Sylvain's Lessons

I first wrote to Sylvain Leroux in October of 2009. It was through Sylvain (and through Jumbie Records’ Raul Rothblatt) that I first made contact with Famoro. Sylvain, a Quebecois now based in New York, is a highly accomplished player of the Tambin (or Serdu), the traditional flute of the Fulani people of Guinea’s Fouta Djallon highlands. Sylvain is greatly respected in the New York Mande music scene and his Fula Flute is a much decorated (and wonderful!) ensemble of musicans from the US, Canada, Guinea, and Mali. Although he would downplay his accomplishments, as an "outsider" who has learned to play so well, the music of an "other," Sylvain has long been an inspiration to me.

In the last post, I mentioned that one of the events that Famoro had me attend was an outdoor festival where his afro-fusion group, Kakande gave a few performances. Sylvain is also a part of the Kakande project and so, naturally, was at that festival. After the group’s first performance, while some of us were having a bite to eat, I had the chance to talk with Sylvain about his experiences, and to ask if he might have any advice for someone who is at the beginning of his own musical apprenticeship.

One thing that he mentioned that was very encouraging: He only began his pursuit of tambin performance at the age of 38! (He had studied music and was already an excellent flautist in a Western Art context, but at 38, beginning to study the tambin? That’s astounding!)

Beyond this, he offered that while for now, my priority should be on learning to play perfectly and verbatim, the things that Famoro teaches me, I should also spend at least some of my practice time just playing around, improvising, and experimenting.

This confirms both what John Castellano of New York’s The Drummers Collective has suggested: "Leave some time to be creative . . . being creative is an excellent way to end each practice session" and what Famoro is reiterating time and time again: that Guinean music and the bala are ALL about inspiration and improvised expression. When he teaches me patterns, he'll also give examples (without committing me to them) of the myriad (virtually infinite) directions they could be explored.

Sylvain told me that I shouldn’t worry about "finding my own voice" just yet--especially if I really am just beginning. I should practice the things that Famoro teaches (patterns and variations alike) until I can play them without needing to think about them. When I can do that, my voice and the ability to express myself will just come.

In the article cited above, "How To Improve" (a long-time shaper of my own practicing approach), Castellano describes an excellent teacher thus: "Although the teacher has personal experience, he or she has the ability and confidence to allow students to find their own way." But he adds: "You must become your own primary teacher. Be objective about your strengths and weaknesses, and recognize what is required in order to improve. Never depend solely on the advice of others, no matter how much you may admire them."