Lame return

[Eric Bolvin]

Just thought I'd vent a little on this return and see what you guys think. I usually get the nod on jazz so this one caught me off guard.

Successful Music Library looking for NU JAZZ INSTRUMENTAL ARTISTS in the range of The Bad Plus, Brad Mehldau, Medeski Martin & Wood, Esbjorn Svensson Trio, etc. They've recently partnered with a label and Music House specializing in Film/TV and Ad placements, so this is an excellent opportunity to get your music heard! QUOTING THE LIBRARY: "Matching certain genres, fitting the style of the 'sounds-like' requests that we get, and generally finding kick-@$$ songs is the primary criteria for us!" All tempos welcome for this one, but the musicianship MUST be at the HIGHEST LEVEL for this pitch. They're looking for funky grooves with SOLID melodic concepts! Remember, your tracks will be used to add energy to a scene, create atmosphere, or evoke a mood so keep the feel/vibe clear and tightly focused.

My first comment on this listing is that Brad Mehldau and MM&W are light years apart stylistically.

Here's what screener 347 has to say:

Eric, I like the intro with the quick build. The trumpet is strong and everyone is pretty tight. I like the change at 1:03 and while I like the riff at 1:45 I feel like more variation in the melody would help give the track more movement which will give the song more movement which will help it better enhance and push a scene along.

The song is Suburban Bourbon on my Taxi page.

Eb

[michael11]

Hi Eric,

I have to declare my lack of knowledge about your speciality at the outset.

BUT when it said ‘funky grooves with SOLID melodic concepts!’ I thought I would have a listen.

It’s a fantastic piece of work,it is funky but takes funk a step or two further with the brilliant musicianship,it certainly has solid melodic concepts because I listened to it an hour ago and it’s still in my head.

I am absolutely sure this piece deserves and will find a home in the fullness of time.

Mick.

BTW

I love your sign off Eb

Is that E flat?!!!!

[DesireInspires]

Just thought I'd vent a little on this return and see what you guys think. I usually get the nod on jazz so this one caught me off guard.


My first comment on this listing is that Brad Mehldau and MM&W are light years apart stylistically.

I guess the question is why did you submit to the listing if you thought it did not make sense?

[Casey H]

Hey Eric
That Screener #347 is a tough cookie!

My suggestion is if you have concerns about this return to email headscreener _AT_ taxi.com...

Best,
Casey

[AndyKotz]

Wow... Eric.

Great track. You and I should hook up (virtually). We have the same tastes in music. Check me out at http://www.andykotz.com

Anyway back to your situation. While at first I took offense to the screener's remarks regarding solo sections (solo sections!), in retrospect... I see where he/she is coming from. Your track is basically a funk groove with horn lines and solos, almost Tower Of Power-like or Brecker Bros.-ish (which is awesome BTW!) but it seemed like it could have a C-section or "bridge" (for lack of a better description) that brings it back to the A-B.

But you know what? It's your song!
AND it's jazz!! There ARE no rules... Miles Davis' "Impressions" and "So What" are 2 examples of songs with one chord!!! (modal anyway)...

But to be fair... the screener isn't criticizing your music per sé, but it's potential use in film/tv.
But then again... (I go back and forth on this $h!t), it's only a matter seconds of your track that's going to be used in a scene anyway... I don't know!!

Now I'm pissed too because I'm torn AND confused!! -- Andy

[Eric Bolvin]

Thanks all! The song actually has 3 sections (F-, Bb7 and then Db7) and the horn breakdown.
And FYI that's Dennis Chambers on drums and Jeff Lorber on organ. Still not good enough for Taxi though
And as to why I submitted; My track does sound like MM&W (funk) so I thought it was in the "range". My comment is that most jazz will fall in the range between Brad Mehldau and MM&R, so Taxi isn't really narrowing it down, they're actually saying anything goes. Between those two artists and their complete body of work lies just about anything that might be called "jazz".

Thanks to all for the listen!

Eb

[mazz]

On the merits of a straight up funk/jazz groove tune a la MMW and some of the Scofield stuff in this vein it's right there.

As to how it works in a film/TV scene, that's a completely different aesthetic and one the screener felt the piece didn't work in, at least for this pitch.

What works as a great listening tune may not work as a production music track for film/TV/media. And what doesn't work for one pitch may be perfect for another. It really doesn't matter who is playing on the track (I'm impressed, BTW!) if the track doesn't fit the need.

What dawned on me even more clearly when I was thinking about your dilemma here is how much we all need, IMO, to keep developing our pitching chops. You have great skills as a writer, player and arranger, but maybe you can't separate yourself out enough from your music yet to pitch it accurately a larger percentage of the time. I think that's one of the most necessary skills of the 21st century musician because licensing seems to be where a lot of the bread and butter is coming from for the forseeable future.

I just hung out with several composers in LA last night, some of whom also hang out here, and one of them pitches his own stuff and he has really great success with it because pitching is one of the skills he has developed to a high degree.

Keep up the great work and keep pitching. Practice makes perfect!!

Cheers!

Mazz

[andygabrys]

just my 2 cents on this:

I think your tune is great, and of course the musicianship is right there. Can't get much hipper than your lineup.

but when the a la's mentioned are all Pianists, that could mean something. And all the a la's also have some avant tendencies from time to time, some more than others. Dipping into the dirty key sounds. spicy harmonies, while still grooving. arguably MMW's stuff WITH Scofield is maybe the more straight ahead and grooving of their repertoire.

so kinda of a tough one. Like Mazz mentioned, your tune is hip, just wasn't the right fit for this listing.

[DesireInspires]

What dawned on me even more clearly when I was thinking about your dilemma here is how much we all need, IMO, to keep developing our pitching chops. You have great skills as a writer, player and arranger, but maybe you can't separate yourself out enough from your music yet to pitch it accurately a larger percentage of the time. I think that's one of the most necessary skills of the 21st century musician because licensing seems to be where a lot of the bread and butter is coming from for the forseeable future.

I just hung out with several composers in LA last night, some of whom also hang out here, and one of them pitches his own stuff and he has really great success with it because pitching is one of the skills he has developed to a high degree.

Mazz

Yes.

I am only successful because I email and cold call a ton of libraries and publishers with my music. That is really the best way to get fast results from music licensing.

Once I got past the stinging feeling of rejection, pitching to companies became effortless. The rejection is really not even important. I know that my strengths are making a lot of music and contacting a lot of companies. There is no need for me to get "better".

[michael11]

What dawned on me even more clearly when I was thinking about your dilemma here is how much we all need, IMO, to keep developing our pitching chops. You have great skills as a writer, player and arranger, but maybe you can't separate yourself out enough from your music yet to pitch it accurately a larger percentage of the time. I think that's one of the most necessary skills of the 21st century musician because licensing seems to be where a lot of the bread and butter is coming from for the forseeable future.

I just hung out with several composers in LA last night, some of whom also hang out here, and one of them pitches his own stuff and he has really great success with it because pitching is one of the skills he has developed to a high degree.

Mazz

Yes.

I am only successful because I email and cold call a ton of libraries and publishers with my music. That is really the best way to get fast results from music licensing.

Once I got past the stinging feeling of rejection, pitching to companies became effortless. The rejection is really not even important. I know that my strengths are making a lot of music and contacting a lot of companies. There is no need for me to get "better".

With all respect DI,if you were THAT successful you would neither have the time nor the inclination to be HERE.

I am sure you will correct me I’m wrong!