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.
OK, nemam pojma što ćemo svirati. Neću vam moći reći dok se ne dogodi. Nisam znao da će biti malo glazbe prije. Tako da ću krenuti s onime što sam upravo čuo.
(Music)
(Glazba)
(Applause)
(Pljesak)
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.
Dobro, prije svega, pozdravimo gosp. Jamirea Williamsa na bubnjevima, (Pljesak) Burniss Travis na basu, (Pljesak) i gosp. Christian Sands na klaviru.
(Applause)
(Pljesak)
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.
Dakle bina, kako je mi zovemo, je nevjerojatan prostor. To je stvarno sveto mjesto. I jedna od stvari zbog koje je stvarno sveto jest da nemate priliku razmišljati o budućnosti, ili prošlosti. Stvarno ste živi upravo ovdje u ovom trenutku. Postoji toliko mnogo odluka koje se naprave dok hodate binom. Nismo imali nikakvu ideju kojim ključem ćemo započeti svirati. U sredini smo na neki način izgradili svoj put u pjesmu pod nazivom "Titi Boom". Ali to se moglo dogoditi -- možda, možda i ne. Svi slušaju. Mi odgovaramo. Nemate vremena za projecirane ideje.
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.
Tako ideja greške: iz perspektive jazz glazbenika, jednostavnije je pričati o tuđim greškama. Tako je način na koji ja doživljavam greške na bini -- prije svega, mi to i ne vidimo kao grešku. Jedina greška leži u tome što nisam u mogućnosti spoznati što je to netko drugi napravio. Svaka "greška" je prilika u jazzu. Tako je teško čak i opisati kako bi zvučala kriva nota.
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.
Na primjer, da sam odsvirao boju, kao što smo svirali na paleti, to je zvučalo ovako... (Glazba) Dakle kada bi Christian odsvirao notu -- poput F. (Glazba) Vidite, ove su dobre unutar palete boja. Ako biste odsvirali E. Vidite, sve one leže točno unutar te opće emocionalne palete koju slikamo. Kada biste ipak odsvirali F, (Disonanca) većina ljudi bi to doživjeli kao grešku.
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.
Tako ću vam pokazati, zasvirati ćemo to samo na sekundu. I zasvirati ćemo na toj paleti. I u jednoj točci, Christian će odsvirati tu notu. I mi nećemo na nju reagirati. On će je zasvirati na sekundu i onda će stati, ja ću pričati na sekundu. Vidjeti ćemo što će se dogoditi kada je odsviramo unutar te palete.
(Music)
(Glazba)
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.
Dakle, netko bi to mogao konceptualno shvatiti kao grešku. Jedini način na koji bih ja rekao da je to greška jest da mi nismo na to reagirali. To bi bila prilika koja je propuštena. Dakle, to je nepredvidivo. Oslikat ćemo tu paletu ponovno. On će je odsvirati. Ne znam kako ćemo reagirati na nju, ali nešto će se promijeniti. Svi ćemo prihvatiti njegove ideje, ili nećemo.
(Music)
(Glazba)
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.
Vidite, on je odsvirao tu notu. Ja sam završio stvarajući melodiju iz nje. Tekstura se promijenila u bubnjevima ovaj put. Postalo je malo ritmičnije, malo intenzivnije u načinu na koji sam odgovorio na to. Dakle, nema greške. Jedina greška jest ako nisam svjestan, ako bilo koji od glazbenika nije svjestan i ne prihvaća dovoljno drugog člana benda kako bi uključio ideju i dozvolio kreativni proces.
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.
Jazz, ova bina je apsolutno nevjerojatna. To je intezivno iskustvo koje čisti. I znam kako govorim u ime svih nas kada vam kažem kako to ne uzimamo 'zdravo za gotovo'. Znamo kako je sposobnost izlaska na binu i sviranja blagoslov. I kako je sve to povezano s ponašajnim financijama? Mi smo jazz glazbenici, stereotipično nemamo sjajan odnos s financijama.
(Laughter)
(Smijeh)
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."
Kako bilo, želio bih naglasiti kako se snalazimo. I druga dinamika toga jest što mi ne mikroupravljamo jazzom. Imate nekih ljudi koji to rade. Ali što to čini jest da u stvari ograničava umjetničke mogućnosti. Ako izađem i diktiram bendu kako želim svirati ovako i želim da glazba ide ovim putem, i onda jednostavno uskačem u... spremni, samo svirajte. Jedan, dva, jedan, dva, tri, četiri. (Glazba) Na neki način je kaotično jer guram svoje ideje. Njima govorim, "Dođite sa mnom ovim putem."
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.
Ako stvarno želim da glazba ide tim putem, najbolji način da to napravim jest da slušam. To je umjetnost slušanja. To daleko ima više s time što mogu osjetiti nego s time što mogu učiniti. ako želim da glazba ide na određenu razinu inteziteta, prvi korak za mene je da budem strpljiv, da slušam što se događa i izvučem nešto iz onoga što se događa oko mene. Kada to napravite, uključite i inspirirate druge glazbenike i oni vam daju više, i polako gradite. Gledajte. Jedan, dva, jedan, dva, tri, četiri.
(Music)
(Glazba)
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.
Potpuno drugačije iskustvo kada povlačim ideje. Puno je više organsko. Puno je više nijansiranije. Nije da guram svoju viziju ili takvo nešto. Radi se o tome da ste prisutni u trenutku, prihvaćate jedni druge i dozvoljavate kreativnosti da poteče.
Thank you.
Hvala vam.
(Applause)
(Pljesak)