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  1. #26

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    Quote Originally Posted by Litterick
    The appearance and disappearance of the red thing in the promotion video has made some of us suspicious, leading to dark thoughts about her integrity. For what it is worth, I think it is perfectly normal for a promotion video to be made in several takes that are spliced together. That is how videographers work. The red thing is a continuity error. Or it might be symbolic.
    The red thing did not make me suspicious of her - it made me question the skill of whoever did the editing and postproduction work. That’s a clam of major proportions, and it could have been corrected easily. I’m surprised that she didn’t spot it and ask that it be fixed.

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  3. #27

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    I would be very surprised if the video and audio recordings were made at the same time.

  4. #28
    Here we're seeing a really good example of a dynamic that pervades the world of jazz appreciation these days. Perfect product vs living process. For me, jazz, and the real excitement of it, is a process that never ends. It's full of 'bad takes', or as it's known by the players, real life. Go to any performance and there will be nods, smiles, grins...and groans, silent acknowledgements among the players that there have been brighter moments. Maybe it's the magic of the stage boundry that allows the myth of magic and perfection, but I've never known a perfect performance.
    It's a running joke with Ben (Monder) that he's never happy with what he plays. But that's part of the incentive he brings back to the practice space. What you hear from the audience and the recording is that polish. He's aware of that yin/yang of beauty and imperfection and it makes him what he is.
    I remember one night John (Scofield) was having a tough time breaking through into new ground. It's what he'd call an 'off' night, but there were no overt wrong notes, just missed opportunities. We were sitting at a table after the set and I said "Y'know the struggle is the beauty that makes it all worth while for me to witness. I get so much more from that moment it all came together on the second chorus of _____." and he knew that moment. A peripheral autograph/selfie seeker interjected at this point "I didn't hear any struggles. That was all killing!" to which Sco answered "That's what it is to be a professional."

    All this is to say, it's the videographer's gig to put something together for YouTubers to see. It's the player's job to be honest in the performance. Sometimes it's harder to be honest when you know an audience is expecting a different idea of perfection.

    I posted this thread because I heard lumps and triumphs in a player and I was excited by the courage craft and skill of her playing.
    It's jazz. It's honest. She does it well. Bravo.

  5. #29

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    Quote Originally Posted by Lobomov
    Why is that better than being open about what you're doing .. Why is hiding that you spliced a few takes preferable? I mean, even Pat Metheny at times punches stuff in when recording .. everyone does it .. Let's redo measure 12-16 was a thing back in the 70s too. Here she at least is honest .. I don't get you guys?
    I don't think we're criticizing her - at least I'm certainly not. I'm criticizing the video production because it has a grossly visible technical flaw that any teenager would have fixed before posting on social media. Technical expertise is not applied to audio editing in order to hide the process - it's used to produce the best possible final product. Why would we not expect the same quality and attention to detail in the video that we expect in the audio?

    Like JBN, I like hearing the clams and struggles in live performance. Although some are simple mistakes, many result from trying new ideas or techniques. There's a lot to learn in them for both the player and the listener. And sometimes, the playing is a window into something deeper in the player. Listen to Wes Montgomery Live at Ronnie Scott's for a great example of this. I assume you all know he had a fear of flying. As the story goes, getting to London was his first overseas flight and it was a very difficult experience for him. When I brought that album home and listened to it for the first time, my initial thought was that there was something wrong with it because his playing sounded odd. Apparently, he was really traumatized by flying across the Atlantic, and I think it's clearly coming out in his playing - the fire is dampened and he's not reaching as far or hard as usual on this one.

    Also as JBN says, it's harder for many performers to be honest knowing that the audience has a different idea of perfection. Baring the raw product is great and I'm fine with that. Heavily engineering and editing components into a take is also fine, although it often homogenizes performance by leaving out asymmetries and oddities laden with character. Every team of performers / engineers / producers / mastering lab / production facility / financier works together to put out the product they want for the purpose(s) they want to achieve. That's fine too. But perfection is an elusive goal that's even harder for a performer to approach if he or she is fearful of not selling enough copies or downloads to cover costs.

    I expect the same level of expertise and attention to detail across the board that I try to deliver myself. If you're trying to capture the raw essence of an unedited live performance, don't let a dumb video flaw distract the viewer / listener from it. If you've engineered a great composite take, don't let a dumb video flaw distract the viewer / listener from it. If you've put your heart and soul into your work and made something of which you're proud, expect others to do the same and don't settle for less.

  6. #30

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    I saw a video interview with Eleanora Strino...2/10/21 Jazz Guitar Today.

    Eleonora Strino: Today's Italian Jazz Guitar Master - Jazz Guitar Today