2. music
  3. 158037-2248

What makes for a "good" musician?

Different musics require different skill sets, some technical, some not. In a lot of discussions about the talents of musicians, I hear talk mainly in terms of technical ability. I just watched today’s Leland Sklar YouTube video (he posts one everyday), in which he talks about playing "for the song". He recounts a story told him by the famous Hal Blaine, who in the 1970’s had a live gig in Santa Barbara. Hal says that during the set the young bassist was waaay over-playing, showing the world how good he was. After the set the bassist asked Hal what he thought. Hal’s response was: "I think we need a bass player."

There is an alternative view of musicianship, one based on how "musical" a musician is. What makes for musicality? Very simple: playing what the song asks for. Very subjective, right? When John Hiatt was given carte blanche in the choice of backing musicians for the recording of what became his Bring The Family album, he chose Ry Cooder, Nick Lowe, and Jim Keltner. Why were those his choices, rather than a guitarist, bassist, and drummer more renown for their technical "chops" (not that those three are exactly slackers ;-) ? Their musicality. John’s a songwriter, and he rates musicians by how well they play songs, not by how well they merely play their instrument. Those two are NOT synonymous.

But musicality is more than just that, as important as that is. It is one’s basic musical sensitivities, even in regard to the song itself. Example: The first version of "That’s How I Got To Memphis" (a great, great song) I heard was that of Buddy Miller. Listening to his version, you hear why Emmylou Harris has for years employed him as her guitarist, harmony singer, and bandleader. I’ve recently been listening to every available version of the song, including that of the song’s writer, Tom T. Hall. But it wasn’t until I heard a live version (from an old TV show) sung as a duet by Marty Stuart and Bobby Bare, that I realized: both Marty (and his great band The Fabulous Superlatives) and Buddy made a somewhat subtle change to the chord progression on the last line of the final verse ("forgive me if I start to cry", right before the last chorus), inserting a "passing" chord between Tom Hall’s "as written" first and second chords.

Inserting that passing chord required no technical playing expertise, but it did require advanced musical talent. It’s not hard to play, it just SOUNDS cool. That’s the musicianship I listen for.

128x128bdp24
cd318
2,636 posts
 
I know a couple of guitarists and can’t understand why they get obsessed about the technical side of their playing. It’s a shame but they're very hard on themselves and rarely seem satisfied with the accuracy of their performances.

I sometimes try to suggest they could, in the words of Bruno Koschmider, to simply "Mach schau, mach schau!"

So far my words have fallen on deaf ears despite my protestations that 99% of the audience, myself included didn’t notice or care about any minor technical fluffs.

I’d much rather be entertained than bear witness to some bland lifeless technical masterclass.

It was often said the Beatles weren’t great musicians but who cares? There’s literally thousands of great technicians out there, but nobody cares because it’s only the music that matters.

It either connects, or it doesn’t.
tgrisham
1,291 posts
 
Thank you all for your answers. It’s a great question and I think one that differentiates between audiophiles and players. They are not mutually exclusive but rare. As I have transitioned from audiophile to musician I see the difference. As I grew up I noticed the difference between players. Leland Slkar is one of my heroes. He played exactly what was right for the song. Paul was not a virtuoso bass player but was tuneful and played exactly what was perfect for the song. Nicky Hopkins was chosen because he knew what to play exactly when the song needed it. Same for Billy Preston, Lyle Mayes, and many more. Not many of those players around today. I miss them. Keep ‘em comin’!  
bdp24's avatar
bdp24 OP
9,395 posts
 

The late Danny Gatton (himself a virtuoso guitarist) to his new drummer, after the first set of the night:

Danny: "Hey, ya know all that fancy sh*t you play?"

The drummer: "Yeah."

Danny: "Don't."


@frogman, you're Miles' quotes are what musicianship wisdom is all about. By the way, when The Band played The Hollywood Bowl in 1970 they asked Miles to open the show for them. Miles' drummer Jack DeJohnette had worked with pianist Bill Evans, a favorite musician of Robbie Robertson and Garth Hudson. Jack and Band drummer/singer Levon Helm became lifelong friends, and Jack includes The Band's "Up On Cripple Creek" (did you know pianist Richard Manuel is the drummer on the song?) in his own band's repertoire.

DeJohnette on the Bowl gig: "We got to jam briefly with The Band---nothing formal, without Miles---and really dug their musicianship."

schubert
7,386 posts
 
Lots of things , First and foremost , PASSION !
bdp24's avatar
bdp24 OP
9,395 posts
 

I was startled the first time I saw and heard Yo Yo Ma perform live; he literally "attacked" his cello. I was not AS surprised when I saw how aggressively Elvin Jones played, but my gawd did he hit his drums hard. Made Keith Moon look like a p*ussy!

Musicians lacking confidence in their abilities tend to play tentatively, without authority. In a Modern Drummer interview, Tony Williams was asked what drummers he had recently heard who impressed him. His surprising answer was Marc Bell, more commonly known as Marky Ramone! Marc played simply in The Ramones (as the music called for him to do), but with a LOT of authority.

More to discover