باشه، هیچ بیرۆكهیهكم نیه .كه چ دەژەنین ناتوانم پێتان بڵێم .ههتا كاتێ ڕوودهدات نهم دهزانی ههندێ مۆزیك لێدهدرێ .پێش وهخت پێم وایه دهست پێدهكهم .لهگهڵ ئهوهی گوێم لێدهبی (مۆزیك) (چهپڵهلێدان) ،باشه، پێش ههموو شتێك با پێشوازی له بهرێز جهمایر ولیامس ،بكهین لهگهڵ دڕهمهكهی (چهپڵهلێدان) بێرنیس تراڤیز به ئامێركۆنتراباس (چهپڵهلێدان) .بهرێز كریستیان ساندز به ئامێری پیانۆ (چهپڵهلێدان) ،وهكو ئێمه پێی دهڵێین باندستاند .ئهمه بۆشایەکی سەڕسوڕهێنەرە .بهڕاستی ئهمه بۆشایهكی پیرۆزه یهكێك لهو شتانهی كه بهراستی پیرۆزه ئهوهیه كه تۆ هیچ چانسێكت نیه ،بیر له داهاتوو بكهیهوه .یان ڕابردووت .تۆ بهڕاستی زیندویت لهم ساتهدا زۆر بڕیار دراون .كه دهڕۆی بهناو باندستاند ئێمه هیچ بیرۆكهیهكمان نیه .لهسهر ئهو كلیلانهی كه دهیژهنین له ناوهڕاستدا، ڕێكای خۆمان دۆزیهوه له گۆرانیهك بهناوی 'Titi Boom' بهڵام لهوانهیه ڕویدابا-- .لهوانهیه، لهوانهش نیه .ههموو كهس گوێی دهگرت .ئێمهش وهڵاممان ههبوو هیچ كاتمان نهبوو .بۆپڕۆژهی هزری :بۆیه بیرۆكهی ههڵه ،له ڕوانگهی مۆسیقارێكی جاز .ئاسانتره قسه لهسهرههڵەی كهسێك بكهی بۆیە کە هە ست بە هە ڵەیەک --دەکەم کاتێکە لە باندستۆنم پێش هەموو شتێ، .ئێمە بەڕاستی وەک هەڵە نایبینین تاكه ههڵهیهك ههیه لێره ئهویش كه من ناتوانم دركی پێبكهم .كه كهسێكی تر دهتوانی .ههموو "ههڵهیهك" ههلێكه له جازدا بۆیه تهنانهت قوڕسه وهسف بكرێ .تێبینینهكی زۆر پێكهنیناویه دهبێت ،بۆ نمونه، گهر به ڕهنگ یاریم كردایه ،وهك ئهوهی لهسهر پالێت دهمان دهكرد -دهنگی وهكو ئهمه بوو (مۆزیك) --ئهگهر كریستیان نۆتهیهك بژهنێ .وهك ژهنینی ف (مۆزیك) سهیركه، ئهوانه ههمووی باشن .له ناو پالێتی ڕهنگهكان .ئهگهر ئی بژهنی تهماشاكه ههمووی درێژ دهبێتهوه لهم پالێته سۆزداره گشتیه .كه ڕهنگمان دهكرد ،گهر ف# بژهنی (نەشاز) ،بۆ گوێی زۆرینهتان .ههست دهكهن ههڵهیه بۆیه نیشانتان دهدهم، بۆ چركهیك .دهیژهنین .لهم پالێته دهیژهنین لهم خاڵهدا، كریستیان .ئهم نۆتهتان پێدهناسێنێ وه ئێمه هیچ كاردانهوهیهكمان .بۆی نابێت ئهو دهیناسێنێت له چركهیهكدا ئینجا من دهوهستم، .چركهیهك قسان دهكهم باببینین چی ڕوودهدات .كه ئهم پالێته دهژهنین (مۆزیك) ڕهنگه كهسێك وههای .لێك بداتهوه كه ههڵهیه تاكه ڕێگایهك كه من به ههڵهی بزانم .ئهوهیه هیچ كاردانهوهیهكمان نهبوو ئهمه ههلێكبوو كه .له دهستمان چوو .ئهمه پێشبینی كراو نهبوو .دووباره پالاتهكه ڕهنگ دهكهین ئهو دهیژهنێ. نازانم كاردانهوهمان .چی دهبێت بهڵام دهگۆڕێ ،بیرۆكهكهی قبوڵ دهكهین .یان نایكهین (مۆزیك) .دەبینیت كه نۆتهكهی ژهنی كۆتایی پێهێنا به .دروست كردنی میلۆدیهك ئهم جاره پێكهاتهكهی .دڕهمهكه گۆڕا ،كهمێك ئاوازدارتر بوو كهمێ كاریگهرتر بوو .له وهڵامی كاردانهوهی ئێمه .هیچ ههڵهیهك نیه تاكه ههڵهیهك ئهوهیه ،كه ئاگهدارنیم گهر هیچ تاكێكی مۆزیك ژهن ئاگهدارنهبێ وه قبوڵ بكرێ لهلایهن ئهندامانی باند بۆ بهرجهسته كردنی بیرۆكهكه و .ئێمه ڕێگا به داهێنان نادهین .بۆیه جاز، ئهم باندستانده زۆر نایابه .ئهمه ئهزموونی گهلێكی پاكه وه دهزانم قسه بۆ ههمووان .دهكهم كه دهڵێم كه مانای نازانین دهزانین نیعمهته بێیته ناو .باندستاند و مۆزیك بژهنی ههموو ئهمانه چۆن كار ههڵسوكهوتی ئابوریت دهكا؟ ،ئێمه جاز دهژهنین وهك ستریۆتایپێك پهیوهندیهكی .باشمان نیه لهگهڵ ئابووری (پێكهنین) بهههرحاڵ تهنها دهمویست پێتان .بلێم كه چۆن چارهی دهكهین وه ههندێ وردهكاری تر .كه له جازدا باش كۆنترۆڵ كراوه .ههندێ خهڵكت ههیه كه ئهمه دهكهن بهڵام ئهمهی دهیكات له ڕاستیدا شیمانهی هونهری .سنوردار دهكات گهر من باسم كرد و سهپاندم بهسهر باندهكه دهمهوێت وا بژهنم و ،مۆزیك بهم شێوهیه بێت ---ڕاستهوخۆ بازبدهمه ناوی .ئامادهن، ههندێ جار بیژهنی .یهك، دوو، یهك، دوو، سێ، چوار (مۆزیك) ئهمه جۆرێكه له ئاژاوهگێری .چونكه تهنگ به بیرۆكهكانم ههڵدهچنم پێیان دهڵێم، "لهگهڵم "وهره بۆ ئهم ڕێگایه گهر بهڕاستی من بمهوێت ،مۆزیك بڕواته ئهوێ .باشترین ڕێگا ئهوهیه گوێ بگرم .ئهمه زانستی گوێگرتنە ئهمه زیاتره لهوهی .من دركی پێ دهكهم .زیاتر لهوهی كه دهتوانم بیكهم بۆیه گهر بمهوێت مۆزیك ،بگاته ئاستێكی بههێز یهكهم ههنگاو ئهوهیه ئارام بگرم، و گوێ بگرم لهوهی ڕودهدات .ههندێ شت ڕابكێشم لهوانهی دهوروبهرم كاتێ ئهوهدەكهیت سهرقاڵ دهبی و هانی ئهوانی تر دهدهی ،ئهوانیش زیاتر دهبهخشن .ورده ورده بنیات دهنرێت .سهیركه. یهك، دوو، یهك، دوو، سێ، چوار (مۆزیك) بهتهواوی ئهزمونێكی جیایه ،كاتێ بیرۆكه وهردهگرم زیاتر پهیوهندی داره .زیاتر ورده گێچهڵ به بینینی خۆم ناكهم .یان شتێكی لهو بابهته ئهمه پهیوهندی به ،وجودمان ههیه لهم ساتهدا قبوڵ كردنی یهكتر .وه ڕێگا به داهێنانهكان بدهین .سوپاستان دهكهم (چهپڵهلێدان)
Okay, I have no idea what we're going to play. I won't be able to tell you what it is until it happens. I didn't realize there was going to be a little music before. So I think I'm going to start with what I just heard. (Music) (Applause) Okay, so first of all, let's welcome Mr. Jamire Williams on the drums, (Applause) Burniss Travis on the bass, (Applause) and Mr. Christian Sands on the piano. (Applause) So the bandstand, as we call it, this is an incredible space. It is really a sacred space. And one of the things that is really sacred about it is that you have no opportunity to think about the future, or the past. You really are alive right here in this moment. There are so many decisions being made when you walk on the bandstand. We had no idea what key we were going to play in. In the middle, we sort of made our way into a song called "Titi Boom." But that could have happened -- maybe, maybe not. Everyone's listening. We're responding. You have no time for projected ideas. So the idea of a mistake: From the perspective of a jazz musician, it's easier to talk about someone else's mistake. So the way I perceive a mistake when I'm on the bandstand -- first of all, we don't really see it as a mistake. The only mistake lies in that I'm not able to perceive what it is that someone else did. Every "mistake" is an opportunity in jazz. So it's hard to even describe what a funny note would be. So for example, if I played a color, like we were playing on a palette, that sounded like this ... (Music) So if Christian played a note -- like play an F. (Music) See, these are all right inside of the color palette. If you played an E. See, these all lie right inside of this general emotional palette that we were painting. If you played an F# though, (Dissonance) to most people's ears, they would perceive that as a mistake. So I'm going to show you, we're going to play just for a second. And we're going to play on this palette. And at some point, Christian will introduce this note. And we won't react to it. He'll introduce it for a second and then I'll stop, I'll talk for a second. We'll see what happens when we play with this palette. (Music) So someone could conceptually perceive that as a mistake. The only way that I would say it was a mistake is in that we didn't react to it. It was an opportunity that was missed. So it's unpredictable. We'll paint this palette again. He'll play it. I don't know how we'll react to it, but something will change. We'll all accept his ideas, or not. (Music) So you see, he played this note. I ended up creating a melody out of it. The texture changed in the drums this time. It got a little bit more rhythmic, a little bit more intense in response to how I responded to it. So there is no mistake. The only mistake is if I'm not aware, if each individual musician is not aware and accepting enough of his fellow band member to incorporate the idea and we don't allow for creativity. So jazz, this bandstand is absolutely amazing. It's a very purifying experience. And I know that I speak for all of us when I tell you that we don't take it for granted. We know that to be able to come on the bandstand and play music is a blessing. So how does this all relate to behavioral finance? Well we're jazz musicians, so stereotypically we don't have a great relationship to finance. (Laughter) Anyway, I just wanted to sort of point out the way that we handle it. And the other dynamic of it is that we don't micromanage in jazz. You have some people who do. But what that does is it actually limits the artistic possibilities. If I come up and I dictate to the band that I want to play like this and I want the music to go this way, and I just jump right in ... ready, just play some time. One, two, one, two, three, four. (Music) It's kind of chaotic because I'm bullying my ideas. I'm telling them, "You come with me over this way." If I really want the music to go there, the best way for me to do it is to listen. This is a science of listening. It has far more to do with what I can perceive than what it is that I can do. So if I want the music to get to a certain level of intensity, the first step for me is to be patient, to listen to what's going on and pull from something that's going on around me. When you do that, you engage and inspire the other musicians and they give you more, and gradually it builds. Watch. One, two, a one, two, three, four. (Music) Totally different experience when I'm pulling ideas. It's much more organic. It's much more nuanced. It's not about bullying my vision or anything like that. It's about being here in the moment, accepting one another and allowing creativity to flow. Thank you. (Applause)