Tag Archives: Lausanne

Landing On His Feet: Nicolas Chourot

Listening to Nicolas Chourot‘s début album: First Landing (available on iTunes). Now, here’s someone who found his voice.

A few years ago, Nicolas Chourot played with us as part of Madou Diarra & Dakan, a group playing music created for Mali’s hunters’ associations.

Before Chourot joined us, I had been a member of Dakan for several years and my perspective on the group’s music was rather specific. As an ethnomusicologist working on the original context for hunters’ music, I frequently tried to maintain the connection with what makes Malian hunters so interesting, including a certain sense of continuity through widespread changes.

When Nicolas came up with his rather impressive equipment, I began to wonder how it would all fit. A very open-minded, respectful, and personable musician, Nicolas was able to both transform Dakan’s music from within and adapt his playing to a rather distant performance style. Not an easy task for any musician and Nicolas sure was to be commended for such a success.

After a while, Chourot and Dakan’s Madou Diarra parted ways. Still, Nicolas remained a member of the same informal music network as several people who had been in Dakan, including several of my good friends. And though I haven’t seen Nicolas in quite a while, he remains in my mind as someone whose playing and attitude toward music I enjoy.

Unfortunately, I was unable to attend the launch of Nicolas’s launch/show, on August 29. What’s strange is that it took me until today to finally buy Nicolas’s album. Not exactly sure why. Guess my mind was elsewhere. For months.

Ah, well… Désolé Nicolas!

But I did finally get the album. And I’m really glad I did!

When I first heard Nicolas’s playing, I couldn’t help but think about Michel Cusson. I guess it was partly because both have been fusing Jazz and “World” versions of the electric guitar. But there was something else in Nicolas’s playing that I readily associated with Cusson. Never analyzed it. Nor am I planning to analyze it at any point. Despite my music school background and ethnomusicological training, I’ve rarely been one for formal analysis. But there’s something intriguing, there, as a connection. It’s not “imitation as sincerest form of flattery”: Chourot wasn’t copying Cusson. But it seemed like both were “drinking from the same spring,” so to speak.

In First Landing, this interpretation comes back to my mind.

See, not only does Chourot’s playing still have some Cussonisms, but I hear other voices connected to Cusson’s. Including that of Cusson’s former bandmate Alain Caron And even Uzeb itself, the almost mythical band which brought Caron and Cusson together.

For a while, in the 1980s, Uzeb dominated a large part of Quebec’s local Jazz market. At the time, other Jazz players were struggling to get some recognition. As they do now. To an extent, Uzeb was a unique phenomenon in Quebec’s musical history since, despite their diversity and the quality of their work, Quebec’s Jazz musicians haven’t become mainstream again. Which might be a good thing but bears some reflection. What was so special about Uzeb? Why did it disappear? Can’t other Jazz acts fill the space left by Uzeb, after all these years?

I don’t think it’s what Nicolas is trying to do. But if he were, First Landing would be the way to go at it. It doesn’t “have all the ingredients.” That wouldn’t work. But, at the risk of sounding like an old cub scout, it has “the Uzeb spirit.”

Which brings me to other things I hear. Other bands with distinct, if indirect, Uzebian connections.

One is Jazzorange, which was a significant part of Lausanne’s Jazz scene when I was living there.My good friend Vincent Jaton introduced to Jazzorange in 1994 and Uzeb’s alumni Caron and Cusson were definitely on my mind at the time.

Vincent, musician and producer extraordinaire, introduced me to a number of musicians and I owe him a huge debt for helping me along a path to musical (self-)discovery. Vincent’s own playing also shares a few things with what I hear in First Landing, but the connection with Jazzorange is more obvious, to me.

Another band I hear in connection to Chourot’s playing is Sixun. That French band, now 25 years old, is probably among the longest-lasting acts in this category of Jazz. Some Jazz ensembles are older (including one of my favourites, Oregon). But Sixun is a key example of what some people call “Jazz Fusion.”

Which is a term I avoided, as I mentioned diverse musicians. Not because I personally dislike the term. It’s as imprecise as any other term describing a “musical genre” (and as misleading as some of my pet peeves). But I’m not against its use, especially since there is a significant degree of agreement about several of the musicians I mention being classified (at least originally) as “Fusion.” Problem is, the term has also been associated with an attitude toward music which isn’t that conducive to thoughtful discussion. In some ways, “Fusion” is used for dismissal more than as a way to discuss musical similarities.

Still, there are musical features that I appreciate in a number of Jazz Fusion performances, some of which are found in some combination through the playing of several of the musicians I’m mentioning here.

Some things like the interactions between the bass and other instruments, some lyrical basslines, the fact that melodic lines may be doubled by the bass… Basically, much of it has to do with the bass. And, in Jazz, the bass is often key. As Darcey Leigh said to Dale Turner (Lonette McKee and Dexter Gordon’s characters in ‘Round Midnight):

You’re the one who taught me to listen to the bass instead of the drums

Actually, there might be a key point about the way yours truly listens to bass players. Even though I’m something of a “frustrated bassist” (but happy saxophonist), I probably have a limited understanding of bass playing. To me, there’s a large variety of styles of bass playing, of course, but several players seem to sound a bit like one another. It’s not really a full classification that I have in my mind but I can’t help but hear similarities between bass performers. Like clusters.

Sometimes, these links may go outside of the music domain, strictly speaking.  For instance, three of my favourite bassists are from Cameroon: Guy Langue, Richard Bona, and Étienne Mbappe. Not that I heard these musicians together: I noticed Mbappe as a member of ONJ in 1989, I first heard Bona as part of the Zawinul syndicate in 1997, and I’ve been playing with Langue for a number of years (mostly with Madou Diarra & Dakan). Further, as I’m discovering British/Nigerian bass player Michael Olatuja, I get to extend what I hear as the Cameroonian connection to parts of West African music that I know a bit more about. Of course, I might be imagining things. But my imagination goes in certain directions.

Something similar happens to me with “Fusion” players. Alain Caron is known for his fretless bass sound and virtuosic playing, but it’s not really about that, I don’t think. It’s something about the way the bass is embedded in the rest of the band, with something of a Jazz/Rock element but also more connected to lyricism, complex melodic lines, and relatively “clean” playing. The last one may relate, somehow, to the Fusion stereotype of coldness and machine-like precision. But my broad impression of what I might call “Fusion bass” actually involves quite a bit of warmth. And humanness.

Going back to Chourot and other “Jazz Fusion” acts I’ve been thinking about, it’s quite possible that Gilles Deslauriers (who plays bass on Chourot’s First Landing) is the one who reminds me of other Fusion acts. No idea if Bob Laredo (Jazzorange), Michel Alibo (Sixun), Alain Caron (Uzeb), and Gilles Deslauriers really all have something in common. But my own subjective assessment of bass playing connects them in a special way.

The most important point, to me, is that even if this connection is idiosyncratic, it still helps me enjoy First Landing.

Nicolas Chourot and his friends from that album (including Gilles Deslauriers) are playing at O Patro Výš, next Saturday (January 23, 2010).

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Selling Myself Long

Been attending sessions by Meri Aaron Walker about online methods to get paid for our expertise. Meri coaches teachers about those issues.

MAWSTOOLBOX.COM

There’s also a LearnHub “course”: Jumpstart Your Online Teaching Career.

Some notes, on my own thinking about monetization of expertise. Still draft-like, but RERO is my battle cry.

Some obstacles to my selling expertise:

  • My “oral personality.”
  • The position on open/free knowledge in academia and elsewhere.
  • My emphasis on friendship and personal rapport.
  • My abilities as an employee instead of a “boss.”
  • Difficulty in assessing the value of my expertise.
  • The fact that other people have the same expertise that I think I have.
  • High stakes (though this can be decreased, in some contexts).
  • My distaste for competition/competitiveness.
  • Difficulty at selling and advertising myself (despite my social capital).
  • Being a creative generalist instead of a specialist.

Despite all these obstacles, I have been thinking about selling my services online.

One reason is that I really do enjoy teaching. As I keep saying, teaching is my hobby (when I get paid, it’s to learn how to interact with other learners and to set up learning contexts).

In fact, I enjoy almost everything in teaching (the major exception being grading/evaluating). From holding office hours and lecturing to facilitating discussions and answering questions through email. Teaching, for me, is deeply satisfying and I think that learning situations which imply the role of a teacher still make a lot of sense. I also like more informal learning situations and I even try to make my courses more similar to informal teaching. But I still find specific value in a “teaching and learning” system.

Some people seem to assume that teaching a course is the same thing as “selling expertise.” My perspective on learning revolves to a large extent on the difference between teaching and “selling expertise.” One part is that I find a difference between selling a product or process and getting paid in a broader transaction which does involve exchange about knowledge but which isn’t restricted to that exchange. Another part is that I don’t see teachers as specialists imparting their wisdom to eager masses. I see knowledge as being constructed in diverse situations, including formal and informal learning. Expertise is often an obstacle in the kind of teaching I’m interested in!

Funnily enough, I don’t tend to think of expertise as something that is easily measurable or transmissible. Those who study expertise have ways to assess something which is related to “being an expert,” especially in the case of observable skills (many of those are about “playing,” actually: chess, baseball, piano…). My personal perspective on expertise tends to be broader, more fluid. Similar to experience, but with more of a conscious approach to learning.

There also seems to be a major difference between “breadth of expertise” and “topics you can teach.” You don’t necessarily need to be very efficient at some task to help someone learn to do it. In fact, in some cases, being proficient in a domain is an obstacle to teaching in that domain, since expertise is so ingrained as to be very difficult to retrieve consciously.

This is close to “do what I say, not what I do.” I even think that it can be quite effective to actually instruct people without direct experience of these instructions. Similar to consulting, actually. Some people easily disagree with this point and some people tease teachers about “doing vs. teaching.” But we teachers do have a number of ways to respond, some of them snarkier than others. And though I disagree with several parts of his attitude, I quite like this short monologue by Taylor Mali about What Teachers Make.

Another reason I might “sell my expertise” is that I genuinely enjoy sharing my expertise. I usually provide it for free, but I can possibly relate to the value argument. I don’t feel so tied to social systems based on market economy (socialist, capitalist, communist…) but I have to make do.

Another link to “selling expertise” is more disciplinary. As an ethnographer, I enjoy being a “cultural translator.” of sorts. And, in some cases, my expertise in some domains is more of a translation from specialized speech into laypeople’s terms. I’m actually not very efficient at translating utterances from one language to another. But my habit of navigating between different “worlds” makes it possible for me to bridge gaps, cross bridges, serve as mediator, explain something fairly “esoteric” to an outsider. Close to popularization.

So, I’ve been thinking about what can be paid in such contexts which give prominence to expertise. Tutoring, homework help, consulting, coaching, advice, recommendation, writing, communicating, producing content…

And, finally, I’ve been thinking about my domains of expertise. As a “Jack of All Trades,” I can list a lot of those. My level of expertise varies greatly between them and I’m clearly a “Master of None.” In fact, some of them are merely from personal experience or even anecdotal evidence. Some are skills I’ve been told I have. But I’d still feel comfortable helping others with all of them.

I’m funny that way.

Domains of  Expertise

French

  • Conversation
  • Reading
  • Writing
  • Culture
  • Literature
  • Regional diversity
  • Chanson appreciation

Bamanan (Bambara)

  • Greetings
  • Conversation

Social sciences

  • Ethnographic disciplines
  • Ethnographic field research
  • Cultural anthropology
  • Linguistic anthropology
  • Symbolic anthropology
  • Ethnomusicology
  • Folkloristics

Semiotics

Language studies

  • Language description
  • Social dimensions of language
  • Language change
  • Field methods

Education

  • Critical thinking
  • Lifelong learning
  • Higher education
  • Graduate school
  • Graduate advising
  • Academia
  • Humanities
  • Social sciences
  • Engaging students
  • Getting students to talk
  • Online teaching
  • Online tools for teaching

Course Management Systems (Learning Management Systems)

  • Oncourse
  • Sakai
  • WebCT
  • Blackboard
  • Moodle

Social networks

  • Network ethnography
  • Network analysis
  • Influence management

Web platforms

  • Facebook
  • MySpace
  • Ning
  • LinkedIn
  • Twitter
  • Jaiku
  • YouTube
  • Flickr

Music

  • Cultural dimensions of music
  • Social dimensions of music
  • Musicking
  • Musical diversity
  • Musical exploration
  • Classical saxophone
  • Basic music theory
  • Musical acoustics
  • Globalisation
  • Business models for music
  • Sound analysis
  • Sound recording

Beer

  • Homebrewing
  • Brewing techniques
  • Recipe formulation
  • Finding ingredients
  • Appreciation
  • Craft beer culture
  • Brewing trends
  • Beer styles
  • Brewing software

Coffee

  • Homeroasting
  • Moka pot brewing
  • Espresso appreciation
  • Coffee fundamentals
  • Global coffee trade

Social media

Blogging

  • Diverse uses of blogging
  • Writing tricks
  • Workflow
  • Blogging platforms

Podcasts

  • Advantages of podcasts
  • Podcasts in teaching
  • Filming
  • Finding podcasts
  • Embedding content

Technology

  • Trends
  • Geek culture
  • Equipment
  • Beta testing
  • Troubleshooting Mac OS X

Online Life

Communities

  • Mailing-lists
  • Generating discussions
  • Entering communities
  • Building a sense of community
  • Diverse types of communities
  • Community dynamics
  • Online communities

Food

  • Enjoying food
  • Cooking
  • Baking
  • Vinaigrette
  • Pizza dough
  • Bread

Places

  • Montreal, Qc
  • Lausanne, VD
  • Bamako, ML
  • Bloomington, IN
  • Moncton, NB
  • Austin, TX
  • South Bend, IN
  • Fredericton, NB
  • Northampton, MA

Pedestrianism

  • Carfree living
  • Public transportation
  • Pedestrian-friendly places

Tools I Use

  • PDAs
  • iPod
  • iTunes
  • WordPress.com
  • Skype
  • Del.icio.us
  • Diigo
  • Blogger (Blogspot)
  • Mac OS X
  • Firefox
  • Flock
  • Internet Explorer
  • Safari
  • Gmail
  • Google Calendar
  • Google Maps
  • Zotero
  • Endnote
  • RefWorks
  • Zoho Show
  • Wikipedia
  • iPod touch
  • SMS
  • Outlining
  • PowerPoint
  • Slideshare
  • Praat
  • Audacity
  • Nero Express
  • Productivity software

Effective Web searches

Socialization

  • Social capital
  • Entering the field
  • Creating rapport
  • Event participation
  • Event hosting

Computer Use

  • Note-taking
  • Working with RSS feeds
  • Basic programing concepts
  • Data manipulations

Research Methods

  • Open-ended interviewing
  • Qualitative data analysis

Personal

  • Hedonism
  • Public speaking
  • GERD
  • Strabismus
  • Moving
  • Cultural awareness

Artificial Intelligence and Language Acquisition

Teaching Robot Dogs Linguistic Tricks

While written from the perspective of engineering, this short article mentions several important features of human language, including the “conventional” (or “arbitrary”) nature of linguistic signs. On the face of it, the outcome seems rather limited in that these robots create lexical items instead of linguistic structures, but the very idea that robots can learn from one another is a fascinating one (and a well-known concept for artificial intelligence).

Also, it’s nice to see that the EPFL is involved. With its new supercomputing power (one of the fastest academic computers in the world), l’EPF has other reasons to be appreciated.