[MUSIC] >> Join us as we follow internationally renowned jazz vibraphone must Stefan hears to learn about his process of creating the musical sweet portraits of the proms stefon Harris explains firsthand the meaning behind each movement of this piece and how the music came to life the opportunity to create this new composition came about while living and teaching during the time of his artist residency in a community in southwest Michigan, Stephan he runs the art of listen, this program is brought to you in part by Fontana chamber arts.

The Irving us Gilmore Foundation and by viewers like you.

[MUSIC] [MUSIC] >> When I come to a community that's not enough just to play cards.

I really want to get inside of the community and get a sense of.

>> Where people are coming from, what the local culture has become a part of it and then tell that story through music.

>> Every time we get on the bandstand.

The matter was son were playing.

It's always different.

All about listening and discovery.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> Considered one of the most important young artists and jazz by the Los Angeles Times Stefan heres fills holes around the world with his resonating by the phones.

Intricate compositions and flashy performances.

He has been nominated for 3 Grammys received the prestigious Martin Siegel award from Lincoln Center and then voted the best man, the player by the chance journalists Association.

[MUSIC] >> Great music is very, very, very deep in many ways.

And you can be a surface thing.

It could be a beautiful melody and that Mike, after some people.

But there may be more and more and more balance to it.

And I think that's what's different here is does very well.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> Stefan has played alongside some of the best jazz musicians, including Ron Carter, Joe Henderson Marcellus and Kinney Bayern.

He also leads and compose.

The score is owned by a blackout which is performed at the North Sea Jazz Festival in the Kennedy Center in Washington, D C. [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> Technically he's so fluid.

You know, you so you plays in a choreographed sort of man.

It was just fun to watch because it's got so much of what Jim Mastic skills and and his his term ends.

[MUSIC] [MUSIC] [MUSIC] Stefan and I have been performing together.

>> The last 6 or 7 years.

But at times you hear people and it's just you hear a lot of notes and there's a lot of technique and it's impressive for the first 10 minutes and then it's like okay, say something, but I felt like you saying something from the beginning.

[MUSIC] [MUSIC] >> We're talking about stuff and Hayes were talking about designation.

I'm also talking to me that he has an amazing gift to my community.

He's art to others.

[MUSIC] [MUSIC] >> Stiffen uses this gift of communication during artists residencies in communities around the world.

But the one to which he keeps returning is Kalamazoo, Michigan.

>> This small city has a diverse population that places a high value on creativity and the arts for the past 5 years, Stefan has been working teaching and living in Kalamazoo for one to 2 weeks at a time.

>> The first time that we can grow by does the what to do anything.

[MUSIC] >> So yes, so many facets.

That is a perfect season.

When I met him eye to eye in his interest to you and coming here in town as it is trying to make this one.

>> So the last time we were here, we talked about how we play our instruments.

We have to make sure that we're communicating that.

We're not just playing notes that it's always about talking to one another and the way that we speak in this art form as we just take the words away and we keep the rhythm.

We've got a lot of a little doubt, a lot of so I can talk and talk to don a lot and I could put rhythm to a lot of that and a lot to love blue dating Dustin to lead a new bill to death.

>> It was pretty cool that you can come to our school every year and that he teaches a lot of kids.

>> All I'm going to do is I'm going to ask you a question with my voice and you're going to answer me with your heart.

>> But out to blue, blue, blue, dot.

>> Food.

I'm not sure how many people think he really responded to me or did he play a musical freeze.

Many people think he really responded to me.

Many people think he played a musical phrase.

You guys have a very good years.

I learned to like talk with my insurance.

And so it makes sense the audience.

Like I said, I really like your shirt and you said to me.

>> Thank you very much.

As you say, bought up.

But thank you very much.

But but about about.

All right.

One more time.

>> He did the tension to each one of us and he helps us with what we can make better that.

Watch this.

I say.

>> Bob obama.

[MUSIC] >> And you can just see the kids connecting to, you know what that means.

That means it from that point forward.

They're going to connect to music in a different way.

It's not just the Jazz.

It's going to be all types of music because they just got in 20 minutes, something so deep and profound that's going to alter the way that they think about music forever.

>> So the >> working with kids absolutely love working with kids.

Basically I'm a kid myself.

I went when I turned 80 years old.

I'm still going to be a kid.

I don't ever want to grow up.

When I study this music, the more I look into it, the more excited I get every time I get a chance to play.

I don't take it for granted us a chance to do what absolutely love.

And I've dedicated my entire life, too.

>> It's not so much about.

>> Creating new musicians.

It's really about the arts jazz in particular, a phenomenal example of democracy there of really understanding the science of listening and respect and tolerance.

This music really teaches you to ignore things that separate you can focus on the things that unite.

[MUSIC] [MUSIC] >> All right.

We'll see you next time.

Thank you so much.

Professional office have a huge contribution to make not instead of teachers but working in partnership with them alongside them, seeing that skills as complementary because of course, what the office knows about that this up and about their own work.

And the good ones have an empathetic relationship with kids and can convey it.

[MUSIC] [MUSIC] >> Michigan Avenue.

Academy is an alternative school.

We serve approximately a 150 students in grades 6 through 12.

[MUSIC] Most of them come to us because they're socially disenfranchised and schools that they've been attending.

>> Some of them just learn differently.

Most of them learn differently to sometimes when people play together.

>> Somebody is a little ahead.

Somebody is a little behind.

So it's a special relationship.

And after a while everyone is really focused the mind of the South.

One person.

>> To have someone of stefon.

Harris is caliber visit a small school like ours is almost unheard of.

>> You've got to get that done.

[MUSIC] >> Got that.

>> I sat with the students during the performance.

And I will tell you that the they are little bits of chatter back and forth.

But it was all about isn't that awesome or wow.

Or I never realized that and they were really paying attention to the hall communication issue.

Many of our students are not listened to and they're very, very cognizant of the importance of communication.

I think that when stuff and took the time to explain jazz as a communication.

The conversation, if you will, in music that that really grabbed the kids.

They really understood.

That is.

[MUSIC] >> So now we see that there's this conversation.

We play that for so long.

That was going on the whole time.

We were talking to each other.

People.

Notice that what really gets me is the way they communicate without knowing what the other person is going to play and they play and then they apply something right after that.

It's really cool, that type of thing and go back and how of it.

>> Listening to this the most central element of music of jazz in particular because music is by my definition is simply the science of organized sound.

The first way we act interact with this stimulus is to our ears.

So before you can play anything that's going to be directly relevant.

You have to listen.

>> So you have time so you can stick around to hear what it's like to sign to soften our plan will hear a whole lot of songs and that amount.

[MUSIC] >> At the Douglass community center.

It really feels like family.

[MUSIC] [MUSIC] The thing I like about performing there and talking.

There is that there's no barrier between the stage and the audience.

>> This art form is at its best when it's really a communal setting where the audience feels like it's their music.

>> Where we don't own which is performing together energy that they give us.

>> We receive it.

We pass it back.

We share this incredible exchanging the something is very unique to the arc on the jet.

[MUSIC] [MUSIC] [MUSIC] An Albany New York with the projects for a few years and then moved around a little bit.

I had a talent for music.

Always loved it.

But it was very unfocused.

I taught myself to read music and a very young age.

So when I went to school to learn instruments at the start and 3rd or 4th grade.

I was more advanced than the other kids because I could read are ready.

So to keep me occupied.

The teachers would say we want to try to clarinet this week.

So I take declared at home and I would start playing it.

I ended up playing a 24 instruments are sent all the band instruments.

By the time I was in.

It's great or so.

And it was never really anything that was extremely structure.

And I met a gentleman named Richard Bagley and he changed my life.

He pulled me aside and said that he was going to dedicate the next 5 years of his life to helping me realize my talent and at the time I did not understand what that meant.

But he really dedicated himself to me and forever grateful and that's why I'm so dedicated to indication that they have an experience like that.

[MUSIC] [MUSIC] [MUSIC] Those are some of the great expense of value and art.

And it's not always about a child learning more about scales, a court hearing anything like that.

He's in for a large group of people trying something completely new.

>> So he's going to walk away.

I think with a little bit more confident about trying new things.

So in that instance is not so much about the music.

It's it's about the values that are intrinsic an art form.

>> What more sellers and some other artists can't school.

And the the same kind of thing.

And I I remember Hyde has such a profound effect on me.

I just think is a privilege and honor to be able to give back to the students and hopefully they have a huge effect on them.

So I really enjoy I'm doing these.

Those type of things with the students because you never know who you my sport.

You know, 1015, years from now.

>> Right.

When he added the high had it was it was so clear.

Stefan Harris also teaches master classes for music majors at Western Michigan University because he returns year after year.

He is able to help the students develop their abilities over a period of time.

>> Showing a whole other ensemble right now.

Like that's a world of difference when you come into town, we kind of like stop everything like Stephon scenario to step up and play.

[MUSIC] >> Almost every drummer.

When I first came us.

Guys don't have a simple be.

I want to talk about snare drum bass drum, in fact, get rid of your son or germany-based from take a seat right here and bring just are simple.

And we're going to work on that.

And 2 times after I came back to like, okay, I'm gonna keep saying the same thing until someone listens to me in the situation because for the drummer, if you don't have a great son will be nothing else matters.

And this visit.

Oh, my goodness.

It was unbelievable.

I could tell that every single drummer had improved so much because they had worked, Anderson will be [MUSIC] if you haven't a long-term relationship or at least one that spans years.

Then you can observe, you know, changes.

You can comment in more profound ways released maybe even just in terms of being able to complement encouraged by this is it's amazing what you've achieved from here to here and 6 months or the opposite.

>> I'm just going to beat up on these guys for today.

You're in college now.

See, I don't have to be as nice to you anymore.

>> The way that he gave his constructive criticism wasn't mean and it was very clear and concise and he told me what I needed to work and how I needed to get it done.

Don't.

>> Touch an instrument ever again unless you really need it, right because you have it in you and the more you get into the habit of just kind of playing late.

It becomes second nature for you in the next thing you know, it could be 10 years from now you're going to play like that.

If you make up your mind right now that my music is coming from here.

I'm playing I got a feeling so you say it also MS definitely his side of it is got to teams.

You have a little shift here.

You believe me at all right.

When you're talking to someone, it's you and that person.

There's no tomorrow.

There's no yesterday.

And you're right there in the moment.

So when something unique happens, you definitely store that away.

I can say something to a student and maybe it doesn't quite work.

Maybe I come up with 2 or 3 other things.

And when I hit the right note with them.

You here, a certain level of improvement.

Sometimes I tell him you just got 2 weeks better.

Even realize it understand it is a composition and is a lot more subtlety going on in there and the music can really go to a whole new level.

>> It was good to hear him say really improved the really gotten better.

You know, Stephon really makes me feel like he knows what he's talking about and he's playing, you know, plays with some of the best musicians in the world.

So the him say that it means more to me.

>> Stefan teaches your training as the foundation of musical performance and appreciation.

He explains to students the techniques he created that used the specific ways he hear sound.

>> What I do is I recognize the personality of a sound.

And then I know what Triad combination makes up that personality.

So with your training, I don't listen to intervals at all.

Like I hear the big picture.

>> The students might relate to him a little bit different kind of way because he's closer to their age.

Students should almost be able to see themselves in him and some kind of way because it's probably only a decade or less an age difference.

>> As I actually see music physically like some sounds have direction.

Some sounds actually rise from South actually squeeze some sound smile, right.

Like a sound like this kind of goes.

[MUSIC] Then you have sounds like this to have to up is like a.

[MUSIC] >> With stuff on the focus is more on the actual sound emotions that are produced by, you know, these notes that you're putting together.

>> So now I'm living in the world of emotion, not chords and scales for it because ultimately this court and skilled only mean something to you and I to to our audience.

They don't know anything about that needle care.

But they know love innovator.

>> No, it's refreshing actually was an idea that is accepted easily because it makes sense.

It's music.

You're supposed to be listening to it not reading about it in a textbook.

>> What's the closure eyes?

And you can it give me a personality description of this out.

>> Music.

Everyone who plays the music needs to be able to follow it understand it.

Listen to what's going on.

[MUSIC] Knowing all this.

You're training really helps being able to add to and listen to music and really be able to be musical.

>> And just setting described to be a person feeling, however you to suspect.

So this is 1000 messy.

Wow.

Okay actions.

Thanks.

>> I would say it was hot one.

>> It's hard to really feel it all at first really feel the rise of certain courts.

And the difference is very subtle differences.

But that comes with time and opening up here.

[MUSIC] It's alarming.

>> In one.

>> I feel that it's really clear that the people who have been involved with these lectures and masterclasses have a heightened state since of perception of what's going on.

So as you're listening to the music.

Now, I can tell that they understand it on a much deeper level.

That's incredibly gratifying.

For me.

>> This is really helped me.

A lot has been around like Stephon these past 3 years as may be totally different player used to be like this focus on playing with a slightly every change when I'm like I'm just trying to play the music.

So was his we all should be striving to do.

>> OK, so we have a room full of scientists side here we talk a little bit about the science of music.

>> Besides presenting him playing in schools and community centers stuff and also offers demonstrations to a variety of organizations and businesses during his residency.

>> It was the temple.

Just know.

Did you hear the bass player, the plates I heard and Nevada where.

[MUSIC] >> At its most pure form.

There's no separation between the artists and the community.

It's not that I'm bringing anything new to the community at all.

All that I'm doing is reflecting that it was already in the can.

[MUSIC] [MUSIC] I don't have to teach people about love.

I don't have to teach people about fear or compassion.

We all know these things.

We experience throughout our lives.

All that I do is allow people to feel it that it's OK. >> I suggest so.

[MUSIC] >> And then a little bit and then listen to that.

I say, hey, it did this, it would mean our Sara.

>> Creativity is designed to find the process of having original ideas that have value to me.

It's a very practical process which applies in any field at all.

And given that this is a world which is wholly unpredictable.

The more we can encourage accountability.

Great responses original thinking and the ability to generate new ideas for employment, all industry that I think the most secure when I could today.

So this is for me not frivolous.

This is really about an argument.

>> An enduring artists residency enables relationships between various types of community members to develop and flourish in the case of Kalamazoo, Michigan and stefon Harris, a unique opportunity grew out of the collaboration between a chamber music society, a foundation.

>> And the church we were getting ready to celebrate the sesquicentennial of the church 150 years and we decided to do a gala worship service at the end.

And the idea was to commission a piece of music.

>> My initial thought was it's a great idea because what they wanted to do in each of the movements of the sweet was that they would actually it reflects the culture religion or spirituality of different parts of the world.

>> I was there meeting about something else and we started to talk about the idea that so what should be interested in that.

>> By leasing to stiffen su Kyi.

Didn't we know where was going at first, but she wanted to do it to me had enough.

A background in us bases to to make it to make it happen.

>> So Stephanie Harris came to town and you know, didn't really know anything about people church for sure.

Much about Unitarian universal them.

>> It's really important to me that my music lineup with my philosophy.

And I became more interested in the possibilities of a jab.

I don't want to use my music to express ideas that I don't necessarily follow.

>> So he and I met a few times with some other people and began to discuss the basics.

What was this idea I had about the relationship between democracy in jazz.

>> And we got talking about love and compassion and respect and understanding.

And you know, those are things that I can get with.

>> So through these conversations.

We know both of us learned and he began to compose after 2 or 3 of these conversations and quickly, the piece he was composing became much better than 10 to 15 minutes and eventually he composed this sweet for 9 pieces.

9 musicians that took an hour.

So we we planned our our gala celebration to include the premier of this beautiful piece portraits of the prominence.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> When I come to a community, it's not enough just to play a concert.

I really want to get inside of the community and get a sense of where people are coming from, what the local culture is become a part of it and then tell that story through music.

[MUSIC] [MUSIC] >> And he's like portas of the promise.

I think that Isis, everything that we're talking that would when we identified a culture that was president to come in.

>> And we'll talk to for most.

That's the key element is has been a listen to a lot of information and then I meet a piece of music that I so was reflective of just one.

So the big difference is not it's now not the people's church here.

This piece of music and watching the concert.

They're hearing themselves, their hearing, their own aspirations, their own and distance their own philosophy manifest to use it there for.

>> They have one have just it owns [MUSIC] [MUSIC] [MUSIC] [MUSIC] the composition portraits in the promise.

There is a poem that basically outlines and words the storyline.

What generally when I write a piece of music like this all off to a diagram, not music at all to some ships in maybe titles and things of that nature.

So that is a story and piecing this composition together.

I first thought about the Unitarian church, what they represented and they represent diversity.

Primarily tolerance is one of their >> strongest actions.

The way I understand it is that jazz also has this commitment to freedom to begin with, to freedom of expression.

So each musician, first of all has to have some skill in order to be good enough to be free to explore their instrument to the range of their men to death the limitations.

That's very similar to the religious life.

You have to understand what you're capable of your capacity for good and evil.

>> As Unitarian Universalist congregation of people's church believes in the inherent worth and dignity of every person.

This is a philosophy stuff and hears embraced and explored when he composed this 8 movement sweet.

>> I figure I can go through this palm with you and I'll play the piece of music that represents each of the statements.

>> Just prior to the premiere of portraits of the promised stuff and describes his creative process in the intimate setting of the sanctuary of people's church.

>> If you saw my notebook, 20 pages of just random notes to be thoughts.

3 words, sometimes some notes.

Some musical know says all over the place and then I draw diagram for this one.

I drew in a box at the bottom of the story of one.

>> And the idea that I needed several movements and I thought about the different colors and I thought about what order should they come in.

What voices today represents outside of this box.

I would draw narrow going up and you're going to be several on this.

Like I said, after that to the beginning first.

So I make a box at the top.

What is this boxall about this is even dream and rights instances.

Well, as even stream really going to represent.

>> There are many stories in organize sound.

This one begins with a dream, a dream of a universal, even completely devoid of differentiation, even dream.

It's about a place where the individuals melody has been completely annihilated into an immutable state of harmony.

>> I spent a lot of time trying to figure out the idea of how to create the sound of unity before that was different before.

They're all these differences.

The idea that at some point we're all made of the same material before their different languages or before there are different religions where that we all start from.

So I created created a piece of music that doesn't really have a melody.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> It's really just a Sonic landscape as warm.

Not it harmonic tone, repeats and repeats and then it starts the melody.

If you call it that, it's not really a melodies, just a collection of emotions that Klein out of this Sonic landscape constantly changes in involves that it separates and goes into different movements to the law says.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> But of course, dreams do not last forever.

In fact, the only become dreams upon awakening with this first taste of sight.

A mad dash beginnings run frantic consensual.

This is a race to the self from the self culminating in pride.

>> All of a sudden everyone leaves this peaceful state were all together.

It is just no real difference.

Everyone starts looking for something.

Basically I call it a it's a run to the south because everyone thinks they're trying to find themselves are out running.

They're looking in a new place is reading this and that and out out looking West at the same time they're running away from themselves because they had it all.

All the truth is inside of each and every one of us.

>> Part of the process of creating jazz is working with other musicians during rehearsal to make the music a reality.

[MUSIC] >> I want to add a voicing right there.

This is that we have that line was Bob Bain bang bang.

>> As a bandleader Stephanie's to communicate his overall concept for the movements.

The ideas that everyone goes in different directions and find their own space.

So there's a clear he also feels very strongly in allowing his musicians to contribute.

So make a statement here and their little grumble could be tones, could be wind.

Sounds.

>> You bring musicians like Derrick Hudson, Terry and go easy.

If you're Davis all these other musicians who are really, really creative and you allowed into so ownership and what's going on.

They will feel inspired to contribute.

>> So they'll contribute really interesting things that are far beyond anything that I would have thought of myself.

>> It's great working with them.

And because as a leader, as a leader years Monday respects every member of the been, you know, he respects and he's constantly listening, you know, to not just what you do want to ban stands off the ban students who does always trying to figure out what your about.

You know what I mean.

And he respects your musicality.

What you bring to the table.

All right.

>> Some of them keep the temple just for a couple beaten, all-star still in doubt right on the eve.

We drop to the E. >> So it's really important that you don't micromanage that.

You have a very open mind and you basically experience are something that's revealed to all of us.

>> A pulse out here and there is going to take us all but not necessarily constant.

Just.

[MUSIC] [MUSIC] >> So I had to create a piece of music to head sort of a hectic feel where things were running.

People are sort of scrambling.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> Here.

We find ourselves in stained glass times riddled with stories of gold milk and honey.

>> I kind of see this as the establishment of organized religion.

We have a large variety of languages, different cultures.

Everyone's looking for love is looking forward in different languages.

So before I came up with a melody.

I just came up with a very the first few course.

Very simple sound like this.

[MUSIC] [MUSIC] I kind of have a little bit more of a classical flow.

So once I had that, I just took my time and I tried to find a melody and 1 million I found for the first partisan.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] And at that point I let the music unfold.

All I did was come up with the first part for this.

Honestly in terms of steam.

And then after that, I just let my ears go.

Let them become full.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> A lot of times what happens in music when you're writing is it's really reveal to really is you get an idea and I'd say the majority of composition least for me, I think most musicians is really listening.

It's not so much that you think of a 1000 things and you demand that this melody is this.

You wait and you you see musicians writing music can see the pictures are always doing this, right.

Because they're trying to hear it.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> And this Danny's promises of returns to even are plentiful and many portraits of the promise.

>> This one movement that is called portraits of the promise which was inspired by my experience growing up in the black church.

My mom is a a Pentecostal minister.

So I grew up around that.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> I remember those moments when the music we can really heated and people would stand up.

And it was just this unbelievable wave of passion.

>> Calling out and joy in the spirit would have hit everyone.

That was an unbelievable experience that I haven't really found anywhere else in the world growing up CNN.

This is the most amazing thing in the world.

And I needed to I wanted to figure how to capture that in music.

>> And when it reaches out more, [MUSIC] [MUSIC] >> I could hear everything else.

Haha.

>> In Trumbull.

[MUSIC] >> It gets it gets layers to that were added their voices to its continues to climb a.

All right.

Still climbing [MUSIC] everybody in unison altogether.

[MUSIC] >> It's higher than before to an even higher [MUSIC] >> up [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> deep in our hearts.

We secretly yearn for dancing moves, laughing stars and all that rain is humility.

>> For me.

I always liked reading a lot about TAOISM and Zen Buddhism reading a great book called Zen and the art of motorcycle maintenance.

Anyone know that book.

Oh, it's awesome.

And I remember reading about the monks who just had that permanent smile and that they were beyond the desire of of even the desire for love are the desire for material things.

They just were in this absolute state of peace.

So I tried to create a piece of music that drew from a lot of that.

Not necessarily in that the cultural origins.

But just the sound of a really light lilting carefree type of melody and harmony, [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] right.

Very light.

You can't help but smile.

All right.

No worries.

>> Whoa.

But trust.

There's no humility in Morris saw never too close.

You'd never too far.

This is a voice so enticing it has been said to have convinced ice that it has origins and oil.

>> Mara is a little.

I'm not sure if you would call the devil or a demon.

But when said Harts road was meditating waiting for a weakening.

There was this Mara that was trying to distract him.

So again, I went back to this idea from the earlier moving a runner.

You had this ambiguous line [MUSIC] knocking real distracting and I created again, the chance of k#*#*#* Hill during a Q a [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> the song can be as sweet as the language of the snake charmer.

It sort of represents a lot of things, but I like the image of the person who's a snake charmer on on on the street somewhere and they're just sort of planes to sort of sweet enticing dance between the snake and its and the charmer.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] So for me it's not so much organized religion.

It's more about those voices that are not a part of organized religion that may be reaching out to help people as well.

Right.

And some of them may be reaching out to hurt people.

I don't know.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> A live performance exists only in that one special moment on stage before an attentive appreciative audience.

But that performance continues to live.

That moment was captured on tape.

You can then be edited and enhanced in a recording studio with another artist.

The sound engineer in the U.S.. >> Ultimately what you're trying to do when you're mixing and capturing a recording.

If you really want to recreate what happened that evening on the bandstand.

>> And make sure when it goes around another jumping out far.

>> It's very different in a live setting because it's not quite as controlled as a studio.

So you have to deal with balancing the instruments.

It's really incredible how if you take one little change posted just a little bit.

You can make the mix more aggressive, right.

Just making the symbol a little bit more bright.

It makes the whole music feel more transparent, OK. Let's try this.

So the visor and the full rhythm section from the time.

Okay.

And not not the winds yet to see if this feels good.

So this is really, really difficult dance that you have to go through.

So as you're doing that, the ultimate thing.

If you're trying to capture is the energy of the evening.

>> So it's a really challenging process is very tedious.

But she just want to remember what happened that night and try to retreat in some.

>> So what then of the life of right and wrong.

Well, only time will tell.

For now I'll just take 2 steps back and hope to see that we are all just a small part of the story of one, [MUSIC] [MUSIC] [MUSIC] [MUSIC] the last movement which called the story of one is an attempt to show how all these different melodies that you just hurt can exist in one space.

>> I think for the members of the congregation who are here that was very important for them to meet this person and understand that he had heard these tenants.

They had mixed with his own experience and he had composed this music.

[MUSIC] [MUSIC] [MUSIC] >> What they heard them went so far beyond what he provided in the talk.

The talk was more way to get to know him.

>> And the music itself was a an experience that was experienced personally by everyone in the room together.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> As the music went on.

I began to experience this sense of transcendent moments [MUSIC] [MUSIC] where the music just took me out of this.

If I was very aware that he had capture some of these elements.

I literally could fix feel that in my stomach.

And I began to sit up more and more.

And I began to look around them and I notice that people's faces were the same.

I mean, people are on the edge of their seat.

And when it was finished.

I mean, we just bolted up over that into this huge applause.

And my my colleague from England looked at me.

He said.

>> That was one of the most spectacular things I've ever heard in my life.

>> I was looking around observing people and they were just riveted.

They were they were right living in the moment basically, which is something that's so hard to do in our lives.

[MUSIC] [MUSIC] [MUSIC] >> When they see my audience different demographics to turn back on controlled back Burns.

If anybody in the one.

I love it [MUSIC] of these just another aspect town.

We got at some point for playoff time during the concert altogether and union.

[MUSIC] [MUSIC] [MUSIC] >> I sat next to somebody had never know in my life before and I felt like in a way I was there when so when people are just kind of walking away.

Amazing says this is an amazing experience [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> I just did is I use the contest from everybody of the creek project.

>> Every time that I've been here has been amazing and one of the greatest feelings that I've had is the sense from the people around me that were really becoming the family.

I mean, if you really want to understand the history of the nation.

>> Or for society or the community.

You have to listen to music.

You have to look at these paintings have to move in the town says that before you have to read that you understand the stories they all sound incidental Ta sense of identity that absolutely fundamental to.

>> And one of the things that became even more clear to me is this idea.

Listen.

So I'm in we require we encouraged everyone to be an individual that a community can only be its best when people are their best and they have to be encourage to be their own selves.

But what it takes is the ability to listen.

>> The whole science of listening and that the most central principles with jazz before you really learn to play and put out what you have to say.

You have to learn to listen to the other people around you and understand what's being said first and foremost, so that everything that you see with your instrument is directly related to the community.

[MUSIC] >> Anything that you want to think about ultimately connects to listening the processing of the mind, the thinking, the reflecting you can't reflect if you can listen.

[MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> Listen, understand perfect one in terms of having a conversation with someone that's a critical skill.

Music is a great.

>> This program is brought to you in part by Fontana chamber arts.

The Irving us Gilmore Foundation and by viewers like you.

[MUSIC] >> To the U.S.. [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] [MUSIC] >> To order a DVD copy of this program.

Stephan hears the art of listening.

Please call WGVU at 1, 8, 100, 442-2771, for information about this or any other WGVU program.

Visit