tag:blogger.com,1999:blog-68542039777810693252024-03-19T00:34:19.309-07:00Triple Fire Plugrobhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.comBlogger141125tag:blogger.com,1999:blog-6854203977781069325.post-43168506230596972272010-05-11T07:50:00.000-07:002010-05-11T07:52:08.958-07:00TFP moving to WordpressIn order to take advantage of the options available on my new iPhone (i.e., blog posting and managing), I've moved my blog to WordPress. You can read it <a href="http://triplefireplug.wordpress.com/">here</a>.robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-7720660162517152182010-02-09T07:54:00.000-08:002010-02-09T07:59:28.244-08:00Disney's Painted Basses<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos.blogdowntown.com/4331540952_740e467f86_s.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 75px; height: 75px;" src="http://photos.blogdowntown.com/4331540952_740e467f86_s.jpg" alt="" border="0" /></a><br />I've painted, metal flaked, and otherwise damaged more than a few basses in my life as a musician. Now, <a href="http://blogdowntown.com/2010/02/5082-animated-basses-to-benefit-grammy-music-education">Disney has produced a series of painted basses to benefit the Grammy's education programs</a>.<br /><blockquote><br />String basses with a New Orleans theme, an Enchanted Princess, Dumbo's Pink Elephants, a Cheshire Cat grin, and a Genie were introduced at the Grammy Museum on Thursday. The next time the instruments stand side-by-side will be in the summer when they are auctioned at Planet Hollywood in Las Vegas to benefit the Grammy In The Schools music education programs of the Grammy Foundation. <p>Artists from the Walt Disney Animation Studio were invited to present ideas. Once concepts were selected, they donated their time in creating the final works.</p> <p>"I want one," said Stanley Clarke, Grammy winning jazz bassist and composer, on hand to speak to how education is enhanced by learning how to play an instrument.<br /></p> <p>One bass will be on display at the Grammy Museum while the others will be dispatch to different venues for a tour. Stops will include Planet Hollywood locations in Las Vegas and New York and the Rock and Roll Hall of Fame in Cleveland.<br /></p> <p>Animator Brian Kesinger recalled how he was mulling over the final design and was toying with an idea of adding a layer of clear coat. When his car broke down in front of an auto body and paint store, he took it as a sign and told the owner about his project. "His eyes lit up," said Kesinger. The store owner also donated his time to add a final sheen to his Genie string bass.</p> <p>The upright bass that will be on display at the Grammy Museum has not been selected, but keep in mind that "Aladdin" won two 1993 Grammys and was nominated for a third (Friend Like Me). The Genie may be a downtown resident until summer.</p></blockquote><p></p>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-17535728234585927722010-02-05T07:53:00.000-08:002010-02-05T07:58:58.799-08:00Picture This Film FestivalThe <a href="http://www.ptff.org/">Picture This Film Festival</a> is taking place in Calgary February 8-10.<br /><br /><em></em><blockquote><em>Picture this…film festival</em> is an international disability film festival. It is a non-profit annual event initiated by the Community Development department of Calgary Scope Society, a registered non-profit society.</blockquote><br />The <a href="http://www.calgscope.org/">Calgary Scope Society</a> provides services to adults with disabilities and is one of the charities recently in the <a href="http://www.calgarysun.com/news/alberta/2010/01/15/12485881.html">news regarding the budget cuts to service providers</a> for people with disabilities.robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-89641370132038794602010-01-29T07:44:00.001-08:002010-01-29T07:45:39.214-08:00Crisis Camp HaitiHere's an upcoming event for those tech savvy individuals interested in helping aid agencies working in Haiti.<br /><blockquote><br /><a href="http://www.facebook.com/event.php?eid=267664669471">Crisis Camp Haiti:</a><br />On Saturday February 6th, 2010, we will be hosting CrisisCamp Haiti Calgary to bring together volunteers to collaborate on technology projects which aim to assist in Haiti's relief efforts by providing data, information, maps and technical assistance to NGOs, relief agencies and the public.</blockquote>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-18155103231228432372010-01-22T20:36:00.000-08:002010-01-22T20:38:42.042-08:00Copyright law and the most famous 6 seconds of contemporary musicI'm working on some research regarding copyright laws in the music industry, with a focus on genres when they are emerging (i.e., considered underground). Copyright laws are all about providing incentives for creative development and productive research. One of the big questions about copyright laws, particularly in the arts, is whether they have any retroactive power regarding things created (and not copyrighted) in the past that are being currently adopted and used (often without remuneration).<br /><p><br />One of the people I'm working with on this sent me the video below regarding what is likely the most famous 6 second drum break in contemporary music. Its originally by a band called the <a href="http://en.wikipedia.org/wiki/The_Winstons">Winstons</a> and was written in 1969. This 6 seconds made its way through rap and hip-hop, helped found drum & bass and jungle music, and has made its way into advertising.<br /><br /><br /></p><p><br /><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/5SaFTm2bcac&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/5SaFTm2bcac&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object></p>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-4289370020117631662010-01-14T08:37:00.000-08:002010-01-14T08:45:41.241-08:00January 13, 2010: a rough day for musicYesterday, three prominent musicians died: <a href="http://teddypendergrass.com/">Teddy Pendergrass</a> (soul, R&B), <a href="http://www.edthigpen.com/">Ed Thigpen</a> (jazz) and <a href="http://www.jayreatard.com/">Jay Reatard</a> (punk, garage). Rough day across all genres of American music.<br /><br /><p><br /><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/_rn6AEVXpeo&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/_rn6AEVXpeo&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br /></p><p><br /><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/54-9Jvq1Li4&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/54-9Jvq1Li4&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br /><br /><br /><br /></p><p><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/2ncvxde3mLE&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/2ncvxde3mLE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object></p>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-40879491723711331432010-01-13T08:41:00.000-08:002010-01-13T09:01:41.409-08:00Where Not To Go for Musical Instrument RepairsAs important as positive recommendations are, its also important doubt places you shouldn't go. In the past, I've written positively about <a href="http://triplefireplug.blogspot.com/2009/07/ross-hill-calgary-luthier.html">Ross Hill (luthier)</a>, <a href="http://triplefireplug.blogspot.com/2008/04/pj-tan-violin-shop-edmonton-ab-canada.html">P.J. Tan's Violin Shop</a>, and the String Emporium(e.g., <a href="http://triplefireplug.blogspot.com/2009/05/tuff-lite-review-better-than-moorodian.html">here</a> and <a href="http://triplefireplug.blogspot.com/2010/01/review-tuff-lite-bass-case-form-string.html">here</a>). Given the recent grief me and friends of mine have run into lately, here's a couple of warnings.<br /><br /><ol><li><a href="http://www.guitarconnection.ca/">Guitar Connection</a>: This used to be the place for amplifier repairs. Boy, how things have changed. A friend recently brought in a Fender Reverb for repair. Whenever the amp was turned on, all that came out was very loud white-ish noise. He was told a week for the repair. After a week, still not ready. Second week, still not done. Finally, after three weeks he decides he's just going to go pick it up and take it elsewhere. After calling the store, he's told it will be ready that day. Goes in that day and is told by the owner how great it sounds, how he had been playing it for a couple of hours to check it out. As compensation for having taken so long, the owner tells him the repair is free. My friend gets to rehearsal, turns it on, and once again white noise.<br />Exasperated, my friend takes it to Long and McQuade and gets it repaired in an hour. Turns out the guys at Guitar Connection (if they did anything) used the wrong types of wires and failed to replace a bad power tube. <p><br />Lesson: Avoid the Guitar Connection for amplifier repairs.<br /></p><p><br /></p></li><li><a href="http://www.hillsfinestrings.com/">V.A. Hill Strings</a>: The stories from this place about. Basically the stories revolve around the staff at Hill Strings not really knowing much about instruments. My favorite (recounted to me by a luthier in Edmonton) is someone who bought a cello for $800 in Edmonton and was told by V.A. Hill Strings that the cello was worth $3,000. She then sold the cello to V.A. Hill for $2,000 and went back to Edmonton to buy another cello for $800. <p><br />My experience with Hill Strings is equally odd. I brought in a 1920's King double bass to get some cracks repaired and the fingerboard planed. I was going to sell the bass in order to get the funds to upgrade to a carved bass. After a couple of days, I got a call from the owner telling me that they didn't think the bass was worth fixing and that the cost of the repair ($650) was more than the instrument was worth. I told them to to ahead and repair the bass. When I picked up the bass, they had put a new bridge on the bass without having fit it appropriately. The fingerboard and cracks were repaired adequately and I paid for the repair. After cutting the bridge myself, I sold the bass the following week for $2,500. </p><p><br />Lesson: Be wary of the repairs and prices at V.A. Hill Strings.</p></li></ol>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-24162473027960972682010-01-12T08:31:00.000-08:002010-01-12T08:37:54.172-08:00Itay Talgam on Leading (like a conductor)<a href="http://www.ted.com/">TED</a> has a relatively new video of <a href="http://www.talgam.com/appfiles/default.asp">Itay Talgam</a> discussing conducting and leadership. Its a great talk that highlights the differences in conducting style, what they are communicating, and how they are assuming a role of leadership. I particularly like his discussion of <a href="http://en.wikipedia.org/wiki/Carlos_Kleiber">Carlos Kleiber</a>. I have a new understaing of what he is communicating, something I didn't have when I saw the <a href="http://philharmonist.wordpress.com/2008/02/11/how-important-is-conducting-technique/">video on this post</a>.<br /><br /><br /><br /><br /><br /><!--copy and paste--><object height="326" width="446"><param name="movie" value="http://video.ted.com/assets/player/swf/EmbedPlayer.swf"><param name="allowFullScreen" value="true"><param name="wmode" value="transparent"><param name="bgColor" value="#ffffff"> <param name="flashvars" value="vu=http://video.ted.com/talks/dynamic/ItayTalgam_2009G-medium.flv&su=http://images.ted.com/images/ted/tedindex/embed-posters/ItayTalgam-2009G.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=663&introDuration=16500&adDuration=4000&postAdDuration=2000&adKeys=talk=itay_talgam_lead_like_the_great_conductors;year=2009;theme=unconventional_explanations;theme=not_business_as_usual;theme=presentation_innovation;theme=new_on_ted_com;theme=speaking_at_tedglobal2009;theme=art_unusual;theme=the_creative_spark;event=TEDGlobal+2009;&preAdTag=tconf.ted/embed;tile=1;sz=512x288;"><embed src="http://video.ted.com/assets/player/swf/EmbedPlayer.swf" pluginspace="http://www.macromedia.com/go/getflashplayer" type="application/x-shockwave-flash" wmode="transparent" bgcolor="#ffffff" allowfullscreen="true" flashvars="vu=http://video.ted.com/talks/dynamic/ItayTalgam_2009G-medium.flv&su=http://images.ted.com/images/ted/tedindex/embed-posters/ItayTalgam-2009G.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=663&introDuration=16500&adDuration=4000&postAdDuration=2000&adKeys=talk=itay_talgam_lead_like_the_great_conductors;year=2009;theme=unconventional_explanations;theme=not_business_as_usual;theme=presentation_innovation;theme=new_on_ted_com;theme=speaking_at_tedglobal2009;theme=art_unusual;theme=the_creative_spark;event=TEDGlobal+2009;" height="326" width="446"></embed></object>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-64026393505805762582010-01-11T14:17:00.001-08:002010-01-11T14:48:32.783-08:00Review: Tuff-Lite Bass Case from the String EmporiumOver the last 2 years, I've had to ship a bass three times. Most recently to go to Stanford and New York. In the past I had used David Gage bass trunks, older model borrowed from friends. However, last year, with two trips planned and another three slowly materializing, I opted to purchase a trunk of my own.<br /><br />I did some research comparing prices and features (the primary being weight) and opted for the <a href="http://www.tuff-lite.com/">Tuff-Lite trunk</a> from <a href="http://www.stringemporium.com/">the String Emporium</a>. I opted for the standard model, thinking that the hard part was getting it on the plane, not the actual weight of the thing. It cost $1,50, weighs just over 60 lbs.<br /><br />As a quick aside, my experience has been that there is a flat fee (about $175) for traveling with something of this size. I've never had anybody weigh the case. My tips for traveling with a bass are <a href="http://triplefireplug.blogspot.com/2009/08/airline-travel-with-your-bass.html">here</a>.<br /><br />Relative to the gage trunk, I chose the Tuff-Lite for a couple of reasons. First was the price. I don't travel so much that I can rationalize paying almost an additional $1,000. (This is also in part why I opted for the standard Tuff-Lite.) Secondly, I was never a fan of the clasps system on the Gage trunk. In every situation where I've traveled with my bass, I've had to open up the trunk. The Tuff-Lite closes with a series of bungee cables which makes opening and closing the case relatively easy. Moreover, since it can't be locked anyway due to airline security regulations, its easy for others to open it if need be. The video below shows the String Emporium's own <a href="http://www.stringemporium.com/aboutus.htm">Steve Koscica</a> demonstrating the case.<br /><br /><object height="340" width="560"><param name="movie" value="http://www.youtube.com/v/jPh736-vgYs&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/jPh736-vgYs&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="340" width="560"></embed></object><br /><br /><br />I like this case and it's been great on the road. Some specifics:<br /><ol><li>Inside the case, there are several straps which can be used to secure the bass in place. Also included are a couple of foam pads that you can place in order to protect the instrument. The straps are well-placed and I feel provide better support for the instrument than the airbags I have seen in other cases. </li><li>The case has several handles on the exterior, each of which is pretty thoughtfully placed. I had a relatively easy time maneuvering the case through the airport and found myself using the various handles to make various turns and tips down corridors and into elevators.</li><li>The casters (as with the handles) are mounted on the case exterior. I hadn't seen this in other cases and it makes replacing or altering the case easy. The last Gage case I used was an older model with a broken caster. Since the caster was molded into the trunk it coulomb be replaced. Here, if I breaks a wheel, I can easily unscrew the caster and replace it. </li></ol>Overall, this is a great case, well worth the price. There is one thing I didn't like about the case: there are metal strips on the front and back of the case that, presumably, make it easier to slide for baggage handling. On my case at least, they are sharp at the ends and a jaggedly cut. I tore a shirt and cut a finger on one of these strips. To remedy the problem, I covered the ends of the strips with a couple pieces of <a href="http://www.octanecreative.com/ducttape/topten/index.html">duct tape</a> to keep the ends covered.robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-38529198552199217192010-01-11T14:16:00.001-08:002010-01-11T14:16:58.144-08:002010, back at it.My apologies for having being so derelict in keeping this blog up to date. New reviews of gear and gig stories on the way. Mea culpa.robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-42867049023707548252009-12-16T10:02:00.000-08:002009-12-16T10:09:32.815-08:00Canada's Music IndustryAccording to a <a href="http://martinprosperity.org/insights/insight/The_Great_Musical_North">recent report by the Martin Prosperity Institute</a>:<br /><blockquote>On a per capita basis, Canada’s music industry dramatically outperforms the US when it comes to the presence of music business establishments (this category includes record labels, distributors, recording studios, and music publishers). Canada has 5.9 recording industry establishments per 100,000 residents, about five times the US figure of 1.2.</blockquote>However, this appears to really be only on a per capita basis:<blockquote><br />Recording industry establishments in the US are slightly larger – they have an average of 5.9 employees each, compared to only 5.7 in Canada. But the difference is dramatically more pronounced when it comes to revenue. US establishments earn average receipts of $4.1 million per establishment, compared to only US$540,000 in Canada.<br /><br />So Canada has considerably greater per capita musical activity than the United States in terms of record labels, recording studios, and licensing houses. But the data tell us that the United States has much higher-earning businesses that are more heavily clustered in fewer places – especially Nashville, Los Angeles, and to a lesser extent, New York.<br /><br />While this research is preliminary, we can speculate about what drives these differences. Economic geographers, from <a href="http://books.google.com/books?id=5jgzAAAAMAAJ">Jane Jacobs</a> to <a href="http://ideas.repec.org/a/pio/envira/v31y1999i11p1965-1984.html">Allen Scott</a> to the Martin Prosperity Institute’s <a href="http://www.martinprosperity.org/research-and-publications/publication/music-for-the-masses">own recent analysis</a>, have long noted that growth in creative industries like music tends to be driven by clustering and economies of scope and scale. The concentration of the American music business in a few key cities likely encourages these forces. In Canada, the fact that the music business is more evenly distributed is certainly a positive thing for musicians looking for opportunities in smaller cities. But failure to cluster in a few key centres may be discouraging the Canadian music industry from growing larger and more internationally competitive.</blockquote><br /><p><br /><p><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://martinprosperity.org/media/images/Music_Graphic_Exhibit1_706_Web.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 706px; height: 530px;" src="http://martinprosperity.org/media/images/Music_Graphic_Exhibit1_706_Web.jpg" border="0" alt="" /></a>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-3529662692116394562009-10-13T08:08:00.000-07:002009-10-13T08:10:11.787-07:00Now that's a trick!A lot of rockabilly players stand on their basses, or put their basses over them, or play with their feet. The list of tricks goes on and on. But this is a real stunt!<br /><p><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/7q8Gvwc2GyQ&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/7q8Gvwc2GyQ&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-67128075767224571812009-10-08T12:33:00.001-07:002009-10-08T12:34:37.578-07:00The Talking PianoIn this truly amazing video, we see how a frequency analysis of an individual's voice can be turned into "music". The result: A Talking Piano.<br /><br /><p><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/muCPjK4nGY4&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/muCPjK4nGY4&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br /><p>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-40419600639214671692009-10-08T06:44:00.000-07:002009-10-08T06:46:37.144-07:00National Ramones DaySo today (October 8th) is the birthday of both Johnny and C-Jay Ramone. If there was ever an occasion of a holiday in the name of the Ramones, this might be it.robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-58758714398720117972009-09-10T12:46:00.000-07:002009-09-10T12:47:38.180-07:00Matt Heller on CBCMatt Heller (double bassist for the Calgary Philharmonic Orchestra) was on <a href="http://contrabassconversations.com/guests/matt-heller/">Contrabass Conversations recently discussing the ISB convention</a>.robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-13953096782719342912009-09-03T07:18:00.000-07:002009-09-03T07:45:31.925-07:00John Philip Sousa on the recording industryI'm currently reading <a href="http://www.elijahwald.com/">Elijah Wald</a>'s book <a href="http://www.elijahwald.com/beatlespop.html">How the Beatles Destroyed Rock and Roll</a>. In it he discusses the views of <a href="http://en.wikipedia.org/wiki/John_Philip_Sousa">John Philip Sousa</a> towards recording and the dissemination of "machine-made music." The quote below is from Sousa's essay <a href="http://explorepahistory.com/odocument.php?docId=418">"The Menace of Mechanical Music"</a> [published in 1906]. The essay made me think of <a href="http://doublebassblog.org/2009/09/why-teens-dont-listen-to-classical-music.html">Jason Heath's recent blog post on why teenagers don't listen to classical music</a>.<br /><blockquote><br />Right here is the menace in machine-made music! The first rift in the lute has appeared. The cheaper of these instruments of the home are no longer being purchased as formerly, and all because the automatic music devices are usurping their places.<br /><br />And what is the result? The child becomes indifferent to practice, for when music can be heard in the homes without the labor of study and close application, and without the slow process of acquiring a technic, it will be simply a question of time when the amateur disappears entirely, and with him a host of vocal and instrumental teachers, who will be without field or calling.<br /><br />Great Britain is experiencing this decline in domestic music and the English press is discussing it seriously in its editorials. A recent writer in the London Spectator dwells at considerable length upon the prevailing condition, and points to the novel as a sign of the times. The present-day fashionable writer of society fiction, he declares, does not find it necessary to reënforce his heroine with vocal accomplishment, "as in the good old days." He ascribes the passing of home performance, both vocal and instrumental, to the newborn love of athletics among the maids of Albion, together with the introduction of the phonograph as a mechanical substitute for amateur performances....<br /><br /> Under such conditions the tide of amateurism cannot but recede, until there will be left only the mechanical device and the professional executant. Singing will no longer be a fine accomplishment; vocal exercises, so important a factor in the curriculum of physical culture, will be out of vogue!<br /><br /> Then what of the national throat? Will it not weaken? What of the national chest? Will it not shrink? When a mother can turn on the phonograph with the same ease that she applies to the electric light, will she croon her baby to slumber with sweet lullabys, or will the infant be put to sleep by machinery?<br /><br />Children are naturally imitative, and if, in their infancy, they hear only phonographs, will they not sing, if they sing at all, in imitation and finally become simply human phonographs -- without soul or expression? Congregational singing will suffer also, which, though crude at times, at least improves the respiration of many a weary sinner and softens the voices of those who live amid tumult and noise.<br /><br />Just so far as a spirit of emulation once inspired proud parent or aspiring daughter to send for the music teacher when the neighbor child across the way began to take lessons, the emulation is turning to the purchase of a rival piano player in each house, and the hope of developing the local musical personality is eliminated.<br /><br />The country dance orchestra of violin, guitar and melodeon had to rest at times, and the resultant interruption afforded the opportunity for general sociability and rest among the entire company. Now a tireless mechanism can keep everlastingly at it, and much of what made the dance a wholesome recreation is eliminated.<br /><br />The country band with its energetic renditions, its loyal support by local merchants, its benefit concerts, band wagon, gay uniforms, state tournaments, and the attendant pride and gayety, is apparently doomed to vanish in the general assault on personality in music.</blockquote><br /><br />Remember, his was written in 1906. I, like Sousa and Heath, think that the changes in music listening habits has a large part to do with the way teenagers (and the rest of us) listen to music today. With the easy availability of MP3 players and the internet providing quick access to literally hundreds of thousands of listening options, classical music is just not properly "placed" to be consumed like other genres: the pieces are significantly longer; the pieces vary in tempi, dynamics and other ways that don't catch people's attention in a world where individuals can listen to their iPod for 3 minutes at a time between classes, meetings, and other friendly interruptions. <br /><br />The way we consume music has also affected jazz. The fact that individual's purchase their music online now (more than ever) suggests that the art of writing liner notes is being lost. For jazz fans and musicians, the liner notes of an album provide important information on, among other things, the side-men on a given recording date. This has changed (I believe) how people listen to a jazz recording: if the side-men are not mentioned, what are the chances that the average listener will be noticing their contribution to the recording. Now it is harder to follow the contributions of side-men like <a href="http://www.allaboutjazz.com/iviews/lgrenadier.htm">Larry Grenadier</a>, <a href="http://www.ericalexanderjazz.com/">Eric Alexander</a>, or <a href="http://www.terellstafford.com/">Terrel Stafford</a> in their contributions to the recordings of others. As a result, I think the way we are currently listening to music also has something to do with the perception (real or not) that <a href="http://online.wsj.com/article/SB10001424052970204619004574320303103850572.html">jazz is in need of saving</a>.robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-46031158039641594312009-08-11T09:22:00.000-07:002009-08-11T09:25:22.996-07:00Airline Travel with Your BassI recently made an airline trip with my bass in my new <a href="http://www.stringemporium.com/">Tuff-Lite bass trunk</a>. Overall, the trip was pretty easy (surprisingly). Everyone was nice and my bass was well-cared for by the baggage and airline folks. I've included a few tips from my experiences. Hopefully this blog post will help future travelers with similar endeavors.<br /><br />Just to give some details, I went from YYC to SFO via SLC and back. I flew Delta. As far as i can tell, the only airlines that are reasonable as far as traveling with a bass are Delta and Northwest. They are in the process of a merger, which I'm not sure is good or bad. We'll see.<br /><br />I packed my bass in my <a href="http://www.stringemporium.com/">Tuff-Lite case</a> from <a href="http://www.stringemporium.com/">the String Emporium</a>. As I expected, I got a lot of odd looks at the airport, particularly from the Delta staff who at first seemed a little unsure as to what to do with the trunk.<br /><br />TIP #1: DO YOUR HOMEWORK:<br />Prior to making the trip, I got confirmation from Delta that the bass in its case would make the trip. To do this, I spent roughly 45 minutes on the phone making my reservation and getting all the details ironed out. They asked for the measurements of my case and its weight (84" x 34" x 22" and about 100lbs fully loaded). Although this is in excess of Delta's rules (120 linear inches and 100 lb max), the reservation clerk found out the size of the cargo door on the plane (43" X 22") and told me that "if it fits, we'll take it." The person I dealt with on the phone documented our conversation, including all the measurements, and our conversation was able to be reviewed at the various airports by the Delta staff.<br /><br />TIP #2: GET THERE EARLY:<br />Even with this assurance, I was pretty paranoid. At the airport, the Delta staff avoided me, looking past me and asking people after me in line to come up. Finally I asserted myself and asked to be served. They finally checked the bag although they were baffled by how the case would be handled once I cleared customs. The extra time it took to get the trunk cleared and in the hands of the baggage folks was about 40 minutes. Add this as additional time you'll need at the airport.<br /><br />TIP #3: GET A GREEN CARD FOR YOUR INSTRUMENT:<br />The folks at US customs (which I cleared in Calgary) asked about the value of my instrument. Once I told them, they asked for a "green card" for the instrument. Apparently, when you're traveling with an expensive instrument, you can obtain a green card for that instrument from your home airport's custom authority. This card indicates that the instrument originated in Canada. In this way, when you return there are no questions regarding where the instrument came from. The Canadian customs people (and those in the US too) are apparently on the lookout for purchases made in the US on which duties and taxes may be owed. The green card avoids these hassles upon return. (Given that I don't have a green card for my bass, I'll deal with this potentiality in a week's time.)<br /><br />TIP #4: BE NICE TO EVERYONE:<br />Naturally, when traveling with a bass trunk there is a lot of curiosity on the part of fellow travelers and airport staff. Be nice to all of them. Realize that you're in some sense at their mercy. Given that the bass trunk is over-sized, they can always decide not to take it. Its worth the extra time to talk with them, entertain their inquiries, and open the case again and again (for customs and security checks) with a smile on your face.robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-86860626862888835142009-08-10T14:17:00.000-07:002009-08-10T14:22:12.154-07:00Ray Drummond's Core 50<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.jazzreview.com/f/user_images/6-108-1201-1-4.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 266px; height: 400px;" src="http://www.jazzreview.com/f/user_images/6-108-1201-1-4.jpg" alt="" border="0" /></a><br />I just came back from the <a href="http://www.stanfordjazz.org/">Stanford Jazz Workshop</a>. At the sessions, bassist <a href="http://www.raydrummond.com/">Ray Drummond</a> gave out a list of the core 50 songs every bassist (and other instrumentalists) should know. Here it is for those interested.<br /><blockquote>1. I can’t get started<br />2. Body and soul<br />3. Take the A train<br />4. Sophisticated lady<br />5. Chelsea bridge<br />6. Prelude to a kiss<br />7. I got rhythm<br />8. Cherokee<br />9. Cheryl<br />10. Now is the time<br />11. Giant steps<br />12. Invitation<br />13. Blue monk<br />14. Well you needn’t<br />15. Willow weep for me<br />16. How high the moon<br />17. Whispering<br />18. All the things you are<br />19. What is this thing called love<br />20. I’ll remember April<br />21. In a mellow tone<br />22. It don’t mean a thing<br />23. All God’s children got rhythm<br />24. Scrapple from the Apple<br />25. Round midnight<br />26. Sweet Georgia Brown<br />27. There will never be another you<br />28. Afternoon in Paris<br />29. Have you met Miss Jones<br />30. Caravan<br />31. Was for not<br />32. I remember Clifford<br />33. Gone with the wind<br />34. Like someone in love<br />35. Con Alma<br />36. A night in Tunisia<br />37. Bebop<br />38. Yesterdays<br />39. Polka dots and moonbeams<br />40. Stella by starlight<br />41. Love for sale<br />42. Mr. PC<br />43. There is no greater love<br />44. Softly as a morning sunrise<br />45. Summertime<br />46. Dolphin dance<br />47. Lose in the closet<br />48. Lover Man<br />49. But not for me<br />50. Lover come back to me</blockquote><br /><br />I think there are a lot of interesting inclusions and omissions from this list. Part of Ray's point here (I believe) is to establish a list of songs which have important forms and changes.robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-34147830687487903602009-07-23T06:59:00.000-07:002009-10-08T06:40:37.338-07:00Ross Hill - Calgary luthier<p><br />I recently took in my 1951 Nicola Alagia bass for some work on the fingerboard. I bought this bass from <a href="http://pjtanviolinshop.com/">PJ Tan</a> in Edmonton, someone <a href="http://triplefireplug.blogspot.com/2008/04/pj-tan-violin-shop-edmonton-ab-canada.html">who I've written about before</a>.<br /><br />I took the bass to <a href="http://www.google.ca/url?sa=t&source=web&ct=res&cd=1&url=http%3A%2F%2Fmaps.google.ca%2Fmaps%3Fhl%3Den%26client%3Dfirefox-a%26rls%3Dorg.mozilla%3Aen-US%3Aofficial%26hs%3Dw4J%26um%3D1%26ie%3DUTF-8%26q%3DAeolian%2BStrings%2Bcalgary%26fb%3D1%26split%3D1%26gl%3Dca%26view%3Dtext%26latlng%3D12283002149062196944&ei=iG9oSv3NEZWQNpyduacL&usg=AFQjCNGHlfd0YvCbZzW4gqu8mDSjgZQO6A&sig2=bCPXqcA594SufFSiz7mi3A">Aeolian Strings</a> as I heard that Ross Hill was working there. Ross is a Calgary luthier who I had heard great things about from both jazz players and members of the CPO.<br /><br />I have been looking for a luthier in Calgary for some time. There are very few places that will take a double bass. There's the principal of the CPO, Charles Garret, who does great work but only relatively minor repairs (e.g., bridges, seams). Then there's VA Hill Strings which was once the namesake of Ross Hill. (Due to a divorce, he's no longer involved with VA Hill Strings. 'Nuff said.) I took in an older bass once and a visiting luthier did a great job done. A second time (with my 1920's King laminate bass), I received a phone call to tell me that the bass wasn't worth the cost of repairs ($600). I had them do the work, the regular luthier did a lousy job, Vicky Hill and the luthier treated me like a chump (rolling their eyes at me as I spoke), and I sold the bass for $2,400. In short, I don't recommend VA Hill Strings for anything. I've had other experiences there while looking at bows and have heard stories that just made me laugh. My general impression is that they are not as informed/experienced as they present or believe themselves to be.<br /><br />Moving on, I was excited about taking my bass to Ross Hill. From my perspective he's been a bit of a spectre: someone you hear about but never see.<br /><br />After he looked at my bass, he recommended a new fingerboard. I admit, the fingerboard was getting thin, I just didn't think it needed the whole thing replaced. I opted to have the work done, plus fixing a seam, adjusting and installing some adjusters in the bridge. We talked over the phone about what I wanted, but never got together to talk about different possible shapes for the fingerboard.<br /><br /><br />I've had the bass back now for a couple of weeks. Simply but: the work is excellent! The bass is a joy to play; its fast; it feels so natural. I'm amazed at how great the bass plays. Its like a new instrument. He even managed to do some work to the soundpost and bridge to even out the tone across the strings. Its deep "Italian oily sound" is better than ever. Incredible!<br /><br />My strongest recommendation of Ross Hill. He can be reached through <a href="http://www.google.ca/url?sa=t&source=web&ct=res&cd=1&url=http%3A%2F%2Fmaps.google.ca%2Fmaps%3Fhl%3Den%26client%3Dfirefox-a%26rls%3Dorg.mozilla%3Aen-US%3Aofficial%26hs%3Dw4J%26um%3D1%26ie%3DUTF-8%26q%3DAeolian%2BStrings%2Bcalgary%26fb%3D1%26split%3D1%26gl%3Dca%26view%3Dtext%26latlng%3D12283002149062196944&ei=iG9oSv3NEZWQNpyduacL&usg=AFQjCNGHlfd0YvCbZzW4gqu8mDSjgZQO6A&sig2=bCPXqcA594SufFSiz7mi3A">Aeolian Strings (403.244.5593)</a>.</p>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com4tag:blogger.com,1999:blog-6854203977781069325.post-83285078031290802392009-07-17T13:59:00.000-07:002009-07-17T14:01:02.610-07:00Jazz 50 Years Ago<a href="http://www.theroot.com/views/best-year-jazz-ever">Here</a>'s the article. 'Nuff said. Will we ever have such a landmark year for music in any genre?robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-27651782191765304112009-07-16T07:58:00.000-07:002009-07-16T08:02:12.273-07:00Practicing Your SongwritingI recently had an <a href="http://www.servethesong.net/practicing-songwriting/">article appear in the Serve the Song blog</a> (a blog I read pretty regularly and find very useful). Here's the article:<br /><br /><p class="MsoNormal"></p><blockquote><p class="MsoNormal">Like anything, songwriting improves as one practices one’s craft. Practicing songwriting can often be a daunting task not only because it seems odd as a concept (What is the difference between practicing songwriting and being creative by actually engaging in the process of songwriting?) but also because it requires admitting that your own songwriting needs improvement.</p> <p class="MsoNormal">Many times, once we write something we have a hard time letting it go, admitting that it needs complete rewriting or that may just not be that good to want a live performance or recording. Many years ago, I read somewhere that Charlotte Cafferty (then guitarist of the Go-Go’s) wrote hundreds of songs that never saw life beyond her notebook. She viewed these is not good enough for live performance and use them as examples to learn and practice what worked and what didn’t work.</p> <p class="MsoNormal">Personally, for every 10 songs or so I write, one makes it in front of a band; and for every five that I bring to the band, one makes it to a live performance or recording. While this may suggest that I’m extremely prolific or just plain suck at writing, I take a different view: In a sense, all those bad songs I write are practice for the good songs I write.</p> <p class="MsoNormal">In any event, admitting that a song you have written requires rewriting/retooling/rejecting can be difficult. Sometimes when I’m just not in the mood to rework my own material, I turn to the work of others. My approach is this: How many times has a song you don’t particularly like gotten stuck in your head? It happens to me all the time. Sometimes I wake up in the morning and one of my kids’ favorite songs is stuck in my head. Sometimes I<span> </span>(inadvertently) hear a song by an artist I don’t like, only to have the song repeat over and over again in my head throughout the day. There must be something about these songs that makes them “stick.” So, I use these songs as material to practice my songwriting. Literally, I take these songs and start rewriting them, taking them apart to figure out what makes them tick and why they are so catchy. At the same time, I’m honing my own skills with melody, harmony and rhythm.</p> <span style="font-weight: bold;">Deconstructing a Hit</span><br /><br />When practicing songwriting, it’s useful to think about what it is that makes these songs (perhaps regrettably) so memorable. Is it the melody? Is it the artist’s phrasing? Is it the rhythm or chord progression? As such, rewriting an existing song can serve several important purposes:<span><span><span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"> </span></span></span><!--[endif]--><br /><ol><li>By dissecting and rewriting an existing song you can learn a great deal about what makes its melody catchy or its rhythm addictive. I often take an existing song and try to change one aspect (e.g., melody rhythm progression) while keeping everything else constant. This allows me to see how, say, the artist phrasing works within a melodic or harmonic structure.Sometimes I keep the melody and try to change the chords or rhythm in order to understand how a seemingly catchy melody can be supercharged by the right rhythm and harmony to create a monster you can’t get out of your head. Through this, you learn what works and what doesn’t for more general songwriting.</li><li>This type of work also gives you an opportunity to step outside of your genre. Maybe you can take that goofy Carrie Underwood song about cheating and turn it into a mambo? Maybe you can really stretch out an do what these guys did, <a title="Spears" href="http://www.youtube.com/watch?v=tgDcC2LOJhQ" target="_blank">converting a Brittany Spears song into a fugue</a>. By stepping out of your genre and writing something really different, you open yourself up to new ways of conceptualizing a song. You hear new rhythms and phrases that may spark ideas for your own original material.<span><span><span style="font-family: "Times New Roman"; font-style: normal; font-variant: normal; font-weight: normal; font-size: 7pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"> </span></span></span><!--[endif]--></li><li>Finally, by working from an existing song you are not only learning from an example of a “successful” song, but you’re also practicing your own craft. In re-writings say a Beyonce song or something from the soundtrack to bear in the Big Blue House, it’s impossible for you not to interject your own ideas and style.<span> </span>As such, your songwriting, arranging, and your toolkit of songwriting tricks and ideas can only get better.</li></ol> <p class="MsoListParagraphCxSpLast" style="margin-left: 0.75in; text-indent: -0.5in;"><!--[if !supportLists]--><span><span></span></span><br /></p></blockquote>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-2055128585342226572009-07-15T13:56:00.000-07:002009-07-16T08:12:08.768-07:00Calgary Stampede in ReviewSo the Calgary Stampede is over. For the city of Calgary it meant a boost in tourism revenue (despite the economic and weather conditions). For me, it meant 18 gigs in 10 days. Last year I did 22, the year before 26. From my perspective, there was a real downturn in the number (and lavishness) of the corporate parties. That said, it was fun (most of it) and I earned a good sum money in a short period of time.<br /><br />I thought it would be fun to talk a bit about some of the things I saw/experienced during my Stampede gigs and mention a bit about keeping your hands healthy during extended gigs. I also included a bit of simple bass playing math.<br /><br />First, some highlights:<br /><ol><li>Playing Flames Central as an opening act for Colin James (who I'm not familiar with).</li><li>Opening for <a href="http://www.fredeaglesmith.com/">Fred Eaglesmith</a> (who I am familiar with).</li><li>Seeing a 30-foot tall image of myself on the jumbo-tron at Flames Central.</li><li>Playing on the roof of a diner.<br /></li><li>A wet t-shirt contest for charity.</li><li>A nervous burlesque dancer throwing up backstage.</li><li>Running through downtown between gigs while carrying an upright bass.</li><li>Hearing the "That's a mighty big violin" joke approximately 48 times. (Yes, I counted.)</li><li>Explaining to several "sound-men" the difference between mixing as a DJ and mixing live music.</li><li>Surviving.</li></ol>With respect to the latter, Stampede usually takes a huge toll on my sleep and my fingers. Regarding my sleep patterns, I had more than a few nights that I played until 2am and had to be at a pancake breakfast for my next gig at 6 or 7 am.<br /><br />As for my fingers, the average gig I play is three 45-minute sets. That's a lot of <a href="http://www.artofslapbass.com/artofslapbass/">slapping on a double bass</a>. For those not familiar with slapping on an upright bass, its like performing a <a href="http://en.wikipedia.org/wiki/Pizzicato#Other_pizzicato_techniques">Bartok slap</a> very quickly and repeatedly. Some people use gut strings or weed whackers. My bass had steel strings (Spirocores) on it during Stampede.<br /><br />Now some simple math:<br /><blockquote><div style="text-align: center;">13 songs per set at 3 minutes each, average tempo of 160 = 3,120 times per set that my fingers pull up a string.</div></blockquote>And that's only if I'm playing I-V's the whole night (i.e., two notes per measure). If I'm walking (which I do about half the time) the better estimate is 4,680 plucks per night. (I just shocked myself figuring this out.) And this isn't even counting the slaps on the string/fingerboard.On the three-set night that means about 14,040 times my fingers pluck a string. Over the whole of Stampede, 252,720 times. Crazy. Oh well my fingers survived.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4C0n4NBADaMxemWWuqzgOzh_GbbzIQF0N2sv7RbJ9qHzY5Ohb1T3lBXSbtehsxEa4aTFSDXg3uGLnF1BJ1BvM3TlAFoo8i-UOOzY9o8N6DhWmAhVRs5PRFpVaKPC89X2ly5teky9f9fhs/s1600-h/Photo+3.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4C0n4NBADaMxemWWuqzgOzh_GbbzIQF0N2sv7RbJ9qHzY5Ohb1T3lBXSbtehsxEa4aTFSDXg3uGLnF1BJ1BvM3TlAFoo8i-UOOzY9o8N6DhWmAhVRs5PRFpVaKPC89X2ly5teky9f9fhs/s200/Photo+3.jpg" alt="" id="BLOGGER_PHOTO_ID_5358797489342682114" border="0" /></a><br />I've written before (<a href="http://triplefireplug.blogspot.com/2008/03/taking-care-of-your-hands-1.html">here</a> and <a href="http://triplefireplug.blogspot.com/2008/03/taking-care-of-your-hands-2.html">here</a>) about the need to take care of your hands. To the right is a picture of my fingers at the start of Stampede. At the bottom of the post is a photo of my hands near the end of Stampede. Overall, I did a pretty good job taking care of them: each night I used some lotion (Burt's Bees is my preferred) and put a band-aid on any cuts. This kept my hands from drying out too much , thereby helping them stay in shape for the next gig. I only had a couple of nights that I was really bothered by some pain and no major cuts or blisters, which is more than I can say for some of my compadre bassists during Stampede. At one gig where many of us were hanging out, some guys/girls had a bit of show and tell regarding their blisters. Regardless, that's the cost (along with the sleepless nights, running between gigs, and listening to DJ's swell a room with feedback while trying to figure out how to set up stage monitors) many of us pay during the Calgary Stampede. Now its time to start training for next year. Yee Haw.<br /><br /><p><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb_JCktVA3etFLrRco78iU4XiMezN12zGwbglmdpxQNhrbolMCbBzi80MQWbL7Y5oo3WY2kyldf2V885hNHTKW1ePkfrqTj5EUDDhPF3AjXPMKyyQciiPr_9TYtNNNN6fpWLIZpoGCjTJG/s1600-h/Photo+8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb_JCktVA3etFLrRco78iU4XiMezN12zGwbglmdpxQNhrbolMCbBzi80MQWbL7Y5oo3WY2kyldf2V885hNHTKW1ePkfrqTj5EUDDhPF3AjXPMKyyQciiPr_9TYtNNNN6fpWLIZpoGCjTJG/s200/Photo+8.jpg" alt="" id="BLOGGER_PHOTO_ID_5358878720104089506" border="0" /></a><br /></p>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-49449550414654043622009-06-30T20:17:00.001-07:002009-06-30T20:24:19.282-07:00The Calgary StampedeThis week starts my annual flood of gigs around the <a href="http://calgarystampede.com/">Calgary Stampede</a>. At the end of it all, I'll post something about the whole experience. Let me just say this. The Calgary Stampede is in many ways "harvest time for the musicians" as there are club and corporate gigs everywhere.<br /><br />Over the 10 days of Stampede. I have 22 gigs. (Not a record. I set that a couple of years ago at 26 gigs in 10 days.) I've even had to turn down gigs due to scheduling conflicts or attempts to keep my sanity. (I can only do so many late night shows followed by corporate breakfasts before the lack of sleep starts kicking in.) In any case, the Stampede is reason enough for every bassist to learn how to improvise a I-V bass line over chord changes and learn <a href="http://www.artofslapbass.com/artofslapbass/">a little bit of slapping</a>. Stay tuned.robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com1tag:blogger.com,1999:blog-6854203977781069325.post-51380729069853240312009-06-22T10:17:00.000-07:002009-06-22T10:23:54.859-07:00Branford Marsalis on the state of jazz education<a href="http://www.branfordmarsalis.com/branford/intro.cfm">Branford Marsalis</a> will be performing at the <a href="http://www.calgaryjazz.com/">Calgary jazz festival</a>. Here are some excerpts from <a href="http://www.calgaryherald.com/entertainment/School/1719911/story.html">his interview in the Calgary Herald</a>:<br /><blockquote><p>For the 48-year-old saxophonist, composer, teacher and leader of the Branford Marsalis Quartet, the importance of learning from those who have gone before--not only with regard to musical refinement but also the spirit of community that lies close to the heart of the jazz music-making experience --is largely lost on the average young, well-schooled jazz musician of today, for whom the rush instead to be considered a new and unique voice is paramount.</p><p>"They're not in it for the tradition," the famous musician says, pointing out that the current artistic climate in the United States, which he sees as being shaped by "40 years of cultural narcissism," is largely to blame.</p><p>By the time the 1970s rolled round, he says, "the idea of jazz being reflective of a community and jazz being a sound where a solo was an integral part of the music but not the main issue" had evolved (at least insofar as the average jazz student was concerned) into the notion of the solo as "the only part of jazz they were interested in."</p><p>"The idea of playing with other musicians and playing together--all of those things had been pushed aside for a more self-absorbed philosophy based on a mastery of patterns and scales that work on chord progressions, et cetera, et cetera."</p><p>"It really depends on how the teacher is teaching as to whether it's important, but what I often tell my students is if architecture or aviation or engineering was taught the way jazz was taught there would be planes and buildings falling out of the sky. They'd just be crumbling everywhere, because the jazz version of (teaching) architecture is, 'Sure the Greeks had something important, sure the Egyptians developed certain structural things but we don't need to study it because it's not current. We're going to start around 1970'--and I don't have to tell you the end conclusion to that."</p><p>"I was lousy when I started, which the records bear out," Marsalis says. "But when I had the privilege of meeting people like Art Blakey and he would say to me, 'You don't have enough sound' and Dizzie Gillespie would say 'You need to learn the blues,' I didn't just say, 'Oh, they're just jealous because they're old.'</p><p>"I didn't make up an excuse to dismiss the central theme of what they were saying--which is something that was popular among my generation, to ignore those guys.</p><p>"A lot of musicians were more interested in getting gigs than they were in becoming competent and really good at what they do."</p></blockquote><p></p>I go back and forth on my thoughts About his views on education and contemporary jazz. I see a point in what he's saying (particularly on the over emphasis of the solo and the importance of ensemble playing), however, as <a href="http://www.billharrisonmusic.com/">Bill Harrison</a> wrote, there are times when <a href="http://jazzunderneath.blogspot.com/2008/04/branfords-band-bugs-me.html">Branford bugs me</a>.robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0tag:blogger.com,1999:blog-6854203977781069325.post-87976971422610581472009-06-19T12:28:00.000-07:002009-06-19T12:39:08.404-07:00Bands and BrandsRecently, I've been reading Songs for Soap, a blog fron Advertising Age. Two recent posts caught my attention, both of which I believe have the same (in one case, tacit) message. The <a href="http://adage.com/songsforsoap/post?article_id=137348">first post</a> is by a marketer and gives a glimpse into what marketing people think of the music industry:<br /><br /> <blockquote>People can sift through a site like <a href="http://www.hypem.com/" target="_blank" title="Link to HypeMachine">HypeMachine</a> and read, engage, and comment on their favorite and possibly-favorite artists, all while listening to their entire album (plus remixes). How often do those links to Amazon and iTunes go un-clicked? The enormous ocean of music, sorting through what you do like, don't like, and may-very-well-like-but-haven't-heard-yet is a Herculean task. Once a user finds something they like, they can search for it on a site like <a href="http://www.qloud.com/" target="_blank" title="Link to Qloud">Qloud</a> or <a href="http://www.grooveshark.com/" target="_blank" title="Link to GrooveShark">GrooveShark</a> and stream it instantly. Repeatedly. <p> Indeed, the current process of discovering music has replaced the need to acquire music. Certainly, there are those remote corners of your life, like camping or swimming, where the internet determinstic argument falls down, but even those areas of our lives are being constantly opened up by new devices and infrastructures. The car has already fallen under the constant "just give it time" umbrella. </p><p> Music is sort of like a municipality, like water from a faucet: free, of acceptable quality. If you want a more savory experience, there is always the bottled variety. In fact, this paradigm shift is already behind us. </p></blockquote>Given this ocean of music, <a href="http://adage.com/songsforsoap/post?article_id=137417">the second post</a> suggests where a musician's focus should be in terms of getting involved/included in marketing and advertising:<br /><blockquote><br />...they consistently ask the same question during or after these panels: "How do I get you and your brand clients and agency clients to choose my song or my band for your next major ad campaign?" <p>The answer is complicated, but the short answer is this: There is no music-branding silver bullet that will skyrocket a developing artist to stardom and riches. Take your time and focus on your own career and we will find you. It's often not the answer these artists want to hear, but it's the truth. </p><p>Coca-Cola, Nike and Gap are not going to place your song in a national TV spot or your artist on their billboards or the print ads they are buying in Vanity Fair unless the brand or its agency understands your brand as an artist. </p><p> There, I said it. As an artist, you must become a brand unto yourself. It's only then that a major marketer will desire this transference of values. The values that you as an artist embody and express to your fans and your community must be clear to a brand and must match their own values. The brand will then be much more likely to desire your music and a relationship with you as an artist in order to express its values. </p></blockquote><p></p>The central message (as I see it) is <a href="http://sivers.org/purplecow">"get better, hone your craft, discover yourself as an artist."</a>robhttp://www.blogger.com/profile/03757068641925612775noreply@blogger.com0