Here’s a link to part 5.

Quick recap: When it comes to playing solo piano, I’m always wrestling with physical issues, aesthetical issues with audiences and subsequently, issues getting gigs.

The following sums up many of the aesthetical issues; Peter Hum received this message from an Ottawa Jazz fan (I’ll call him Joe):

“Should I go to Paradiso Saturday evening?  Do you think Chris will play anything different? As good as his solo work is, I've heard it enough - his CD, last gig at Paradiso, and the JazzWorks fundraiser. I await your guidance.”

Peter asked for a response from me and I wrote:

“Listeners may be interested and find enjoyment in every facet of music-making. This could include process, evolution, creation and re-creation. I can’t change their interests; all I can do is share mine.”

For some people, there isn’t enough variety in solo piano performances (no matter how good you are!). For others, spontaneity is the highest virtue, and there isn’t enough variety in written/prepared music (especially after the second or third listen!). When I started exploring solo piano, I predicted that I would encounter listeners like Joe. Of course, if I were exploring trio music, I’d encounter listeners like Bob. You can’t please everybody.

My experience has shown me that, there are more Joes than there are Bobs in the jazz community. Many clubs aren’t interested in solo piano. If they are, then they’re often only interested in one short set or an opening set. Before I released ‘Solo,’ I spoke to a record company who was interested in working with me, but only if I was releasing a trio record. They told me that solo piano records are more successful if they’re released by artists who already have a reputation for playing in ensembles. Apparently, that’s how it’s “usually done.”

Here are two good questions: Could a Joe ever become a Bob? Whose job is it to convert him?

In the meantime, my marketing plan is simple: Find the Bobs; ignore the Joes.

Stay tuned for Part 7!