Yeah, Yeah, Yeahs There’s Improvisation In Music, But Can You Hear It?
Yeah, Yeah, Yeahs – Maps (Original Version)
Musical improvisation obviously cannot be limited to one particular genre of music; anyone from rappers such as Snoop Dogg to country musicians such as Garth Brooks has the ability to modify the structural components of their work as they see fit. However, these modifications differ in significance depending on the context in which they are carried out. For example, if they are performed during a recording session, listeners from around the nation all have access to the same original song. However, they may never hear any improvisations of this song, especially on a typical album where only one version of most songs makes it to the final cut. On the other hand, if the musician decides to improvise during a live concert, the only people who have access to these stylistic changes are those who attend the concert and are familiar with the musician’s recorded or “original” work.
When musicians enter the recording studio in order to produce an album, they often weather countless hours performing the exact same song until they believe they have reached a point of “perfection” in which the work is ready to be sold to the public. This “perfection” is sometimes not even determined by the artists themselves; in fact, a situation often arises in which a record label representative or producer decides which versions of which songs will rake in the most profit.
This most likely means that the final cut of each song has greater potential to simply provide listeners with more of the same music that has already been made popular by their antecedents and innovators of the past. Consequently, the public loses the opportunity to listen to each improvisation individually. One has no way of knowing if any of these lost tracks of music could possibly bring something new to the table in the music industry, namely an innovative chord progression, timbre, melodic structure, etc. The only way in which musical improvisation can be made manifest to the general public is if artists decide to remix their work, such as performing acoustic versions of songs or adding new instruments to the mix among other measures.
Although only a select group of people can hear the improvisation that occurs at a concert in person, the widespread use of the Internet allows listeners to upload videos of shows that they attend. At most concerts, musicians usually do not perform their work in the exact same manner as it has been recorded on their albums. Consequently, those who choose to attend live shows have a remarkable opportunity to witness artists as they attempt to create new musical ideas and advance our views of what we as a society consider to be “popular music.”
Once the concert ends, those who have chosen to film the show can make these improvisations instantly accessible to the rest of the world if they upload their videos to sites such as YouTube. As a result, people from all walks of life have the opportunity to listen to improvisations that may eventually help change our musical tastes if they are widely accepted by the general public. This degree of change is likely possible to obtain when the masses are given widespread access to improvisation. Conversely, recordings only allow people to consume the same version of a particular song unless artists decide to release a limited amount of remixes or improvisations on a special album.
Here are examples of how improvisation, by the band the Yeah, Yeah, Yeahs on their song “Maps”, can create noticeable artistic differences between the original version compared with the album remix, and the live performance of the song in concert.
Yeah, Yeah, Yeahs – Maps (Strings/Acoustic Remix)
Yeah, Yeah, Yeahs – Maps ( Live Footage from All Points West Festival 2009 in NYC)
Kevin Hirsh
This topic hits “home” for me. I can go a number of different directions with this one, but I’m gonna keep this as brief as possible. It is so true that all genres of music feature improvisation of some sort, which is simply a slightly different version from the original recorded version. Remixes or the live versions offer a lot more to the ear, as jam sessions (sheds) and cover versions give the listener a treat. Music fans are privileged to hear a little more somethin’ at the music festivals or concerts, at which the artists perform live, often taking the familiar tunes in a slightly different direction, something spontaneous, or even something rehearsed exclusively for the “show.” Such magical moments are not captured on the original version, but thanks to YouTube and the availability of live concerts on CD or DVD, you can get a piece of the action. Improvisation in music isn’t always about the most fantastic breathtaking solos, the fancy riffs and runs. Less is more, in some circles. For example, a simpler, more acoustic version of the Crusaders’ “Street Life” popped up on YouTube a couple years ago, featuring Joe Sample, Randy Crawford, a bassist, and a drummer – nothing more. The performance was beautiful, yet refreshing. It didn’t feature all the horns and stuff in the original studio version. The live setting was rather a relaxed one, laid back and all. Joe Sample emphasized the need for us to hear Randy “sing,” although I disagree with his statement that “they had it all wrong over the years.” Sure enough, the original version had a lot of spice, suiting the disco era of the time. It could have not been more appropriate. I guess, after thirty years, it was time for to focus on the simple musical elements, not taking away from the song, revisiting it in a rather subtle fashion. On the other hand, George Duke offered a lot more on “Sweet Baby” during the live performance in Japan in 1983 with his band, flowing from “Solo Flight,” in which he performed different musical phrases on the Yamaha CP80, from his Zappa “stuff” to other smooth progressions, to the actual song, which I found to be more exciting than the original. He showed out in the middle of the song, in which he builds and builds on his solo, with the facial expressions and all. You can feel what he feels when he plays, something you can actually see, unlike an audio recording. Even the choice of musicians can affect the flavor of the song in a live performance. In my opinion, it was all about that black girl that rocked on the drums on Michael McDonald’s live performance (Soundstage 2003). Most of my attention was on her, because she really held it down, really tight and on-point. You know how catchy the Doobie Brothers’ tunes are – to see it performed live is simply wonderful. On the other hand, Steely Dan fans seem to be very critical of live performances, as often expressed on the YouTube comments page. It seems as though most fans prefer the guitar solos on “Peg” to “add up” to the original, with anything less receiving harsh criticism. Donald Fagen and Walter Becker always experimented with different musicians, even in the studio sessions. That video about the making of “Aja” educated me about the production aspect of their music, that little tweakings here and there were effective in creating that “sound” we love to hear. In Steely Dan’s “Alive in America” live CD, “Josie,” my favorite, was performed in D minor, a whole step down from the original. I prefer hearing it (and even playing it) in D minor – very robust – a tasty key! I must say that the live version of Josie seems to be much better than the original, especially that little break (Dmin9- Gmaj7 – Cmin11) in between here and there, you gotta love it!!! The “moment” in live performance is like a precious gem, only to be caught at the right place and time, sometimes lost, never to be found again! Variety is the spice of life – when you enjoy something, your musical palate can never be satisfied, as more and more versions of favorite songs emerge here and there!!!