninov, or charlie parker. he did a great work on the sound he produced, the dynamics, the articulation, the harmonious proportions of the phrases, like in the perfect shapes of the ancient greek statuary. to speak about his work as a composer, i would call his music "platonician post-jazz". he was a moral man, and his music was moral, as the platonician ideas or the kantian moral law. it particularly appeared on XXXX, a composition on his first album, recorded live : no disorders, no chaos, no E7#9 chords hammered on the second and fourth time of the measure, no shreding, no technical demonstrations, but rather everything at the right place, a peacefull feeling of eternal serenity, like in an ideal and perfect rear-world, the world of the platonic essences where the good, the beautiful and the fair are the same one thing, or perhaps the garden of eden, before the original sin and the fall. one day he told me that he never used dominant seventh chords in his compositions, because this kind of chords was not pertinent for the purpose he assigned to his music. what was this purpose ? to correct, rather authoritatively, the mediocrity and imperfectness of the modern world, exactly like platon designing the laws of his ideal republic, which are, as karl popper recalls, the matrix for modern totalitarisms. mike excluded dominant seventh chords from his music as platon excluded the poets from his ideal city, as a factor of imbalance and egotism.

REQUIEM FOR A GUITAR TEACHER

par dh, lundi 29 mai 2017, 16:01 (il y a 147 jours) @ dh

during the interval between the two world wars, andré breton, the pope of french surrealism said in his manifesto for a new and authentic surrealism that the most adequat and admirable surrealist work of art would be to go down in the street, with a gun in his hand, and then shot randomly in the passing people. after the twin towers drama, great composer and supra intellectual karlheinz stockhausen declared that the terrorist attack of the twin towers was : "the greatest masterpiece in all the story of humanity". more recently, kenneth goldsmith, who is more or less to poetry what jeff koons is for plastic arts, used the legist medical rapport of a young black man killed and emasculated by police forces as a text material for one of his performing action, which the more educated and advanced art critics saluted as great objectivist poetry.

at the light of these few chosen exemples one can see how mike was offset from the post modern doxology in force in the field of modern art critic. most students at the the jazz school did not like his music, calling it boring, not exciting. the god to worship at the school was charlie parker. you had to know what he played, what he said, and the story of his life. somenone who could not play the music of parker was considered as an under-musician. mike often moked this idolatry, saying it has no sens to still play this music today. he quickly saw i could never , and was not made, to become a professionnal musician. but rather than telling it clearly to me, he wanted me to understand and to admit it by myslef. i must confess i came to loathe him at a moment, because he never did the slightest adjusting in his teaching to adapt my very low level. he thought it was up to me to adapt. the climate during the lessons became more and more loaded with frustration and despair for me, impatience then indifference for him. one important detail : i paid all the lessons for the second years in advance. so the message was clear : if my teaching style does not please you, just leave the room and never comme back, i dont care. one advice to the young novice guitar player who wants to take a teacher. dont pay several lessons in advance : he will not respect you. at the end of my third year of study at the jazz school i recieved a letter simply telling : "insufficient level on the instrument to follow the next year of the cursus".

REQUIEM FOR A GUITAR TEACHER (version finale)

par dh, lundi 29 mai 2017, 19:02 (il y a 147 jours) @ dh

Requiem for a guitar teacher

One year ago I learnt on Facebook the death of Mike XXXX, a guitar teacher I had in the years 90-91. He died from a bone cancer, very suddenly. I did not see him anymore for at least 25 years, but sometimes listened to the two records he did and also exchanged short mails with him. I would like to write what I remember about him and my relation with him as a student, though I probably was one of the worst student he ever had.
In his short autobiography, which is the only book he ever wrote, Fritz Zorn makes the conjecture that the cancer he developed, and that would finally kill him, is nothing else than a psycho somatic consequence of the congenital hatred he has for his family, his country, himself, and at the end the whole universe. He even says somewhere, if I remember well, that his cancer is the only work he has managed to achieve in his existence. Perhaps could we make the hypothesis that Mike's cancer of the bones was, in the same order if idea, a consequence of his deep cold hatred against the musical industry, the producers and managers he dealt with, the music critics, and all the people that make profits with music without doing it themselves. To say the truth, Mike hated nearly everybody in the modern world at that time, with the exception of his wife and daughter, and some very few musician friends who shared his ideas about music, art and life.
Mike suffered from the lack of recognition he had, and from the fact he had to give lessons to people like me to gain enough money to live well. Being himself an autodidact, he was not interested in teaching activities and was thinking his music spoke for itself and need no explanations. His guitar men were Jim Hall, Holdsworth, Frisell amongst others. He was a fan of the Beatles, the beach boys, from which he did beautiful transcriptions for solo guitar. When I met him, his material situation was rather good, but he seemed to believe that the relative comfort he finished to obtain happened too late in his life, like Schopenhauer did, because he was getting old. One day during a lesson, as we heard a particularly winded version of "blue bossa" played by students coming from the neighbor repetition studio, he said : "when I hear this music I want to shoot a bullet in my head."
I think Mike was a musician and a composer before being a guitarist. He liked better European written classical music than jazz. His technic of play was very original. He was left handed but played on a right handed guitar, like Hendrix did. He used no pick, playing all with the fingers. He was a kind of virtuoso, but not in the usual, spectacular meaning of the word i.e. playing a lot of notes very fast like Paganini or Rachmaninov, or Charlie parker. Rather, he did a great work on the sound he produced, the dynamics, the articulation, the harmonious proportions of the phrases, like with the perfect shapes of the ancient Greek statuary. To speak about his work as a composer, I would call the music he did "platonic post-jazz". He was a moral man, and his music was moral, as the platonic ideas or the Kantian moral law. It particularly appeared on XXXX, a composition on his first album, recorded live : no disorders, no chaos, no E7#9 chords hammered on the second and fourth time of the measure, no shredding, no technical demonstrations, but rather everything at the right place, a peaceful feeling of eternal serenity, like in an ideal and perfect backward world, the world of the platonic essences where the good, the beautiful and the fair are the same one thing, or perhaps the garden of Eden, before the original sin and the fall. One day he told me that he never used dominant seventh chords in his compositions, because this specie of chords was not pertinent for the purpose he assigned to his music. What was this purpose ? To correct, rather authoritatively, the mediocrity and imperfectness of the modern world, exactly like Plato designing the laws of his ideal republic. Mike excluded dominant seventh chords from his music as Plato excluded the poets from his ideal city, as a factor of imbalance and egotism.
Most students at the jazz school did not like his music, calling it boring and not exciting. The god to worship at the school was Charlie parker. You had to know what he played, what he said, and the story of his life. Someone who could not play the music of parker was considered as an under-musician. Mike often mocked this idolatry, saying it has no meaning to still play this music today. He quickly saw that I could never, and was not made, to become a professional musician. But rather than telling it clearly, he wanted me to understand and to admit it by myself. I must confess I came to loathe him at a moment, because he never did the slightest adjusting in his teaching to adapt my very low level. He thought it was up to me to adapt. The climate during the lessons became more and more loaded with frustration and despair for me, impatience then indifference for him. At the end of my third year of study at the jazz school I received a letter simply telling : "insufficient level on the instrument to follow the next year of the cursus". It was so depressing. What would I do in life ?
More than 25 years passed. I finally did my way and things have not turned too bad for me, although there have been difficult passages, as in everybody’s life. I have a permanent work in a library. I met the woman of my life three years ago and even began to play the piano one years ago, after all this time without doing any music. I managed to express myself in writing. I have no resentment against the jazz school and Mike. I now understand they did the best they could for me. I think the lessons of Mike gave me an experience of how to conduct if you want to make art in the modern world : be independent and gain your life ; do your thing without any concession : drink the hemlock rather than accommodate with the powers in place to gain small privileges, because then everything would become meaningless ; don’t pay attention to the critics and perseverate even if you have no success.

dh

REQUIEM FOR A GUITAR TEACHER (version finale)

par sobac @, lundi 29 mai 2017, 20:06 (il y a 147 jours) @ dh

et gadjo comment tu pénave
on comprend que t'chi narvalo

catrine, a comment ?

par dh, lundi 29 mai 2017, 21:18 (il y a 147 jours) @ dh

- pas de texte -

..why ?

par catr @, lundi 29 mai 2017, 21:38 (il y a 147 jours) @ dh

..and ..what is the purpose of this ?
is this piece of writing a simple demonstration of... ( ...) ?

..why ?

par dh, lundi 29 mai 2017, 22:12 (il y a 147 jours) @ catr

no demonstration. it's a testimony.

..why ?

par catr @, mardi 30 mai 2017, 07:49 (il y a 147 jours) @ dh

what for ?






(ha et puis à quoi bon, je perds mon temps)

..why ?

par dh, mardi 30 mai 2017, 07:54 (il y a 146 jours) @ catr

pour transmettre une expérience.

bon, tu trouves ça sans interet. pas grave. je me passerai de ta bénédiction.

(et de celle de claire aussi.)

... heu ben...

par catr @, mardi 30 mai 2017, 21:17 (il y a 146 jours) @ dh

Heu... heureusement parce que ce que je pense écrit et suis n'a aucune importance dans ton processus
(ni dans celui de personne, d'ailleurs)

et puis.. si toi tu t'envoies dans des testimonies in an-glish pour te flasher le "paraître" et l'auteur, c'est ton droit, tu es libre... non ?
bon, je vois ça de cette manière mais ça ne veut pas dire que j'ai les bonnes lunettes... j'ai p'être une lubie anti égo-trip..

... heu ben...

par dh, mardi 30 mai 2017, 22:26 (il y a 146 jours) @ catr

... heu pardon

par catr @, mercredi 31 mai 2017, 21:30 (il y a 145 jours) @ catr

"ce que je pense, écriS ..." etc..

version française

par dh, mercredi 31 mai 2017, 17:36 (il y a 145 jours) @ dh

Requiem pour un professeur de guitare

Il y a un an, j'ai appris sur Facebook la mort de Mike XXXX, un professeur de guitare que j'avais dans les années 90-91. Il est mort d'un cancer des os, très soudainement. Je ne l'avais plus vu depuis au moins 25 ans, mais j'écoutais parfois ses deux albums et échangeais de courts emails avec lui. J'aimerais écrire ce dont je me souviens à son propos et à propos de ma relation avec lui en tant qu'élève, bien que j’ai probablement été l'un des pires élèves qu'il ait jamais eu.

Dans sa courte autobiographie, qui est le seul livre qu'il ait jamais écrit, Fritz Zorn fait la conjecture que le cancer qu'il a développé, et qui l'a finalement tué, n'était rien d'autre qu'une conséquence psychosomatique de la haine congénitale qu'il avait pour sa famille, son pays, lui-même, et à la fin pour l'univers entier. Il dit même quelque part, si je me souviens bien, que son cancer est le seul travail qu'il a réussi à mener dans son existence. Peut-être pourrions-nous faire l'hypothèse selon laquelle le cancer de Mike a été, dans le même ordre d'idée, une conséquence de sa haine froide et intense contre l'industrie musicale, les producteurs et les gestionnaires avec lesquels ils travaillaient, les critiques musicaux et toutes les personnes qui font des profits avec la musique sans en faire eux-mêmes. Pour dire la vérité, Mike détestait à peu près tout le monde à l’époque, en dehors de sa femme, de sa fille, et de quelques amis musiciens qui partageaient ses idées sur la musique, l'art et la vie.

Il souffrait du manque de reconnaissance, et du fait qu'il devait donner des leçons à des gens comme moi pour gagner suffisamment d'argent. Étant lui-même autodidacte, il n'était pas intéressé par la pédagogie et pensait que sa musique parlait par elle-même et n'avait pas besoin d'explications. Ses guitaristes favoris étaient Jim Hall, Holdsworth, Frisell, Towner, et quelques autres. Il était fan des Beatles, des Beach Boys, dont il faisait de belles transcriptions pour la guitare solo. Quand je l'ai rencontré, sa situation matérielle était plutôt bonne, mais il semblait croire que le confort relatif et le succès d’estime qu'il avait fini par obtenir était arrivés trop tard dans sa vie, un peu comme le pensait Schopenhauer, parce qu'il se sentait vieillir. Un jour au cours d'une leçon, alors que nous entendions une version particulièrement poussive de blue bossa jouée par des élèves dans le studio de répétition voisin, il a maugréé : "quand j'entends cette musique, je veux me tirer une balle dans la tête", avec son accent américain si caractéristique et un air maussade qui rappelait un peu le Clint Eastwood de Gran Torino.

Je pense que Mike était musicien et compositeur avant d'être guitariste. Il aimait mieux la musique classique écrite européenne que le jazz. Sa technique de jeu était très originale. Il était gaucher mais jouait sur une guitare pour droitier, n’utilisait pas de médiator et jouait tout aux doigts. C’était une sorte de virtuose, mais pas dans le sens habituel et spectaculaire du mot, c'est-à-dire ces gens qui jouent beaucoup de notes très rapidement comme Paganini ou Rachmaninov, ou Charlie Parker. Plutôt que cela, il travaillait beaucoup sur le son, la dynamique, l'articulation, les proportions harmonieuses de ses phrases qui évoquaient les formes parfaites de la statuaire grecque antique. Pour parler de son travail en tant que compositeur, j'appellerais la musique qu'il faisait du post-jazz platonicien. C’était un homme moral, et sa musique était morale, comme les idées platoniciennes ou l’impératif catégorique. On entendait ça clairement en écoutant XXXX, une composition sur son premier album, enregistré en live : pas de désordre, pas de chaos, pas de démonstrations techniques, mais tout au bon endroit, un sentiment paisible de sérénité à peine mélancolique, comme dans un monde idéal et parfait, le monde des essences platonicienne où le bon, le beau et le juste sont une seule et même chose, ou peut-être comme dans le jardin d'Eden avant le péché originel et la chute. Un jour, il m'a confié qu'il n'utilisait pas les accords de septièmes de dominante dans ses compositions, parce que cette sorte d’accord ne convenait pas pour le but qu'il assignait à sa musique. Quel était ce but ? Corriger, plutôt autoritairement, la médiocrité et l'imperfection du monde moderne, exactement comme Platon concevant les lois de sa république idéale. Mike avait exclu les accords de septième de dominante de sa musique comme Platon avait chassé les poètes de sa cité idéale, comme facteur de déséquilibre et d'égotisme.

La plupart des élèves de l'école de jazz n'aimaient pas sa musique, la trouvant ennuyeuse et lénifiante. Le dieu à adorer à l'école était Charlie Parker. Il fallait savoir ce qu'il jouait, ce qu'il disait, et l'histoire de sa vie. Quelqu'un qui ne pouvait pas jouer la musique de Parker était considéré comme un sous-musicien. Mike se moquait souvent de cette orthodoxie et disait qu'il n'y avait plus aucun sens à jouer encore cette musique aujourd'hui. Il a rapidement vu que je ne pourrai jamais, et que je n’étais pas fait pour devenir un musicien professionnel. Mais plutôt que de le dire clairement, il voulait que je le comprenne et l'accepte par moi-même. Je dois avouer que j’en suis venu le détester à un moment, parce qu'il n'a jamais fait le moindre ajustement dans son enseignement pour l’adapter à mon très faible niveau. Il pensait que c'était à moi de m'adapter. Le climat pendant les leçons devenait de plus en plus chargé de frustration et de désespoir pour moi, d'impatience puis d'indifférence pour lui. À la fin de ma troisième année d'étude à l'école de jazz, j'ai reçu une lettre disant simplement : "Niveau insuffisant sur l'instrument pour suivre l'année prochaine du cursus". C'était tellement déprimant. Qu’est-ce que j’allais bien pouvoir faire dans la vie ?

Plus de 25 ans se sont écoulés. J'ai finalement fait mon chemin et les choses ne se sont pas trop mal arrangées pour moi, bien qu'il y ait eu des moments difficiles, comme dans la vie de tous. J'ai trouvé un emploi permanent dans une bibliothèque, rencontré la femme de ma vie il y a trois ans et même commencé à jouer du piano il y a un an, après tout ce temps passé sans faire de musique. J'ai aussi réussi à m'exprimer par l’écriture et n'ai aucun ressentiment contre l'école de jazz et Mike. Je comprends maintenant qu'ils ont fait de leur mieux pour moi. Les leçons de Mike, aussi pénibles qu’elles m’aient paru à l’époque, m'ont donné une expérience de la conduite à suivre si vous voulez faire de l'art dans le monde moderne : être indépendant et gagner sa vie ; accomplir sa tâche sans concession ; ne pas prêter attention aux critiques et persévérer même en l’absence de succès. Bien qu’à ma connaissance Mike n’ai jamais été croyant, je pense que ce passage de la bible lui aurait bien convenu : « Efforce-toi de te présenter devant Dieu comme un homme éprouvé, un ouvrier qui n'a point à rougir, qui dispense droitement la parole de la vérité. Evite les discours vains et profanes; car ceux qui les tiennent avanceront toujours plus dans l'impiété. » ( Timothée – 2-15 )

version française

par Rémy @, dimanche 04 juin 2017, 08:26 (il y a 141 jours) @ dh

Le cancer zornien te menace aussi, Denis - puissent tes sentiments pour Mike XXXX t'y faire échapper !


À part ça, ne crois pas au peintre qui rejette une couleur, ni au sculpteur qui fait des grecques sans verbaliser l'étude des proportions. Les galles d'Attis n'engendrent rien.

version française

par Rémy @, dimanche 04 juin 2017, 09:12 (il y a 141 jours) @ Rémy

En fait on ne sait pas si Denis avait vraiment trouvé quelqu'un qui partage sa folie (haine de tout et interdictions par tombereaux) ou s'il la projette sur un type compatissant rencontré par hasard.

version française

par dh, dimanche 04 juin 2017, 15:43 (il y a 141 jours) @ Rémy

oui, c'est très psychanalytique, tout ça, très eudipien.

mike dans le rôle du père effrayant et borderline ...

cécité

par Claire, dimanche 04 juin 2017, 22:35 (il y a 141 jours) @ Rémy

Mais enfin c'est terrible que tu ne te rendes pas compte à quel point cela s'applique exactement à ce que tu es en train de dire.

Tu ne te relis jamais avec ce genre de distance critique ? Après avoir vu cela se répéter sans arrêt ici ?

cécité

par catr @, dimanche 04 juin 2017, 23:08 (il y a 141 jours) @ Claire

oui hein ? je pensais ça moi aussi mais bon... des fois je me demande... (mais je fais des efforts pour "contourner" ce que je vois..)