I learned a long time ago about the insidious power of music. I say insidious because music affects everybody even without their being aware of it. We musicians, for the most part, are very much aware of this power and we have used it over the years for our purposes just as it is still being done today. There is the prospect that "some" may not be aware of the power they wield through music but 'Adu'l-Baha was very clear about it in his story about Barbud. From the Compilation on Music by the Universal House of Justice entitled, Bahá'í Writings on Music, published in the UK. One night, on a Gig my quartet was playing at a Jazz Club here in Quito, I spoke to the crowd following the first tune and told them that "the real purpose of music was to alter the way they felt" and though I'm not too sure of what I actually said after that, it went something like this. My purpose is to elevate your feelings and that at the end of the evening you should be able to realize that you feel very different from the way you felt when you came in. Amazingly, at the end of the evening it was a predominance of men who came up to me to tell me that what i had said at the beginning was true and that they felt very different from the way they felt when they came in that night. Women will always express their sensitivity but to have men state their feelings was very meaningful to me. On top of that, after the show when I joined Diane at her table a young lady in the next table told me she wanted to know more about the Baha'i Faith, which I had referenced in the introduction of Dizzy's composition that he had written for "Olinga", which is also the Title of the tune. So we, Diane and I, began a brief introduction for her and suggested that she call us for further discussion on that subject. To make a long story short, she did call and we did teach her the Faith and about a month later, after having followed us around the country at our performances and further questions and answers, she declared her belief in Bahá'u'lláh. She still calls us, occasionally, with questions on various subjects often asking for how we might respond to certain circumstances she finds herself in. My insistence on the musical expressiveness of, whatever, music the orchestra (Big band) is playing has finally reached the majority of the musicians who work with me and they are now beginning to follow that "Rule of Thumb" even with their own playing outside of the orchestra. The way you express the essence of the music is what makes it work, "its not the notes you play, its the way you play the notes"
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