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.
Non teño nin idea do que imos tocar. Non lles poderei dicir qué é ata que aconteza. Non me decatara de que ía haber algo de música antes. Así que acho que vou comezar co que veño de escoitar.
(Music)
(música)
(Applause)
(aplausos)
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.
Ben, antes de nada, deámoselle a benvida a Jamire Williams na batería, (aplausos) Burniss Travis no baixo, (aplausos) e Christian Sands no piano.
(Applause)
(aplausos)
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.
O coreto, como o chamamos, é un espazo incríbel. É un lugar sagrado. E unha das cousas que o fan sagrado é que non nos dá a oportunidade de pensar no futuro, ou no pasado. Realmente estás vivo neste momento. Hai que tomar moitas decisións cando un vai ao coreto. Non tiñamos nin idea do que iamos tocar. Polo medio, fixemos unha interpretación dunha canción chamada "Titi Boom". Pero iso puido acontecer ou non. Todos escoitan. Nós respondemos. Non hai tempo para as ideas proxectadas.
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.
Entón, a idea dun erro: dende a perspectiva dun músico de jazz, é máis doado falar sobre o erro doutra persoa. O xeito de como percibo un erro cando estou no coreto... antes de nada, non o vemos coma un erro. O único erro xace en que non son quen de percibir que é o que outro fixo. Cada "erro" é unha oportunidade no jazz. Mesmo é difícil describir o que sería unha nota divertida.
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.
Por exemplo, se pinto unha cor, coma se estiver xogando coa paleta, habería sonar coma isto... (música) Se Christian toca unha nota... coma Fa. (música) Vedes, todo encaixa na paleta de cores. Se toca Mi. Vedes, todo xace no interior desta paleta emocional xeral que estamos a pintar. Porén, se tocamos Fa # (disonancia) a maioría de oídos consideraríano un erro.
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.
Ides ver, imos tocar un intre. E imos tocar nesta paleta. Nalgún momento, Christian ha engadir esta nota. E non imos reaccionar a ela. Vaina tocar durante un segundo e logo voume deter e falarei un intre. Imos ver que é o que acontece cando tocamos con esta paleta.
(Music)
(música)
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.
Conceptualmente, alguén podería percibilo coma un erro. Eu só diría que se trata dun erro se non reaccionásemos perante el. Unha oportunidade perdida. Así que é impredecíbel. Imos pintar esta paleta outra vez. El vai tocar. Non sei como imos reaccionar, pero algo ha trocar. Imos aceptar as súas ideas, ou non.
(Music)
(música)
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.
Vistes, tocou a súa nota. E eu creei unha melodía. Esta vez a textura cambiou na batería. Foi un pouco máis rítmico, un pouco máis intenso en función á miña resposta. Así que non hai erro. O único erro é se non son consciente, se cada músico non é consciente e non recoñece aos seus compañeiros para incorporar a idea e non imos permitir a creatividade.
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.
Este coreto é verdadeiramente incríbel. É unha experiencia purificadora. E sei que falo por todos cando digo que non o damos por suposto. Sabemos que ser capaz de subir ao coreto e facer música é unha bendición. E que ten que ver isto coas finanzas? Todos somos músicos de jazz, o noso estereotipo non é o máis axeitado para as finanzas.
(Laughter)
(gargalladas)
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."
Só lles quería amosar como é que o afrontamos. E a outra dinámica é que non facemos microxestión no jazz. Hai xente que o fai. Pero iso limita as posibilidades artísticas. Se lle dicto á banda que toquemos así e quero que sone así, e digo de entrar en... veña, toquemos algo. Un, dous, un, dous, tres, catro. (música) É un pouco caótico porque me bulen as ideas. Dígolles: "Acompañádeme por este lado".
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.
Se quero que a música vaia aí, o mellor que podo facer é escoitar. É a ciencia do ouvido. Ten máis que ver co que podo percibir ca co que podo facer. Se quero que a música acade un certo nivel de intesidade, o primeiro paso para min é ser paciente, escoitar o que acontece e recoller algo do que acontece ao meu redor. Cando o fas, motivas e inspiras aos outros músicos e eles danche máis, e así se vai facendo. Miren. Un, dous, un, dous, tres, catro.
(Music)
(música)
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.
É algo totalmente distinto cando tiro das miñas ideas. É moito máis orgánico. Ten moitos máis matices. Non se trata de espallar a miña visión ni nada. Trata de estar no momento, aceptármonos uns aos outros e deixar que flúa a creatividade.
Thank you.
Grazas.
(Applause)
(aplausos)