Stefon Harris: There are no mistakes on the bandstand

Prevoditelj: Mislav Ante Omazić - EFZG Recezent: Ivona Papa

Okay, I have no idea what we're going to play.

OK, nemam pojma što ćemo svirati.

I won't be able to tell you what it is until it happens.

Neću vam moći reći dok se ne dogodi.

I didn't realize there was going to be a little music before.

Nisam znao da će biti malo glazbe prije.

So I think I'm going to start with what I just heard.

Tako da ću krenuti s onime što sam upravo čuo.

(Music)

(Glazba)

(Applause)

(Pljesak)

Okay, so first of all,

Dobro, prije svega,

let's welcome Mr. Jamire Williams on the drums,

pozdravimo gosp. Jamirea Williamsa na bubnjevima,

(Applause)

(Pljesak)

Burniss Travis on the bass,

Burniss Travis na basu,

(Applause)

(Pljesak)

and Mr. Christian Sands on the piano.

i gosp. Christian Sands na klaviru.

(Applause)

(Pljesak)

So the bandstand, as we call it,

Dakle bina, kako je mi zovemo,

this is an incredible space.

je nevjerojatan prostor.

It is really a sacred space.

To je stvarno sveto mjesto.

And one of the things that is really sacred about it

I jedna od stvari zbog koje je stvarno sveto

is that you have no opportunity to think about the future,

jest da nemate priliku razmišljati o budućnosti,

or the past.

ili prošlosti.

You really are alive right here in this moment.

Stvarno ste živi upravo ovdje u ovom trenutku.

There are so many decisions being made

Postoji toliko mnogo odluka koje se naprave

when you walk on the bandstand.

dok hodate binom.

We had no idea what key we were going to play in.

Nismo imali nikakvu ideju kojim ključem ćemo započeti svirati.

In the middle, we sort of made our way

U sredini smo na neki način izgradili svoj put

into a song called "Titi Boom."

u pjesmu pod nazivom "Titi Boom".

But that could have happened -- maybe, maybe not.

Ali to se moglo dogoditi -- možda, možda i ne.

Everyone's listening. We're responding.

Svi slušaju. Mi odgovaramo.

You have no time for projected ideas.

Nemate vremena za projecirane ideje.

So the idea of a mistake:

Tako ideja greške:

From the perspective of a jazz musician,

iz perspektive jazz glazbenika,

it's easier to talk about someone else's mistake.

jednostavnije je pričati o tuđim greškama.

So the way I perceive a mistake when I'm on the bandstand --

Tako je način na koji ja doživljavam greške na bini --

first of all, we don't really see it as a mistake.

prije svega, mi to i ne vidimo kao grešku.

The only mistake lies

Jedina greška leži

in that I'm not able to perceive

u tome što nisam u mogućnosti spoznati

what it is that someone else did.

što je to netko drugi napravio.

Every "mistake" is an opportunity in jazz.

Svaka "greška" je prilika u jazzu.

So it's hard to even describe

Tako je teško čak i opisati

what a funny note would be.

kako bi zvučala kriva nota.

So for example, if I played a color, like we were playing on a palette,

Na primjer, da sam odsvirao boju, kao što smo svirali na paleti,

that sounded like this ...

to je zvučalo ovako...

(Music)

(Glazba)

So if Christian played a note -- like play an F.

Dakle kada bi Christian odsvirao notu -- poput F.

(Music)

(Glazba)

See, these are all right inside of the color palette.

Vidite, ove su dobre unutar palete boja.

If you played an E.

Ako biste odsvirali E.

See, these all lie right inside

Vidite, sve one leže točno unutar

of this general emotional palette that we were painting.

te opće emocionalne palete koju slikamo.

If you played an F# though,

Kada biste ipak odsvirali F,

(Dissonance)

(Disonanca)

to most people's ears, they would perceive that as a mistake.

većina ljudi bi to doživjeli kao grešku.

So I'm going to show you, we're going to play just for a second.

Tako ću vam pokazati, zasvirati ćemo to samo na sekundu.

And we're going to play on this palette.

I zasvirati ćemo na toj paleti.

And at some point, Christian will introduce this note.

I u jednoj točci, Christian će odsvirati tu notu.

And we won't react to it.

I mi nećemo na nju reagirati.

He'll introduce it for a second

On će je zasvirati na sekundu

and then I'll stop, I'll talk for a second.

i onda će stati, ja ću pričati na sekundu.

We'll see what happens when we play with this palette.

Vidjeti ćemo što će se dogoditi kada je odsviramo unutar te palete.

(Music)

(Glazba)

So someone could conceptually perceive that as a mistake.

Dakle, netko bi to mogao konceptualno shvatiti kao grešku.

The only way that I would say it was a mistake

Jedini način na koji bih ja rekao da je to greška

is in that we didn't react to it.

jest da mi nismo na to reagirali.

It was an opportunity that was missed.

To bi bila prilika koja je propuštena.

So it's unpredictable. We'll paint this palette again.

Dakle, to je nepredvidivo. Oslikat ćemo tu paletu ponovno.

He'll play it. I don't know how we'll react to it, but something will change.

On će je odsvirati. Ne znam kako ćemo reagirati na nju, ali nešto će se promijeniti.

We'll all accept his ideas,

Svi ćemo prihvatiti njegove ideje,

or not.

ili nećemo.

(Music)

(Glazba)

So you see, he played this note.

Vidite, on je odsvirao tu notu.

I ended up creating a melody out of it.

Ja sam završio stvarajući melodiju iz nje.

The texture changed in the drums this time.

Tekstura se promijenila u bubnjevima ovaj put.

It got a little bit more rhythmic, a little bit more intense

Postalo je malo ritmičnije, malo intenzivnije

in response to how I responded to it.

u načinu na koji sam odgovorio na to.

So there is no mistake.

Dakle, nema greške.

The only mistake is if I'm not aware,

Jedina greška jest ako nisam svjestan,

if each individual musician is not aware

ako bilo koji od glazbenika nije svjestan

and accepting enough of his fellow band member

i ne prihvaća dovoljno drugog člana benda

to incorporate the idea and we don't allow for creativity.

kako bi uključio ideju i dozvolio kreativni proces.

So jazz, this bandstand is absolutely amazing.

Jazz, ova bina je apsolutno nevjerojatna.

It's a very purifying experience.

To je intezivno iskustvo koje čisti.

And I know that I speak for all of us when I tell you that we don't take it for granted.

I znam kako govorim u ime svih nas kada vam kažem kako to ne uzimamo 'zdravo za gotovo'.

We know that to be able to come on the bandstand and play music is a blessing.

Znamo kako je sposobnost izlaska na binu i sviranja blagoslov.

So how does this all relate to behavioral finance?

I kako je sve to povezano s ponašajnim financijama?

Well we're jazz musicians,

Mi smo jazz glazbenici,

so stereotypically we don't have a great relationship to finance.

stereotipično nemamo sjajan odnos s financijama.

(Laughter)

(Smijeh)

Anyway, I just wanted to sort of point out the way that we handle it.

Kako bilo, želio bih naglasiti kako se snalazimo.

And the other dynamic of it

I druga dinamika toga

is that we don't micromanage in jazz.

jest što mi ne mikroupravljamo jazzom.

You have some people who do.

Imate nekih ljudi koji to rade.

But what that does

Ali što to čini

is it actually limits the artistic possibilities.

jest da u stvari ograničava umjetničke mogućnosti.

If I come up and I dictate to the band

Ako izađem i diktiram bendu

that I want to play like this and I want the music to go this way,

kako želim svirati ovako i želim da glazba ide ovim putem,

and I just jump right in ...

i onda jednostavno uskačem u...

ready, just play some time.

spremni, samo svirajte.

One, two, one, two, three, four.

Jedan, dva, jedan, dva, tri, četiri.

(Music)

(Glazba)

It's kind of chaotic because I'm bullying my ideas.

Na neki način je kaotično jer guram svoje ideje.

I'm telling them, "You come with me over this way."

Njima govorim, "Dođite sa mnom ovim putem."

If I really want the music to go there,

Ako stvarno želim da glazba ide tim putem,

the best way for me to do it is to listen.

najbolji način da to napravim jest da slušam.

This is a science of listening.

To je umjetnost slušanja.

It has far more to do with what I can perceive

To daleko ima više s time što mogu osjetiti

than what it is that I can do.

nego s time što mogu učiniti.

So if I want the music to get to a certain level of intensity,

ako želim da glazba ide na određenu razinu inteziteta,

the first step for me is

prvi korak za mene je

to be patient, to listen to what's going on

da budem strpljiv, da slušam što se događa

and pull from something that's going on around me.

i izvučem nešto iz onoga što se događa oko mene.

When you do that, you engage and inspire the other musicians

Kada to napravite, uključite i inspirirate druge glazbenike

and they give you more, and gradually it builds.

i oni vam daju više, i polako gradite.

Watch. One, two, a one, two, three, four.

Gledajte. Jedan, dva, jedan, dva, tri, četiri.

(Music)

(Glazba)

Totally different experience when I'm pulling ideas.

Potpuno drugačije iskustvo kada povlačim ideje.

It's much more organic. It's much more nuanced.

Puno je više organsko. Puno je više nijansiranije.

It's not about bullying my vision or anything like that.

Nije da guram svoju viziju ili takvo nešto.

It's about being here in the moment,

Radi se o tome da ste prisutni u trenutku,

accepting one another

prihvaćate jedni druge

and allowing creativity to flow.

i dozvoljavate kreativnosti da poteče.

Thank you.

Hvala vam.

(Applause)

(Pljesak)