Since Lea decided to switch from violin to bass, and since she bought herself an electric bass a couple of months ago, we are now a 6 bass family. Her upright is the one on the left. Her electric is the red 4 string on the wall.
Showing posts with label current events. Show all posts
Showing posts with label current events. Show all posts
Tuesday, June 03, 2008
6 Basses, No Waiting
Since Lea decided to switch from violin to bass, and since she bought herself an electric bass a couple of months ago, we are now a 6 bass family. Her upright is the one on the left. Her electric is the red 4 string on the wall.
Friday, May 30, 2008
It Is To Me
My post the other day asked "Is Jazz Even Relevant?" This post was brought to you by my well documented depression. And now that I'm on the other side, I can answer that question.
It moves me. I listen to it and I want to play it. Nothing else I listen to these days does that for me. I still like the classic rock/metal of old, but very little of the new stuff strikes me as interesting. So, even if there's no one to hear me play, as long as I enjoy myself, that's what counts!
BTW - I thought briefly about just deleting that post, but it contained links to a couple of interesting articles, so I left it in tact.
It moves me. I listen to it and I want to play it. Nothing else I listen to these days does that for me. I still like the classic rock/metal of old, but very little of the new stuff strikes me as interesting. So, even if there's no one to hear me play, as long as I enjoy myself, that's what counts!
BTW - I thought briefly about just deleting that post, but it contained links to a couple of interesting articles, so I left it in tact.
Wednesday, May 28, 2008
Is Jazz Even Relevant?
Or is it the musical equivalent of taking Latin in school?
A recent article on jazz.com asked the question: Have bass solos ruined jazz? I found this article through a double bass player's email list. What surprised me most about the response was not "bass solos belong in jazz" or "jazz is not ruined", but "bass solos didn't ruin jazz...this did!" There were different theories on what ruined it and why it's no longer popular, mostly involving its evolution into something only other musicians can enjoy.
So why is it still played? Why do people study it in school?
Of course, the death of jazz does have its upside: Smooth Jazz RIP 1985 - 2008?
A recent article on jazz.com asked the question: Have bass solos ruined jazz? I found this article through a double bass player's email list. What surprised me most about the response was not "bass solos belong in jazz" or "jazz is not ruined", but "bass solos didn't ruin jazz...this did!" There were different theories on what ruined it and why it's no longer popular, mostly involving its evolution into something only other musicians can enjoy.
So why is it still played? Why do people study it in school?
Of course, the death of jazz does have its upside: Smooth Jazz RIP 1985 - 2008?
Friday, May 23, 2008
All That Jazz
I grew up listening to rock and, to a lesser extent, country. My dad liked Johnny Cash and my mom liked The Eagles. When I began to develop my own tastes in the mid '70s, I included such artists as Kiss, Queen, Elton John, Steve Miller Band, Cheap Trick, Van Halen, Alice Cooper. I did work backwards a little toward The Who and Led Zeppelin. As I grew older, my tastes grew heaver: AC/DC, Metallica, Anthrax, Iron Maiden.
Then, in the late '80s, I met a drummer named Jim Paxson. His mother is pianist Sunnie Paxson, who at one point played with Stanley Clarke. He pointed me to Return To Forever and Weather Report. This completely changed my playing and the way I listened to music. Bass playing became important, and not just a way to meet chicks.
It didn't take me too long to begin working backwards from fusion. I began to listen to more traditional jazz and really appreciate the sound of the upright. Meanwhile, I was a frustrated bass guitarist because I just couldn't find my role. I toyed with the fretless for a time and enjoyed it, but it still felt like something was missing. Plus, I was listening to less and less electric jazz.
Now I find myself totally immersed in "traditional" jazz: bebop, hard-bop, post-bop, modern. I find it to be the ultimate form of musical expression. Don't get me wrong, I still like rock - the heavier the better. Not overly fond of anything that's being released today, but that's probably because I'm old. Jazz, to me, has it all: emotion, musicianship, feeling, etc. Plus, the bass is not relegated to doubling the guitar.
So here's the problem I'm facing: I want to play jazz, but jazz is all but dead. Now that the Columbus Music Hall closed, there's nowhere left in Columbus to listen to good jazz on a regular basis. So, even if I do manage to ever learn to play it, I won't have anywhere to play.
Another issue is this: I'm 44 years old. My background in jazz is limited to the last 5 years or so. The upright bass is a completely different beast from the bass guitar. Playing jazz takes knowledge and courage. Can I play it? I'm signed up again for the Summer Jazz Workshop, but that doesn't help with the courage.
Playing with the orchestra does help. And I do enjoy it. But it's not my goal. Jazz is my goal. I just hope there are people who care to listen when I reach it.
Then, in the late '80s, I met a drummer named Jim Paxson. His mother is pianist Sunnie Paxson, who at one point played with Stanley Clarke. He pointed me to Return To Forever and Weather Report. This completely changed my playing and the way I listened to music. Bass playing became important, and not just a way to meet chicks.
It didn't take me too long to begin working backwards from fusion. I began to listen to more traditional jazz and really appreciate the sound of the upright. Meanwhile, I was a frustrated bass guitarist because I just couldn't find my role. I toyed with the fretless for a time and enjoyed it, but it still felt like something was missing. Plus, I was listening to less and less electric jazz.
Now I find myself totally immersed in "traditional" jazz: bebop, hard-bop, post-bop, modern. I find it to be the ultimate form of musical expression. Don't get me wrong, I still like rock - the heavier the better. Not overly fond of anything that's being released today, but that's probably because I'm old. Jazz, to me, has it all: emotion, musicianship, feeling, etc. Plus, the bass is not relegated to doubling the guitar.
So here's the problem I'm facing: I want to play jazz, but jazz is all but dead. Now that the Columbus Music Hall closed, there's nowhere left in Columbus to listen to good jazz on a regular basis. So, even if I do manage to ever learn to play it, I won't have anywhere to play.
Another issue is this: I'm 44 years old. My background in jazz is limited to the last 5 years or so. The upright bass is a completely different beast from the bass guitar. Playing jazz takes knowledge and courage. Can I play it? I'm signed up again for the Summer Jazz Workshop, but that doesn't help with the courage.
Playing with the orchestra does help. And I do enjoy it. But it's not my goal. Jazz is my goal. I just hope there are people who care to listen when I reach it.
Thursday, March 06, 2008
Bow Adventures
I've been playing the double bass for about two years now. One aspect that has been a continuous struggle for me was the bow. You see, upon taking up the instrument, double bass players are immediately presented with a decision: French or German?
The above image is from Bob Gollihur's excellent site, which includes an FAQ on bows.
For the first year of playing, I played with a French style bow because that's what my instructor used and that's what came with the bass. However, I was never able to get comfortable with it. I could not relax my grip enough to be effective. So, I decided to make the switch to German. I found an online source for quality, inexpensive bows in Upton Bass, and ordered their German style bow. Soon after, I joined the Cardinal Health Chamber Orchestra as second bassist. The principal bassist also played a German bow, and my instructor was able to give me some tips, so I felt fairly comfortable with my decision. I found the bow easier to hold, and it gave me a decent sound.
But there was still this nagging question: Is this really the right bow for me? I found the grip to be somewhat awkward, like I was also having to reach to play. And I always felt as if I were trying to cut down a tree with it. I would watch other German bow players, and they could produce such lovely sounds, yet I always sounded like a cow fighting a goose. My instructor, being a French bow player, could only help so much, and getting a new instructor was not an option because I really like him and his playing, and since my primary goal is to play jazz, he really is the right one for me.
Then I saw some instructional videos from Andrew Anderson. His grip on the French bow is very much like the grip of my instructor's. And after seeing how he placed his thumb and hearing his theories on grip and producing sound, I felt I had to give the French bow another chance. So, I ordered the French version of the Upton Bass bow.
I received the bow via UPS last Monday, and proceeded to work with it that evening. I was able to get decent sound from it, but it still felt uncomfortable, particularly when switching back and forth between the two. I was beginning to think I made a bad decision. But I knew I was not giving it a fair chance, and wanted to spend a week with it before deciding if I should keep it or not.
Tuesday was our next orchestra rehearsal, and while I toyed with the idea of bring the new French bow, I felt I was struggling enough with the music, so I brought my old one. Upon my arrival, I set up my music stand, got out my bow, tightened it up and hung it on the little hook on my music stand where I always hung my bow, got out my music and placed it on the stand. As I was leafing through the music to the first piece, the edge of my hand knocked the bow off of it's little hook and it hit tip-first onto the hard wood floor.
I had always heard that bows are fragile, particularly when under the stress of being tightened. At this point there wasn't much I could do, so without saying a word, I packed up my music stand and left rehearsal. Needless to say, I will not be hanging my bow in the music stand any longer.
Last night I played for quite some time with the French bow, and I found that without the option of switching back and forth, I was able to become much more comfortable with it. It'll take some work, but I think it'll pay off in the long run. Sometimes I need to have decisions made for me.
The above image is from Bob Gollihur's excellent site, which includes an FAQ on bows.For the first year of playing, I played with a French style bow because that's what my instructor used and that's what came with the bass. However, I was never able to get comfortable with it. I could not relax my grip enough to be effective. So, I decided to make the switch to German. I found an online source for quality, inexpensive bows in Upton Bass, and ordered their German style bow. Soon after, I joined the Cardinal Health Chamber Orchestra as second bassist. The principal bassist also played a German bow, and my instructor was able to give me some tips, so I felt fairly comfortable with my decision. I found the bow easier to hold, and it gave me a decent sound.
But there was still this nagging question: Is this really the right bow for me? I found the grip to be somewhat awkward, like I was also having to reach to play. And I always felt as if I were trying to cut down a tree with it. I would watch other German bow players, and they could produce such lovely sounds, yet I always sounded like a cow fighting a goose. My instructor, being a French bow player, could only help so much, and getting a new instructor was not an option because I really like him and his playing, and since my primary goal is to play jazz, he really is the right one for me.
Then I saw some instructional videos from Andrew Anderson. His grip on the French bow is very much like the grip of my instructor's. And after seeing how he placed his thumb and hearing his theories on grip and producing sound, I felt I had to give the French bow another chance. So, I ordered the French version of the Upton Bass bow.
I received the bow via UPS last Monday, and proceeded to work with it that evening. I was able to get decent sound from it, but it still felt uncomfortable, particularly when switching back and forth between the two. I was beginning to think I made a bad decision. But I knew I was not giving it a fair chance, and wanted to spend a week with it before deciding if I should keep it or not.
Tuesday was our next orchestra rehearsal, and while I toyed with the idea of bring the new French bow, I felt I was struggling enough with the music, so I brought my old one. Upon my arrival, I set up my music stand, got out my bow, tightened it up and hung it on the little hook on my music stand where I always hung my bow, got out my music and placed it on the stand. As I was leafing through the music to the first piece, the edge of my hand knocked the bow off of it's little hook and it hit tip-first onto the hard wood floor.
I had always heard that bows are fragile, particularly when under the stress of being tightened. At this point there wasn't much I could do, so without saying a word, I packed up my music stand and left rehearsal. Needless to say, I will not be hanging my bow in the music stand any longer.
Last night I played for quite some time with the French bow, and I found that without the option of switching back and forth, I was able to become much more comfortable with it. It'll take some work, but I think it'll pay off in the long run. Sometimes I need to have decisions made for me.
Saturday, July 07, 2007
Summer Jazz Workshop
I'm back from the Summer Jazz Workshop. It was quite an amazing adventure.
Saturday, June 30:
My first day there. I came early for the Bass & Drum workshop before the week long Jazz workshop. They included guitar this year as well, basically to give rhythm section members a head start. I started the day with the audition, the purpose of which is to place the student in the correct level. Mine was a disaster. I was asked to play a standard blues in F, and I couldn't get through it without stopping to correct mistakes, which were many. After that mess, they placed the chord changes for Autumn Leaves in front of me and asked me to play. Fortunately, I have worked on this song in the past, so I wasn't completely lost. Bill Moring, one of the instructors who listened to my audition, assured me that I played some nice lines, learned from my mistakes and was in the right place.
After that, they divided us into groups. My group consisted of 5 bassists and about 12 guitarists. They put music in front of us and walked us through playing changes. After a couple of hours of that, they brought in a few drummers to play with us. We each took turns playing changes to the songs. We must have played through 10 standards that day. Unfortunately, I don't have a pick up installed on my bass, so I had to play that much harder to try to be loud enough to be heard. I had the makings of a nice blister by the end of the day.
That night, I went to a local club called The Jazz Factory to hear Jim Snidero, Lynn Seaton, Steve Allee and Steve Davis play. The first night of many great nights of jazz.
Sunday, July 1:
After taping my index finger to try to control my blister, it was another half day of playing standards with various drummers and guitarists. After Saturday, I was feeling pretty down. My playing was awful and didn't seem to be getting any better. The instructor was trying his best to help me out, telling me that the rhythm was more important than the notes and that bassists can get away with a good bit, so long as they do it in time. I, on the other hand, was questioning my ability to play jazz and even the upright itself.
After my last bass class, I completed my theory test (another aid in placing me), I had some dinner, did some shopping at the book/music store and went to the theater to hear some more great jazz. They divided various members of the faculty into 3 combos, who played from 7:30 - 10:30. Lynn Seaton did a fantastic bowed solo where he scatted his solo line as he played it. Very reminiscent of Slam Stewert.
Monday, July 2:
This was the first day of our full jazz workshop. The day was scheduled as: breakfast, theory class, ear training class, combo rehearsal, lunch, instrument master class, combo rehearsal, dinner, faculty concert. I was placed in the intermediate theory class, held by Dan Haerle. The first part of Bass Master Class was Rufus Reid and Lynn Seaton performing a duet, after which we were split into our various levels. I was assigned to Bass Lines 101, taught by various members of the faculty.
My combo was made up of two pianists (about my age), two guitarists (one teenager and one older), two sax players (13 and 17) and a drummer (also 17). The drummer was very, very new to jazz and didn't really have a clue of what to do. Fortunately for me, his instructor was Steve Davis, who asked to play a few choruses of "Take the 'A' Train" with me to show him. That was a nice way to start my combo experience. We spent both of our rehearsals just running through various standards, getting a feel for each other. This was the first time I actually felt comfortable with my playing.
The concert was another amazing time. I could tell already that each concert was bound to out-do the previous.
Tuesday & Wednesday July 3-4:
While Monday's theory class was mostly review for me, Tuesday immediately moved into unknown territory. The classes dealt mostly with identifying which scales work best over which chords. We also worked a lot on recognizing ii-V-I progressions in major and minor and how to play over the changes.
Ear training was with Jamey Aebersold himself. We spent time listening to various tunes and while Jamey would show the transcription on an overhead. Then, he would go to the piano and test us on identifying major and minor chords as he played. I used to think I was pretty good at this, but clearly I have some work to do.
For combo, we usually spent each session working on a couple of songs. We played with the arrangement a bit, adding shout choruses and trading fours (band plays 4 bars, drummer plays 4 bars). I could feel myself getting more comfortable with my playing as the days went on. Solos were still giving me fits, but at least I was no longer panicking when it was my turn.
Bass master class dealt mostly with creating bass lines to fit the chord changes. At this point, I had already discovered most of what they were teaching, but it was nice to have the confirmation.
The faculty concerts were amazing. They were all really great players, and some of them would just knock your doors off every time they took the stage:
This was the money day. Since Friday was going to be spent preparing for combo performance, this was the last day to get real information. And for me, that moment was when our combo's rhythm section played with a couple members of the faculty. Every day, rhythm and horn sections were selected to play with faculty members, and this was our day. I showed up, nervous and excited, wondering who we'd be playing with, when in walks Antonio Hart and Shelley Yoelin. To my great delight, Antonio worked very closely with the drummer and me, helping us to get a tight sound. He gave me some very good advise on time and rhythm.
In our afternoon combo rehearsal, we voted on our song for the Friday performance: Blue Bossa.
Friday, July 6:
The big day! Bass master class featured three duets performed by students selected earlier in the week followed by an 11 bass blues jam by all of the bass faculty. Our last combo rehearsal was spent working on our Blue Bossa arrangement. We worked out an intro with syncopated rhythms, everyone taking two choruses for their solos except me; I managed to talk myself down to one chorus.
Our performance was scheduled for 2:40, so after lunch I sat and watched some of the other combo performances. A half hour before our performance, I met the rest of the combo back stage. Before I knew it, it was time to go on - no time for nervousness. The drummer and I started the intro, but one of the sax players started right in on the melody. Oh well, the rest of us followed and no one was the wiser. As the song went on, it was interesting to hear the applause between the solos - quite exciting actually. Then it was time for my solo. I had worked out some of it before hand, being sure not to write the whole thing so that I'd be forced to improvise some of it. The chorus was over before I knew it and I started to play the last chorus. Unfortunately, the sax players didn't follow suit. I figured they forgot I was only taking one chorus, so I started soloing some more. Half way through my solo, the sax players caught their mistake and started playing the head - right in the middle of the second chorus. Oh well, the rest of us picked up on it, played the head and finished the song. That's jazz, right?
Wrap-up:
Despite my early anxiety and depression (not to mention the massive blisters on my fingers), the week was a truly wonderful experience. I think with a lot of work, I might actually be able to do this thing.
Pictures will be posted soon.
Saturday, June 30:
My first day there. I came early for the Bass & Drum workshop before the week long Jazz workshop. They included guitar this year as well, basically to give rhythm section members a head start. I started the day with the audition, the purpose of which is to place the student in the correct level. Mine was a disaster. I was asked to play a standard blues in F, and I couldn't get through it without stopping to correct mistakes, which were many. After that mess, they placed the chord changes for Autumn Leaves in front of me and asked me to play. Fortunately, I have worked on this song in the past, so I wasn't completely lost. Bill Moring, one of the instructors who listened to my audition, assured me that I played some nice lines, learned from my mistakes and was in the right place.
After that, they divided us into groups. My group consisted of 5 bassists and about 12 guitarists. They put music in front of us and walked us through playing changes. After a couple of hours of that, they brought in a few drummers to play with us. We each took turns playing changes to the songs. We must have played through 10 standards that day. Unfortunately, I don't have a pick up installed on my bass, so I had to play that much harder to try to be loud enough to be heard. I had the makings of a nice blister by the end of the day.
That night, I went to a local club called The Jazz Factory to hear Jim Snidero, Lynn Seaton, Steve Allee and Steve Davis play. The first night of many great nights of jazz.
Sunday, July 1:
After taping my index finger to try to control my blister, it was another half day of playing standards with various drummers and guitarists. After Saturday, I was feeling pretty down. My playing was awful and didn't seem to be getting any better. The instructor was trying his best to help me out, telling me that the rhythm was more important than the notes and that bassists can get away with a good bit, so long as they do it in time. I, on the other hand, was questioning my ability to play jazz and even the upright itself.
After my last bass class, I completed my theory test (another aid in placing me), I had some dinner, did some shopping at the book/music store and went to the theater to hear some more great jazz. They divided various members of the faculty into 3 combos, who played from 7:30 - 10:30. Lynn Seaton did a fantastic bowed solo where he scatted his solo line as he played it. Very reminiscent of Slam Stewert.
Monday, July 2:
This was the first day of our full jazz workshop. The day was scheduled as: breakfast, theory class, ear training class, combo rehearsal, lunch, instrument master class, combo rehearsal, dinner, faculty concert. I was placed in the intermediate theory class, held by Dan Haerle. The first part of Bass Master Class was Rufus Reid and Lynn Seaton performing a duet, after which we were split into our various levels. I was assigned to Bass Lines 101, taught by various members of the faculty.
My combo was made up of two pianists (about my age), two guitarists (one teenager and one older), two sax players (13 and 17) and a drummer (also 17). The drummer was very, very new to jazz and didn't really have a clue of what to do. Fortunately for me, his instructor was Steve Davis, who asked to play a few choruses of "Take the 'A' Train" with me to show him. That was a nice way to start my combo experience. We spent both of our rehearsals just running through various standards, getting a feel for each other. This was the first time I actually felt comfortable with my playing.
The concert was another amazing time. I could tell already that each concert was bound to out-do the previous.
Tuesday & Wednesday July 3-4:
While Monday's theory class was mostly review for me, Tuesday immediately moved into unknown territory. The classes dealt mostly with identifying which scales work best over which chords. We also worked a lot on recognizing ii-V-I progressions in major and minor and how to play over the changes.
Ear training was with Jamey Aebersold himself. We spent time listening to various tunes and while Jamey would show the transcription on an overhead. Then, he would go to the piano and test us on identifying major and minor chords as he played. I used to think I was pretty good at this, but clearly I have some work to do.
For combo, we usually spent each session working on a couple of songs. We played with the arrangement a bit, adding shout choruses and trading fours (band plays 4 bars, drummer plays 4 bars). I could feel myself getting more comfortable with my playing as the days went on. Solos were still giving me fits, but at least I was no longer panicking when it was my turn.
Bass master class dealt mostly with creating bass lines to fit the chord changes. At this point, I had already discovered most of what they were teaching, but it was nice to have the confirmation.
The faculty concerts were amazing. They were all really great players, and some of them would just knock your doors off every time they took the stage:
- Antonio Hart is simply and amazing sax player. He never ceased to amaze.
- Jim Rotondi is a fantastic trumpet player
- Rufus Reid is the definition of cool
- Lynn Seaton constantly made my jaw hit the floor
- Steve Davis uses every inch of a drum kit and never misses a beat
This was the money day. Since Friday was going to be spent preparing for combo performance, this was the last day to get real information. And for me, that moment was when our combo's rhythm section played with a couple members of the faculty. Every day, rhythm and horn sections were selected to play with faculty members, and this was our day. I showed up, nervous and excited, wondering who we'd be playing with, when in walks Antonio Hart and Shelley Yoelin. To my great delight, Antonio worked very closely with the drummer and me, helping us to get a tight sound. He gave me some very good advise on time and rhythm.
In our afternoon combo rehearsal, we voted on our song for the Friday performance: Blue Bossa.
Friday, July 6:
The big day! Bass master class featured three duets performed by students selected earlier in the week followed by an 11 bass blues jam by all of the bass faculty. Our last combo rehearsal was spent working on our Blue Bossa arrangement. We worked out an intro with syncopated rhythms, everyone taking two choruses for their solos except me; I managed to talk myself down to one chorus.
Our performance was scheduled for 2:40, so after lunch I sat and watched some of the other combo performances. A half hour before our performance, I met the rest of the combo back stage. Before I knew it, it was time to go on - no time for nervousness. The drummer and I started the intro, but one of the sax players started right in on the melody. Oh well, the rest of us followed and no one was the wiser. As the song went on, it was interesting to hear the applause between the solos - quite exciting actually. Then it was time for my solo. I had worked out some of it before hand, being sure not to write the whole thing so that I'd be forced to improvise some of it. The chorus was over before I knew it and I started to play the last chorus. Unfortunately, the sax players didn't follow suit. I figured they forgot I was only taking one chorus, so I started soloing some more. Half way through my solo, the sax players caught their mistake and started playing the head - right in the middle of the second chorus. Oh well, the rest of us picked up on it, played the head and finished the song. That's jazz, right?
Wrap-up:
Despite my early anxiety and depression (not to mention the massive blisters on my fingers), the week was a truly wonderful experience. I think with a lot of work, I might actually be able to do this thing.
Pictures will be posted soon.
Monday, January 29, 2007
CAH Chamber Orchestra Performance Schedule
The Spring 2007 performance schedule for the Cardinal Health Chamber Orchestra was just released. Here are the dates and locales:
- 05/01 12:00 PM - Dublin Retirement Village
- 05/03 1:45 PM - Norwich Elementary School
- 05/08 12:45 PM - Gillie Senior Center
- 05/10 1:00 PM - Martin Janis Senior Center
- 05/15 1:00 PM - Wexner Heritage Center
- 05/17 1:30 PM - Trillium Place
- 05/22 12:00 PM - Cardinal Health
- 05/23 1:30 PM - Abbey Theater
- 05/24 1:30 PM - Abbey Theater
Friday, January 12, 2007
New Music Endeavors
I found a new band...The Intolerables! They're not looking to play out, just record, which is fine by me. They have their own studio, so I'll be recording there as well as swapping files from home.
I played with them for the first time last Thursday (01/04). There are lots of different influences, and it was very laid back. Very cool. We practice in the studio with the drums mic'ed in a separate room and all of us going into the board and wearing phones. Nice set-up.
In other music news, my workplace sponsors a volunteer chamber orchestra, for which I signed up to play. I have my first practice next Friday (01/19). This should be interesting. Being new to the double bass and to orchestra playing, it'll be quite a challenge.
And lastly, I'm signing up to go to a Summer Jazz Workshop. A full week of studying bass and jazz, culminating with a performance with a group in front of the other attendees, the teachers and family.
Experience has taught me that I won't practice unless I'm under pressure to do so. So I'm applying some pressure.
Please note too that I put a schedule of my music events at the bottom of the blog (scroll down). This will include practice and recording sessions, scheduled lessons and performances. I will include addresses and contact information where applicable.
I played with them for the first time last Thursday (01/04). There are lots of different influences, and it was very laid back. Very cool. We practice in the studio with the drums mic'ed in a separate room and all of us going into the board and wearing phones. Nice set-up.
In other music news, my workplace sponsors a volunteer chamber orchestra, for which I signed up to play. I have my first practice next Friday (01/19). This should be interesting. Being new to the double bass and to orchestra playing, it'll be quite a challenge.
And lastly, I'm signing up to go to a Summer Jazz Workshop. A full week of studying bass and jazz, culminating with a performance with a group in front of the other attendees, the teachers and family.
Experience has taught me that I won't practice unless I'm under pressure to do so. So I'm applying some pressure.
Please note too that I put a schedule of my music events at the bottom of the blog (scroll down). This will include practice and recording sessions, scheduled lessons and performances. I will include addresses and contact information where applicable.
Wednesday, July 05, 2006
Fly
The Great Javelin Experiment is complete and we have a new song: Fly (click to download). This song started with Matt Butler recording some guitar and passing it on to me. I added bass and forwarded it to Jeff Thinschmidt who worked his magic by completely rearranging the song and adding a drum track. Dennis Haberkern added guitar, Matt added some synth guitar, Mel Scott added vocals with Jeff and Matt providing back-ups along with a female barbershop quartet doing harmony. Then, after many painstaking hours spent by Jeff mixing the song, we have the finish product.
This was really an interesting experiment in that, once each of us were done with our piece, we passed it on and didn't have any more input until the end, so each of us built on what the person before us provided. And all of this was done without any of us being in the same room at any given time. Pretty cool.
This was really an interesting experiment in that, once each of us were done with our piece, we passed it on and didn't have any more input until the end, so each of us built on what the person before us provided. And all of this was done without any of us being in the same room at any given time. Pretty cool.
Sunday, April 23, 2006
First Lesson
Well, I had my first double bass lesson yesterday. My instructor's name is Doug Richeson (for those interested, here's his bio).
I was very nervous before my lesson. I haven't been in a lesson situation for probably 20 years! I had my bass packed and ready to go a full 3 hours before my lesson, just in case (of what, I don't know).
The lesson took place in his studio at Denison University. There was a soap-box derby race going on in front of the building, so they had the street blocked off. As such, I had to park a block and a half away. My first lesson - even though the bass is hollow, it's heavy!
Doug was very cool. We spent the first 15 minutes going over my left hand technique (wrong!) and my right hand pizzicato (plucking) technique (also wrong!). Then we immediately started talking about theory and improvising walking bass lines. I've never been good at walking bass lines - I just can't seem to think fast enough - but I remind myself that's why I'm taking lessons. And if I want to play jazz, I'd better learn.
My first big test came when he placed a chord chart in front of me for a standard 12 bar blues and put on a play-along CD. I had to try to play a walking line with chord tones, using leading and passing tones on the fourth beat of every measure. When it was over, I had old B&W movie footage of a war-time plane, flames shooting out of the tail, spinning wildly as it crashed into the ocean, going through my head. Then my instructor said "Good. You'll get this in no time." That's when I noticed the pilot floating gently down with his parachute.
After we talked about theory some more and he outlined my study material, we talked about my right hand arco (bowing) technique (wrong!).
Needless to say, I have a lot of work ahead of me. But it's good work. And I feel good about it. I went into my lesson wondering if this is something I'd be able to pull off, or if I was just wasting my time...too old and too set in my ways to learn something new. Now my only concern is finding enough time to practice.
An interesting sidenote: when he asked me to name some of my favorite bassists, two at the top of my list were Charles Mingus and Paul Chambers...and unbeknownst to me, yesterday was their birthday.
I was very nervous before my lesson. I haven't been in a lesson situation for probably 20 years! I had my bass packed and ready to go a full 3 hours before my lesson, just in case (of what, I don't know).
The lesson took place in his studio at Denison University. There was a soap-box derby race going on in front of the building, so they had the street blocked off. As such, I had to park a block and a half away. My first lesson - even though the bass is hollow, it's heavy!
Doug was very cool. We spent the first 15 minutes going over my left hand technique (wrong!) and my right hand pizzicato (plucking) technique (also wrong!). Then we immediately started talking about theory and improvising walking bass lines. I've never been good at walking bass lines - I just can't seem to think fast enough - but I remind myself that's why I'm taking lessons. And if I want to play jazz, I'd better learn.
My first big test came when he placed a chord chart in front of me for a standard 12 bar blues and put on a play-along CD. I had to try to play a walking line with chord tones, using leading and passing tones on the fourth beat of every measure. When it was over, I had old B&W movie footage of a war-time plane, flames shooting out of the tail, spinning wildly as it crashed into the ocean, going through my head. Then my instructor said "Good. You'll get this in no time." That's when I noticed the pilot floating gently down with his parachute.
After we talked about theory some more and he outlined my study material, we talked about my right hand arco (bowing) technique (wrong!).
Needless to say, I have a lot of work ahead of me. But it's good work. And I feel good about it. I went into my lesson wondering if this is something I'd be able to pull off, or if I was just wasting my time...too old and too set in my ways to learn something new. Now my only concern is finding enough time to practice.
An interesting sidenote: when he asked me to name some of my favorite bassists, two at the top of my list were Charles Mingus and Paul Chambers...and unbeknownst to me, yesterday was their birthday.
Thursday, February 16, 2006
Now THIS is a Bass!
I've always wanted one of these, but never had a real reason to get one. But I've found myself listening to a lot of traditional jazz the last couple of years, and so I thought I'd give it a shot.It's quite a different animal from the bass guitar, even the fretless. But I'm enjoying myself a great deal as I work around the fingerboard, trying to find my notes. I got a bow with it, and I am trying to work with that too, but it still sounds very much like a sick cow when I use it.
Right now I'm working with a book that I used to use during bass lessons in the 80's - The Evolving Bassist by Rufus Reid. It's a very good book, and he included fingering and bowing instructions with the excersizes. Still I may have to spring for lessons to make sure I'm doing it right. I wouldn't hurt to have some direction too.
My plan is to keep renting this for a while until I decide it's for me. The shop I'm renting it from has a nice policy where 100% of the rental fee gets applied to purchase should I decide to buy one later. I'd like to get a hybrid (solid top, ply sides) or, if I can afford one, a carved bass. But that's in the future. Right now I just need to figure out how to play in tune.
Sunday, December 18, 2005
A Sideman's Journey
I finally put the finishing touches on my CD today. This CD represents 8 very active years recording and playing in bands between 1984 and 1992. The song list is as follows:
- Little Killer - Rekkless
- Get Ready - Rekkless
- Lucky 7 - Rekkless
- We Like It Hot - Rekkless
- Demons Cry - Nitro
- Never Look Back - Tom Howard
- Gettin' Ready - Fayde
- I'll Be Back Again - Fayde
- Turn Me Loose - Fayde
- Shoot You - Fayde
- Don't Tease Me - Jinxx
- Jennifer - Jinxx
- Carnival - Craig Koons and Tom Howard
- Back In The Swing - Hard Knox
- To The Heavens - Rhythm Tribe
- Walkin' Over - Rhythm Tribe
- Can't Absorb The Madness - Vince Valore
- Remember Her - Tom Howard
Saturday, September 17, 2005
New Band - NOT
Okay, well, the new band didn't work out. The guy trying to put it together was more interested in getting the website up than actually playing. And then, when we did play, he wasn't very good. Oh well.
I did have some other people contact me, looking for a bassist for a cover band, but the music was SO not what I wanted to play: America, The Eagles, Sheryl Crow. Not that these are bad artists. I just find them very boring to play.
No, I've come to the conclusion that a cover band is not for me. To be honest, I've never really cared whether people wanted to hear what I was playing or not, which helps explain why I never made it as a musician I suppose.
So, I have to resign myself to either finding other musicians who feel the same way as I, who want to create new music without regard to its popularity, or just record my own. Neither of these options is easy. Finding other musicians with the same tastes and sensibilities is challenging. That's why bands tend not to last very long. And I'm not very prolific, or creative for that matter, so writing my own material will be difficult if not impossible. Added with the fact that I am a passible bassist, sucky guitarist, terrible drum sequencer and can't play any other instruments, and I'm pretty much SOL. Hopefully, that won't stop me from trying :)
I did have some other people contact me, looking for a bassist for a cover band, but the music was SO not what I wanted to play: America, The Eagles, Sheryl Crow. Not that these are bad artists. I just find them very boring to play.
No, I've come to the conclusion that a cover band is not for me. To be honest, I've never really cared whether people wanted to hear what I was playing or not, which helps explain why I never made it as a musician I suppose.
So, I have to resign myself to either finding other musicians who feel the same way as I, who want to create new music without regard to its popularity, or just record my own. Neither of these options is easy. Finding other musicians with the same tastes and sensibilities is challenging. That's why bands tend not to last very long. And I'm not very prolific, or creative for that matter, so writing my own material will be difficult if not impossible. Added with the fact that I am a passible bassist, sucky guitarist, terrible drum sequencer and can't play any other instruments, and I'm pretty much SOL. Hopefully, that won't stop me from trying :)
Thursday, July 28, 2005
New Band
I played with some other musicians last night for the first time in probably 10 years. About 4 months ago I had answered an online ad looking for musicians in this area. The guy posting the ad said he was looking for other "middle-aged fat guys" so that he could "put the band back together." This sounded like a good place for me to start, so I responded.
It was a little difficult for him to assemble the various members, due to scheduling and musical desires. His philosophy is that the band is just a glorified beer salesman for the venue at which they are playing. He wants to play feel good, classic rock.
Personally, I tend to approach music from a more artistic aspect. This will be the first cover band I've been in since my teens. And my idea of classic rock differs a little with the band leader's - he's Billy Joel and John Cougar whereas I'm Led Zeppelin and The Who - but that's okay. It's something to play and people to play with. And I do like his other rule: family first.
Unfortunately, the drummer got tied up in Toledo, so our first practice was without a drummer. But still, it got us together and got me playing some music, so it's all good.
It was a little difficult for him to assemble the various members, due to scheduling and musical desires. His philosophy is that the band is just a glorified beer salesman for the venue at which they are playing. He wants to play feel good, classic rock.
Personally, I tend to approach music from a more artistic aspect. This will be the first cover band I've been in since my teens. And my idea of classic rock differs a little with the band leader's - he's Billy Joel and John Cougar whereas I'm Led Zeppelin and The Who - but that's okay. It's something to play and people to play with. And I do like his other rule: family first.
Unfortunately, the drummer got tied up in Toledo, so our first practice was without a drummer. But still, it got us together and got me playing some music, so it's all good.
Thursday, July 21, 2005
Remember Her
Remember Her is a song I wrote back in '89, just a few months after my mother died. It is currently the only serious song I've ever written and recorded on my own. I did write other songs when I was younger, but mostly they were crude lyrics with very few of them actually set to music. The bulk of my recording and writing has been in collaboration with other artists.
The original recording of this took place shortly after I wrote the basic parts. I wrote the part that I call the 'rhythm' (the tapped, arpeggiated chords) first, followed by the 'melody'. I then put it together using my Fostex 4-track and Roland drum machine. Once I put together a very basic drum beat, I recorded it plus the 'rhythm' and a simple 'bass' part, then bounced them all down to a single track. I then recorded the 'melody' on two of the tracks, panning each one 70% to either side. The last track was the 'solo' and the 'harmony' piece at the end, both of which were actually written after I put the rest of it together. Unfortunately, I never mixed this recording down to a cassette. I still have the master, but no longer have the Fostex so I have no way of playing it. The instruments were a Custom Dreams fretted bass (ESP parts assembled by Dave Sabo of Skid Row) and Fender Jazz fretless for the solo.
Fast forward to 2005. I wanted to re-record the song, but didn't want to tax my wallet doing so. With a little research, I found a program called Audacity, which is open source multi-track recording software. The price was right and it seemed relatively easy to use. I then found Fruityloops, which is a software based drum sequencer. Fortunately for me, they have a trial version that lets you use the software but not save your work. Since the drum track is very basic, that was good enough for me.
The nice thing about software multi-track recorders is that the number of tracks is only limited by the power of your machine. As such, I didn't have to bounce tracks the way I did before. It took me some time, however, to learn how to get around the differences of recording to PC, such as lag. Also, my current soundcard leaves a lot to be desired, which is why it's so difficult to hear without turning it up. Even so, it came out pretty good. I had to force myself to avoid getting anal about it, continually re-recording the solo. Finally, I got one that was half way decent and left it at that. I no longer have a fretless, so I did everything on my new American Fender Jazz Deluxe 5-String.
I will probably record this again in the future, once I have some decent equipment and spend some time getting aquainted with playing bass again.
The original recording of this took place shortly after I wrote the basic parts. I wrote the part that I call the 'rhythm' (the tapped, arpeggiated chords) first, followed by the 'melody'. I then put it together using my Fostex 4-track and Roland drum machine. Once I put together a very basic drum beat, I recorded it plus the 'rhythm' and a simple 'bass' part, then bounced them all down to a single track. I then recorded the 'melody' on two of the tracks, panning each one 70% to either side. The last track was the 'solo' and the 'harmony' piece at the end, both of which were actually written after I put the rest of it together. Unfortunately, I never mixed this recording down to a cassette. I still have the master, but no longer have the Fostex so I have no way of playing it. The instruments were a Custom Dreams fretted bass (ESP parts assembled by Dave Sabo of Skid Row) and Fender Jazz fretless for the solo.
Fast forward to 2005. I wanted to re-record the song, but didn't want to tax my wallet doing so. With a little research, I found a program called Audacity, which is open source multi-track recording software. The price was right and it seemed relatively easy to use. I then found Fruityloops, which is a software based drum sequencer. Fortunately for me, they have a trial version that lets you use the software but not save your work. Since the drum track is very basic, that was good enough for me.
The nice thing about software multi-track recorders is that the number of tracks is only limited by the power of your machine. As such, I didn't have to bounce tracks the way I did before. It took me some time, however, to learn how to get around the differences of recording to PC, such as lag. Also, my current soundcard leaves a lot to be desired, which is why it's so difficult to hear without turning it up. Even so, it came out pretty good. I had to force myself to avoid getting anal about it, continually re-recording the solo. Finally, I got one that was half way decent and left it at that. I no longer have a fretless, so I did everything on my new American Fender Jazz Deluxe 5-String.
I will probably record this again in the future, once I have some decent equipment and spend some time getting aquainted with playing bass again.
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