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SMM5: Adam Rapa on the Two Sides of the Coin Called Failure
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Adam Rapa is one of the world's foremost jazz trumpet players. He tours extensively around the world thrilling audiences with his impeccable technique and showmanship.
WORST PERFORMANCE MOMENT:
In a way, I always feel like a failure. There are various lenses by which we can look at an experience. From some points of view, I’m always failing. And in others, I’m always succeeding. It’s really how we choose to look at it, whether we’re a success or a failure.
HOW ADAM DEFINES FAILURE:
It has more to do with my mindset than missing notes or "falling apart" on stage. If I don't bring my A-game, I'm a failure, even if the audience loves it.
HOW ADAM STAYS "IN THE ZONE":
It’s easy to do that when I consider it’s not just about the music, not just about the dotting I’s and crossing T’s. It’s also a social experience. If we’re there to have a good time and to provide a good time for the audience, then who am I to call that a failure?
THE HOT SEAT
JN: It’s 5 minutes before you go on stage for an important performance… What are you doing?AR: It varies. In most cases, I’m probably back stage laughing with the other people I’m performing with. It’s an ice way to prepare. Other times, if I feel like what I’m about to do is compete in the Trumpet Olympics, so to speak, then I like to be alone. I’m not taking selfies backstage with other musicians. I’d rather be in a meditative state, bringing myself down into a deeper state of consciousness so I can walk onto the stage already “in the zone.” It really depends on who I’m with and the nature of what I’m about to perform.JN: What’s the best performance-related advice you've ever received?AR: Two answers. One is, “Get out there and give ‘em everything you’ve got.” Don’t be emotionally stingy, don’t hold back. Don’t let your fear get in the way of delivering your truth.Two, “It’s not about you.” A lot of people need to hear this more often as it relates to performing. It involves so much work with the ego. Some of us do a better job than others of keeping the ego in check to make sure it exists, it’s healthy and being fed but also kept on a leash. Being made aware of how little it’s actually needed in circumstances in which you’re performing. To know it’s not about you, it’s about the audience, is of the utmost importance. Otherwise, it can turn into a big strange masturbation thing when really it’s about making love. In order for it to be an act of making love with an audience, you have to know it’s not about you.JN: Can you share one tip for our listeners to help deal with stage fright? (Physical, mental, etc.)
AR: I’m not a good person to talk with about stage fright because I don’t get stage fright. What I do experience are bursts of adrenaline when I walk on stage. If you have a healthy mental approach, then it doesn’t become stage firght. But if you have an unhealthy mental approach, and you combine that with the adrenaline rush of walking on stage, ready to exhibit yourself, then it can become something quite scary and debilitating. But I’m not the best person to ask how to alleviate the emotional triggers we know as “stage fright.” You try your best, prepare the best you can, you go on stage and do your best with an open heart and with the intention of making people feel good and whatever comes out is what comes out. If people like it, great. If not, your license as a performer won’t be revoked. You’ll get another chance. There’s not much you can do other than try your best.
One tip I could offer is regardless of whether you’re experiencing something like stage fright, or what your ego is shouting you in the moment, it’s really important to make sure it doesn’t affect your brething, or the way you use your body. Many times when people are nonchalant, in a practice room, etc. They’re performing with ease.
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Subscribe to the Podcast
Adam Rapa is one of the world's foremost jazz trumpet players. He tours extensively around the world thrilling audiences with his impeccable technique and showmanship.
WORST PERFORMANCE MOMENT:
In a way, I always feel like a failure. There are various lenses by which we can look at an experience. From some points of view, I’m always failing. And in others, I’m always succeeding. It’s really how we choose to look at it, whether we’re a success or a failure.
HOW ADAM DEFINES FAILURE:
It has more to do with my mindset than missing notes or "falling apart" on stage. If I don't bring my A-game, I'm a failure, even if the audience loves it.
HOW ADAM STAYS "IN THE ZONE":
It’s easy to do that when I consider it’s not just about the music, not just about the dotting I’s and crossing T’s. It’s also a social experience. If we’re there to have a good time and to provide a good time for the audience, then who am I to call that a failure?
THE HOT SEAT
JN: It’s 5 minutes before you go on stage for an important performance… What are you doing?AR: It varies. In most cases, I’m probably back stage laughing with the other people I’m performing with. It’s an ice way to prepare. Other times, if I feel like what I’m about to do is compete in the Trumpet Olympics, so to speak, then I like to be alone. I’m not taking selfies backstage with other musicians. I’d rather be in a meditative state, bringing myself down into a deeper state of consciousness so I can walk onto the stage already “in the zone.” It really depends on who I’m with and the nature of what I’m about to perform.JN: What’s the best performance-related advice you've ever received?AR: Two answers. One is, “Get out there and give ‘em everything you’ve got.” Don’t be emotionally stingy, don’t hold back. Don’t let your fear get in the way of delivering your truth.Two, “It’s not about you.” A lot of people need to hear this more often as it relates to performing. It involves so much work with the ego. Some of us do a better job than others of keeping the ego in check to make sure it exists, it’s healthy and being fed but also kept on a leash. Being made aware of how little it’s actually needed in circumstances in which you’re performing. To know it’s not about you, it’s about the audience, is of the utmost importance. Otherwise, it can turn into a big strange masturbation thing when really it’s about making love. In order for it to be an act of making love with an audience, you have to know it’s not about you.JN: Can you share one tip for our listeners to help deal with stage fright? (Physical, mental, etc.)
AR: I’m not a good person to talk with about stage fright because I don’t get stage fright. What I do experience are bursts of adrenaline when I walk on stage. If you have a healthy mental approach, then it doesn’t become stage firght. But if you have an unhealthy mental approach, and you combine that with the adrenaline rush of walking on stage, ready to exhibit yourself, then it can become something quite scary and debilitating. But I’m not the best person to ask how to alleviate the emotional triggers we know as “stage fright.” You try your best, prepare the best you can, you go on stage and do your best with an open heart and with the intention of making people feel good and whatever comes out is what comes out. If people like it, great. If not, your license as a performer won’t be revoked. You’ll get another chance. There’s not much you can do other than try your best.
One tip I could offer is regardless of whether you’re experiencing something like stage fright, or what your ego is shouting you in the moment, it’s really important to make sure it doesn’t affect your brething, or the way you use your body. Many times when people are nonchalant, in a practice room, etc. They’re performing with ease.