Loving this post. I have a few thoughts on the matter, most of which has been touched on here.

I have discovered that some of the things that I enjoy most about the instrument is that it is technically challenging and allows an outlet for discovery. More recently, that's been more personal (hence the absence of FHF). I do a lot of box checking, but I do that in my professional life, a lot, and after years of doing it, I'm decent at it. I'm not sure how to turn that off as it's all a project to me...

The progress of the instrument is quite radical if you think about it. It's come a long way in 45 years, but there is much to discover in ensemble arena as it pairs so nicely with other instruments.

I do concur about Solo Stick albums - people ask me what I think and generally I say, it sounds like a Stick, good job.

What I really mean to say is - did this musical endeavor fulfill what you were looking fulfill? Was it played with passion and did it change you? If so, others might feel the same way. One of the albums that I come back to as a Stickist is Bob's Acoustick album which had a new sound for the instrument as well as some delightful originals and covers, most noticeably Howe's Mood for a day.

I've enjoyed the most recent Salvanos album and am I'm looking forward to new Rafart for sure.

Just responding to this statement. Not saying theory and technique aren't important for that, but even bands like Snarky Puppy who contain arguably some of the most talented virtuoso musicians of this generation, are relatively unknown compared to someone like Ariana Grande who is a competent songwriter and pretty good singer with a super high level production team behind her.

A few thoughts:

1. Constructive Criticism

If you post something, you can expect one or more of the following: (1) it will be ignored, (2) you will receive some positive acknowledgement/encouragement, (3) you will be criticized. If you can't handle any of the above, it is better not to post at all.

If you are ignored, understand that we are all saturated with digital media clamoring for our attention and yes, most people are going to choose the funny cat video over the song that you spent a year crafting, performing, and polishing. Maybe there is a new business opportunity in scoring funny cat videos?

If you receive positive acknowledgement and encouragement, be grateful and understand that folks have taken the time to listen to something you have created instead of the funny cat video.

If you are criticized (in a constructive way) that is best response possible for two reasons. First, you did something special enough to inspire a response. If you are being trolled (which rarely happens here), just ignore it. Second, you have an opportunity to improve or change in a way that you may not have noticed on your own.

2. Bach vs. The Ramones

Which is better? Does technique/theory trump feel/instinct?

My view is that one will always benefit from both. I grew up in the classical music world where you played what was written on the page and if it wasn't 100 years old it was crap.

I had a friend in grad school who was a brilliant classical pianist but could not write, improvise or be spontaneous at all. I have a good friend who is a brilliant song writer, probably knows 10 chords, cannot read anything, and would not know a mixolydian scale from a mixed drink. Each of these musicians would benefit from learning more about theory/technique or developing feel/improvising skills.

I agree that if you want to make a living as a gigging musician, you need to know your theory backwards and forwards. Knowledge of production/recording is a necessity if you want to go beyond playing gigs. Business and marketing skills are probably more important than both, unfortunately.

I love reading posts from all you Bach and Beethoven cats.but I'm with you,stick yourself out here and be prepared to be stoned.makes since.

...Oh yes, indeet very important questions...

... it's a free world, means everyone has to decide for himself...

Brett yes we can do better.
But I would add that we simply don’t have the population and steep history of some other instruments that are currently out there....piano, guitar etc.

We’re a very small pond. Unfortunately, I can never see the Stick entering into the mainstream populous like the aforementioned........so we are seeing a per capita level of amazing players commensurate with the number of players on the planet. You being one of them (I crept down the Bottomley YouTube rabbit hole today, good Lordy, you’re so good)

If I were to identify the current future wonderboy, it would have to be Rodrigo. He’s only been at it a few years, give him ten more.

Cheers,
Kev

Nice post, difficult to answer though...

For me is not "we can do better" but i would rather say "we can compose better"...
I´m in love of the instrument, i love the sound and possibilities but i have to confess that i don´t listen too much Stick music, not because i don´t like it, but i always try to find inspiration on something else.
But for what i´ve heard what i´m missing is better compositional level...
Many of the players i admire were not only great players but excepcional writers, to name a few, Jaco Pastorius (his second album word of mouth with the orchestra and the choir...only the first 8 bars makes me cry), Kurt Rosenwinkel (all of his albums are amazing), Pat Metheny (from his solo work to his Group) such a composer...Allan Holdsworth, Coltrane, Chick Corea, Jacob Collier and the list goes on, all of them tremendous players but more than that genius writers...and this is what i still don´t find on the Stick community, someone that reaches this level of excellence on writing.
One album that is not only based on the instrument itself but the music, interesting, sophisticated and beautiful music, as Greg said early, we dont need to proof anymore that the instrument works, of course it does, but we should focus on the music much more.
In my opinion the music is the most important thing, the instrument it´s just a vehicle for the composer...no matter how many strings it has, if you play it with both hands or with your feet...
I don´t know if this is a valid answer for your thread, this are just my personal thoughts...

Very interesting discussion! After reading through each response to Brett's original post, and at the same time being cursed with an over-tendency to try to see something from the point of view of others, I have to say that I don't know how to feel about this yet.


On one hand, it is relaxing and enjoyable to grow in a comfortable, nurturing atmosphere that we often have here. The encouraging, but sterile "sounds good" or "pretty cool" will give some of us all we need to continue to explore and flourish.


On the other hand, (Brett's hand, I guess) I have seen many athletes, musicians etc, explode into new abilities and creative thinking after being challenged from a coach or teacher with tough love. I can still remember some of the lectures from my high school football coach, basically daring us to do better. We ended up giving our utmost just to spite the guy and won a championship. His statement was intended to drive and inspire us, and it did.


Perhaps some of us should respond to Brett's post in that way instead. "We need to do better". We'll show YOU, Brett!!!


Thanks for your time. Mike

Do we need to do better? I think we can certainly do more.

With all due respect and admiration for the performers who choose to approach the instrument in this way, I really don't care for solo Stick stuff (with a few exceptions). For the most part, it neither interests nor appeals to me. That goes for most solo stuff on any instrument, honestly. I appreciate it, to be sure, but I rarely find myself choosing to listen to it. Of course that's just my taste, but I'm fairly certain that goes for a great deal - if not the majority - of the music-listening masses.

What I would like to see/hear more of, is Stick artists branching out and creating more contemporary, rock, and avant-garde music; performing/recording with other musicians and hearing the Stick in a more collaborative environment.

I have played Keys and Stick in a band for many years. One challenge is figuring out what role to assume. My band has a bass player, a violinist, and now a guitarist. There is a tendency to fill up the sonic spectrum with two hands and 8/10/12 strings. Knowing when not to play is the key (advice from Miles Davis and others).

Western music has a tendency to pigeon hole players into specific roles. Tony Levin and Nick Beggs are good role models on how to integrate the Stick into a rock band. In particular, Nick's live playing with John Paul Jones was very instructive as he took on "bass" and "guitar" roles depending on the song.