Marisha

Valentine's Day at The Queens

2012-02-13T02:36:00.001-08:00

This Tuesday’s Ladies’ Night is a BIG ONE!
Saint Valentine’s Day Singles (AND COUPLES!) Party at The Queens! Come and show some love for your fellow sistas ‘n brothas, especially THE BAND. We’ll be groovin’ our arses off to get you dancing (toe tapping and head bobbing allowed), and partaking in some lovely Valentine’s Day libations.
If anything, come and hang out with the band! Don’t worry, we don’t bite (much)
Ladies: cover is FREE!
Gentlemen: come on down to The Queens court and prove that CHIVALRY AIN’T DEAD! (yet)

Facebook Event Page: https://www.facebook.com/events/237824606306206/

Facebook Page: https://www.facebook.com/pages/The-Femme-Fatales/335280366489624

Harbourliving.ca Event Page: http://www.harbourliving.ca/event/ladies-night-at-the-queens-hotel-with-the-femme-fatales/2012-02-14/

Rest In Peace Whitney Houston

2012-02-11T17:59:00.000-08:00

Benefit Concert for HerArt Project

2012-02-09T04:16:00.000-08:00

TONIGHT! At the Queens Hotel Nanaimo.

HerART is a free community-based art outreach project for women and girls being launched by the Nanaimo Women's Resources Society. It takes place in May and there will be drumming, theatre, song-writing, painting....workshops.

Entertainment:

The Femme Fatale's
Tracy Myers
Kendall Patrick
AJ Johnson

50/50 tickets

Ticket price is $10

Tickets at:
Nanaimo Women's Centre 285 Selby Stree753-0633
Catwalk Fashions 13 Commercial Street 716-1300
Haven Society 756-2452/
Queens Hotel 34 - Victoria Crescent 754-6751

http://nanaimowomen.com/

https://www.facebook.com/pages/Nanaimo-Womens-Resources-Centre/137077892988057?ref=ts

Gabor Maté Quote: ADD - A Juggling Act

2012-02-06T05:51:00.000-08:00

“My life, like that of many an adult with ADD, resembled a juggling act from the old Ed Sullivan show: a man spins plates, each balanced on a stick. He keeps adding more and more sticks and plates, running back and forth frantically between them as each stick, increasingly unsteady, threatens to topple over. He could keep this up only for so long before the sticks tottered and the plates began to shatter, or he himself collapsed. Something has to give, but the ADD personality has trouble letting go of anything. Unlike the juggler, he cannot stop the performance.” Gabor Maté “Scattered Minds”

The Femmes Fatales at The Queens Hotel EVERY Tuesday night - Ladies' Night!

2012-01-31T04:55:00.000-08:00

TONIGHT and EVERY Tuesday night at The Queens! Get ready for the musical talents of those phenomenal females (+ 1 sexy man beast) The Femmes Fatales!!! Bringing your favourite jams, and heating up Tuesday nights.

We bring to you a veritable smorgasbord of danceable, sing-along-able hits by Adele, Blur, Bonnie Raitt, Carole King, Colin James, Crystal Waters, En Vogue, Estelle, Jennifer Paige, Lady Gaga, Love Inc., Maroon 5, Orianthi, P!nk, The Pretenders, Rihanna, Shaggy, Sheryl Crowe, Steve Miller, Sugar Ray, Usher and more.

Something to satisfy everybody's musical palate!

It's Ladies Night, so ladies' cover is free!!! $5 for all of you fine gentlemen. Guaranteed to be a night of friends, fun, laughter and general debauchery!

The Queens will offer a new shot called Femme Fatale for $3.75

Hope to see you there!!!

Keep up-to-date on all things Femmes - "like" our facebook page: https://www.facebook.com/pages/The-Femme-Fatales/335280366489624

The Queens' Ladies' Night facebook event page: https://www.facebook.com/events/172512022848535/

Glory Days - Only 3 Shows Left!

2012-01-27T14:36:00.000-08:00

Only 3 more shows of Glory Days at The Cultch! Tonight @ 8, tomorrow @ 2:00 & 8:00

http://glorydaysvancouver.com/

Ticket info

http://www.thecultch.com/component/option,com_eventcal/task,event/date,1326877200/eventid,346/Itemid,239/catid,/

Facebook page The Boys Upstairs Equity Co-Op Presents: Glory Days - The Musical

Twitter https://twitter.com/#!/boysupstairs/

Youtube http://www.youtube.com/user/GloryDaysVancouver/

Personal Thoughts on Scattered Minds: Introduction

2012-01-27T01:04:00.000-08:00

I just finished reading Gabor Maté's Scattered Minds: A New Look At the Origins and Healing of Attention Deficit Disorder <--read a couple chapters here. I describe this book as a compassionate look at ADD.

Not sure how to accurately say how profound it was to read this book. I cried freaking crazy tears knowing that in the chaos and pain that is my stupid brain there is actually logic and meaning, a pathology that makes sense, medically and holistically, and to top it off the author of this book has ADD himself and is one of the most compassionate human beings on earth.

"A doctor in Ontario gave the father of a nine-year-old girl with attention deficit disorder a dramatically apt analogy. Imagine, he said, you're standing in the middle of a really crowded room. Everyone around you is talking. Suddenly someone asks you, "What did so-and-so just say?" That's what it's like inside the ADD brain and how it is for your child."

This made me realize why it is so freaking hard for me to talk to people in crowded public spaces. It is a battle to keep my eyes from wandering, and it gives me a headache to keep my mind focused solely on the one person because I know how annoying it is to communicate with someone who looks like they don't really give a damn about you or what you have to say, which is the sad thing, I really DO give a damn, but it's as though I have no control of my sensory inputs (eyes and ears). Impulse control... it's just not happening.

When I can muster up the energy to focus I tend to tilt one of my ears toward the person, perhaps as a way to focus the sound, like a funnel into the brain. It probably makes me look like I am hard of hearing. Going deaf has been a huge fear since I have been accused of having selective hearing now and then, but since ADD is a psychological/neurological issue and not an ear issue I'm slightly less worried now (though a musician should always be concerned on some level).

Trying to have a conversation near a television? Yeah right...

"A parallel analogy suits the situation the parents of ADD children find themselves in: you're stuck in the middle of heavy traffic at an intersection; the engine has stalled and you are trying your best to get moving. Everyone is yelling and honking angrily at you, but no one offers to help. Perhaps no one knows how to."

I don't have kids, nor do I meet the criteria for hyperactivity, but this is certainly analogous of what goes on in my head when I'm running late for anything that requires being timely: work, rehearsals, meetings, ferries - which is ALL THE F*CKING TIME.... All throughout school - start the year off keen. But as the year progresses, so does the tardiness. It's amazing I haven't been given a speeding ticket yet in one of my formula one-esque races to wherever it is I'm going. Meanwhile I'm playing that old broken record of self-hate, "What? That's what time it is?? How did that happen? Come on get moving, or get out of the way!" *Haphazardly throws all of my stuff into a bag, invariably forgetting something, stomping around like a frustrated little child* "Here we go again. F*ck, why do I even try, I'm f*cking useless! I should just drive off a f*cking cliff and end it all." Yup, it's a hate-hate relationship with myself.

This is no exaggeration or hyperbolism. I'm dead serious, and yet probably hilarious (or sad) to watch. You're guaranteed to get this freakshow a couple times a week. Sh!t, I should put up a camera and charge people to watch the farce that is my life. Grab the popcorn.

"The analysis of ADD given in this book attempts to synthesize the findings of modern neuroscientific research, developmental psychology, family systems theory, genetics and medical science. These are combined with an interpretation of social and cultural trends, as well with my own personal experience as an adult with ADD, as a parent and as a physician. To avoid giving the book an academic slant, references are given in the notes at the end, along with further comments intended for the professional reader and for lay readers seeking source information."

This is quite the thorough book, but it's a real page-turner, which helps. In the struggle to absorb information into a distracted mind the only "magic pill" is for the subject matter to be interesting. Interestingness being the only thing allowing information to enter into and remain in the ADD brain.

This is so frustrating:

I read a review of this book on amazon.ca, the overwhelming majority are glowingly positive, but still this one angers me to no end.

http://www.amazon.ca/review/RBTJZQXL1IMCU/ref=cm_cr_pr_viewpnt#RBTJZQXL1IMCU

3 of 14 people found the following review helpful:

1.0 out of 5 stars

ADHD is NOT caused by maternal neglect!!!!!!!, Feb 15 2010

Joanna (Toronto, ON) - See all my reviews

This review is from: Scattered Minds: A New Look At The Origins And Healing Of Attention Deficit Disorder (Paperback)

Gabor Mate claims that based on his observations as a GP + coordinator of the Palliative Care Unit, ADD/ADHD is caused by maternal neglect/lack of love. He doesn't really offer any solutions on how to deal with it... time travel being ruled out, I guess:).

He's a strong communicator + a compelling speaker, which is probably why his theories enjoy the popularity they do.

Great reading for getting yourself thinking and exploring other perspectives, but I'd recommend going to more reliable/scientific sources when looking for meaningful solutions.

If she actually had meaningful, logical insights with examples from the book then that would be different, but either this woman didn't even read it, or she came to her own conclusion about the book's content and author before briefly breezing over it (Hmmm... inability to follow through on one task, reactionary, a little pre-emptive ornery sarcasm aimed at something she's clearly unwilling - or unable - to learn about... perhaps an AD(H)D sufferer herself!)

I can tell you he offers up amazing insights. I am already effectively dealing with my paralyzing stage fright and crippling self-esteem issues since, which I will get more into later.

I wish there was a way to respond directly to Joanne's comment. In the meantime I've voted her review as "unhelpful." LOL

All you'd have to do is read the freaking introduction to know that what she says has absolutely nothing to do with the book:

"I have attention deficit disorder myself, and my three children have also been diagnosed with ADD. I do not think it is a matter of bad genes or bad parenting, but I do believe it is a matter of genes and parenting. Neuroscience has established that the human brain is not programmed by biological heredity alone, that its circuits are shaped by what happens after the infant enters the world, and even while it is in the uterus. The emotional states of the parents and how they live their lives have a major impact on the formation of their children's brains, though parents cannot often know or control such subtle unconscious influences. The good news is that major changes in the circuits of the brain can occur in the child and even in the adult if the conditions necessary for positive development are created.

Quick to arise whenever the environment is mentioned is the question of blame. "You mean it's the parents' fault?" people immediately ask. It is a simplistic notion that if something is wrong, someone has to be at fault. It would not help parents of children with ADD, besieged on all sides by the incomprehending judgments and criticality of friends, family, neighbors, teachers and even strangers in the street, to have yet one more finger pointed at them. This book does not do so."

Pg. xviii "As parents who make every effort we can to raise our children in loving security, we do not need to feel more guilt than we already do. We need less guilt and more awareness of how the quality of the parent-child relationship can be used to promote our children's emotional and cognitive development. Scattered Minds is written to encourage such awareness."

There are more gems like these throughout the book, all of which I will take note of. Onward to Chapter 1!

Stage Fright

2012-01-26T16:45:00.001-08:00

Making flax pancakes, trying to soak in a bit of sun.

My stage fright involves a distinct feeling of dread, of some sort of impending disaster (what kind of disaster I wouldn't be able to say) shaking, sweating, dry mouth, dizziness and nausea - like I am going to vomit all over the place at any given time. In short, stage fright is a panic attack. It isn't always that way. Last night eating timbits within an hour of downbeat, guzzling green tea not long before that probably helped to propel me into this state by simultaneously making my blood sugar peak and my bladder full: two things that need to be avoided like the plague before performing.

So, that feeling of impending disaster could be the very (seemingly) real possibly of throwing up or passing out in the middle of a show, in front of a large audience.

Before a show I've made a (possibly arbitrary) 2 hour cut off for the consumption of anything. But still, I'm compulsive around food and will happily forget about the negative effects of eating gobs of deep fried dough dipped in liquid sugar to satiate my carb/sugar addiction.

So far focusing on breathing and chilling the f*ck out seems to keep the equilibrium and guts intact. But the intense fear still remains.

Glory Days, A Musician In the Theatre

2012-01-18T06:40:00.000-08:00

Listening to Avishai Cohen albums "Seven Seas" "Unity" & "Colors"

Tomorrow night is opening night for "Glory Days" at the Cultch!

Website: http://www.glorydaysvancouver.com/

Twitter: https://twitter.com/#!/boysupstairs/

Book Of Face: https://www.facebook.com/theboysupstairs

Youtube http://www.youtube.com/user/GloryDaysVancouver/ <---See the band's impromptu Friday the 13 Jam at the Gateway Theatre

Get your tickets HERE

The Cultch is a really fun space where everybody is friendly and helpful. Only time I've been there before was for a Hard Rubber Orchestra show, the last show before renovations began. That building has got some major history. My grandma (mom, uncle, and grandpa --->R.I.P.) lived at the other end of Victoria Dr. She says that back in the day she used to frequent The Cultch for community gatherings of sorts.

Today's tech run there was a lot more time between stops to see how the play flows. As the play progresses the intensity grows and boy did it ever! In a good, actor-y sort of way. The band is getting tighter and more confident.

I'm no thespian, but there's this amazing thing that happens when everybody stops thinking about what it is they're doing while they're doing it, and these amazing Zen moments happen. Acting is so utterly human, sometimes I think even moreso than music (don't tell any musicians I said that). It hits you in the solar plexus. In music we use words like "Groove," or "Swing" to describe this amorphous, zen-like forward motion. What other words are there in the musical lexicon? I read that Pat Metheny sometimes called it "Glue." From my perspective acting, dramatic arts, whatever you want to call it, is another kind of music in itself. As a musician I kinda just sit in my chair, keep my eye on the page and music cues, keep my mouth shut and generally try to stay out of other peoples' hair. Regardless, I can't help but mentally get involved in the theatrical developments. The challenging thing about rehearsals and tech runs is finding or understanding the "Groove" ("intention"?) of a scene, a line, prop, blocking, a lighting cue - all of that seems to go right the eff over my head. It probably helps that a) I'm not an actor and b) musicians - save for musical directors - get dropped in right near the end of the rehearsal schedule, because we are so gad-damned expensive! It's usually not until dress rehearsal or even opening night that I go "Oh, I get it!"

A little #SlowOnTheUptake

I seriously envy an actor's confidence and ability to walk onstage and win over an audience and am totally in awe of their talents, perhaps because I am utterly hopeless and deficient in all of those skills. You'd think that after all of these years working with actors one would have absorbed a few things by osmosis.

Working in theatre has been a dream come true for me. Aside from being surrounded by super perspiring, I mean inspiring! artsy people who are all kinds of awesome - creative, driven, focused, hard-working, hilarious, open-minded, respectful, supportive - I tend to thrive in environments that are structured, where everyone knows, often weeks in advance, where they have to be, when, for what purpose - rehearsal, tech run, SHOW, and of course opening and closing night partays. Everyone seems to have clearly defined roles and everyone respects everyones' place in the grand scheme of things. The schedules allow for regular breaks to unwind, and of course to eat - an activity in which I have become legendary for over the years (does it even count if it's healthy food like fruits and veggies? I mean come on guys, give a girl a break!) Comparatively, the rest of the time I play in bands that are run in a kind of laid-back yet exhausting anarchistic chaos that frantically comes together in time for a gig, and in some instances having to deal with rampant, childish, disrespectful behaviour <---adults!

A couple times (okay, a lot of times) I've asked myself, "Is pursuing a music career what I should be doing with my life?" Lo and behold the magic gig fairy brings forth amazing musical opportunities, thus preventing me from going through a scary, and potentially painful, career transition - at least offsetting it for now... (Living with my parents has greatly aided in the offsetting the scary painful career transition part. Love you mom and dad!)

For the theatre experience I have gained these last couple of years I am eternally grateful for musical directors Doug Dodd and Nico Rhodes. In 2009 Doug was desperately searching for a bassist to play in "A Closer Walk With Patsy Cline" at Chemainus Theatre with Sara-Jeanne Hosie (actress/singer/dancer extraordinaire, and director of Glory Days!) at the same time I was desperately searching for a way out of a nightmare gig.

Doug is a relentlessly positive presence in the lives of many music students and aspiring musicians in Nanaimo - one notable past student of Doug's being singer/songwriter/actress Alexandria Maillot. He's called on me to accompany students at numerous recitals, showcases and fundraisers. Over the years it's been really cool to see young musicians improve and develop confidence and stage presence. Based on the few glimpses into Doug's past life that I've heard I can't even comprehend how awesome this man's life has been. One day I hope to sit down, have some tea and pick his brain.

Nico Rhodes is this 23 year old brat that I am not ashamed to call my boss - musical director for A Closer Walk, A Countryside Christmas, and what! Glory Days. He's my brotha from another motha.. and fathah. One talented pianist, saxophonist, composer, accompanist and musical director who has also lived a very fascinating life.

Over the years I've had the honour of working with theatre groups during my formative music years: Bard to Broadway, Echo Players, Dean Chadwick's Schmooze Productions, Nanaimo Theatre Group. These last couple of years I can proudly exclaim on my CV Chemainus Theatre, Arts Club and now The Boys Upstairs.

Today, during the stops while Sara-Jeanne, and Ian Schimpf - lighting designer extraordinaire fine tuned the lighting cues and placements I fought the urge to noodle on my bass and to say stupid, benign things during every quiet moment. The inner self-editing process is anxiety ridden. From what I understand the lower "animal" part of the brain provides a constant stream of thoughts and urges. It's the upper cortex of the brain's job to edit and permit only the most relevant and necessary thoughts to escape in the form of words and action. The upper cortex of the "ADD brain" is sleeping on the job allowing all of these lower brain signals to go haywire. It's like having a constant thought explosion, where if you open your mouth you'll often be surprised, if not horrified, by the things that come out. Or, if ones mind wanders it's possible to think ones way into a panic attack. Thus there is a constant dread of thinking, saying or doing the absolute wrong thing at the absolute wrong time (that's not a double negative, that is a double WRONG). Therefore it is safer to keep your damned ADD mouth shut so as not to risk any "WTF?" moments, or frightening young children, the elderly, and the easily offended.

That's part of what it's like inside my brain. As I try to fight through the fears, mental blocks, and stroke-like memory lapses that prevent me from living my life to the fullest I take risks with a high chance of saying or doing things that will just plain freak people out with my weirdness, with varying degrees of success, or failure, depending on how you look at it.

A little "SlowOnTheReuptakeInhibitors

Rest In Peace John Forrest.

ADD Revelation

2012-01-15T19:52:00.000-08:00

Like many people, I thought I knew what Attention Deficit Disorder was - that jittery, hyperactive kid literally running in circles, unable to sit still, keep his/her mouth shut and flunking school, their and their loved one's quality of life is dependent on ritalin or some kind of psychostimulant - until I randomly came across a documentary with Patrick McKenna called "ADD & Loving It?!" Trailer ---> http://www.youtube.com/watch?v=Zq8zVgumJ6I There was this eerie feeling, thinking "How the hell is this random documentary so accurately summarizing my entire life?" It wasn't an "I can totally relate" kind of thing, it was a "Holy *%@3!)($!!!! HELL THAT IS ME!!!" So I immediately acquired a copy of Gabor Maté's "Scattered Minds: A New Look At The Origins And Healing Of Attention Deficit Disorder" http://drgabormate.com/writings/books/scattered-minds/ <---Where you can read a couple chapters. I'm only onto Chapter 8 "A Surrealistic Choreography" and already so many nagging questions I've had about my life have been answered.

For anyone living with AD(H)D be it a loved one, or suspecting it in themselves any amount of library or internet research is likely to be revelatory, but above all I recommend Gabor Maté's book. He has a thoroughly scientific, holistic AND empathetic approach to all of his work as a physician with addicts in Vancouver's Downtown Eastside, a Palliative Care Unit Co-ordinator, GP, author and public speaker.

As it stands, this is a total self-diagnosis. I'd like to eventually consult with a knowledgeable doctor on the matter. In any case, learning about ADD so far has inspired me to be a bit nicer to myself, and to start taking a bit more responsibility for my mental and physical well-being, because it's a f@cking labour intensive chore, but now I'm almost certain that it's worth it and that my quality of life can only improve.

Here's Gabor Maté on Democracy Now! ADHD, bullying and the destruction of the American Childhood Pt. 1

Pt. 2

Pt. 3

GET YOUR TICKETS FOR "A Closer Walk With Patsy Cline" WHILE YOU STILL CAN!

2011-07-27T23:40:00.000-07:00

http://www.artsclub.com/20102011/plays/a-closer-walk-with-patsy-cline.htm

Time is running out for your chance to see this highly acclaimed show!

Sara-Jeanne Hosie is mind-blowingly awesome

Arts Club Theatre's "A Closer Walk With Patsy Cline" has been extended by 2 weeks! Tell all your theatre and country music loving friends!

2011-07-22T17:22:00.000-07:00

http://www.artsclub.com/20102011/plays/a-closer-walk-with-patsy-cline.htm

Sara-Jeanne Hosie is stellar!

WESTERN EDGE TO PRESENT CONTROVERSIAL PLAY AS PROTEST AGAINST GOVERNMENT CENSORSHIP

2011-07-05T16:50:00.000-07:00

http://westernedge.ning.com/xn/detail/2254343:Event:9143?xg_source=activity

Time: July 15, 2011 from 7:30pm to 9:30pm
Location: Nanaimo Entertainment Centre
Street: 46 Nicol St.
City/Town: Nanaimo, BC
Website or Map: http://westernedge.org
Phone: 250-668-0991

Nanaimo, BC’s Western Edge Theatre will present a public reading of the controversial play “Homegrown,” by Catherine Frid, as a gesture of support for Toronto’s SummerWorks Festival, and in protest against the federal government’s politically-driven decision to withdraw that company’s funding .

SummerWorks premiered “Homegrown” last year as part of its annual theatre and arts festival. The play is about the relationship between a Toronto woman and a member of the so-called “Toronto 18,” a group of alleged terrorists, some of whom were later convicted. Prior to the production, the Prime Minister’s Office claimed it “glorified terrorism.” On Monday, Summerworks announced that, after five years, the Department of Canadian Heritage had withdrawn the Festival’s $45,000 grant, which comprised 20% of the company’s budget.

Western Edge artistic producer Frank Moher says the move was plainly politically-motivated. “This is an act of censorship and intimidation on the part of the Conservative government, intended to send a chilling message to Canadian artists: don’t present material we don’t like, or you, too, will be punished. It’s not in keeping with Canadian traditions or values, and has to be challenged.

“We may be 4000 kilometres away from SummerWorks, but we stand with them. And we hope our reading will inspire other theatre companies and groups across the country to hold their own. Let the government know that any attempt to suppress art it doesn’t like will only cause it to spread more widely.”

The Western Edge Theatre public reading of “Homegrown” will take place on Friday, July 15th at 7:30 pm at the Nanaimo Entertainment Centre, 46 Nicol St. Admission is by donation at the door. All proceeds will go to the SummerWorks Festival.

Alli Sunshine and the Blue Sparrows Naked Jams Video

2011-07-05T14:20:00.000-07:00

At the Elephant Room

Alli Sunshine - Voice & Keys

Tristan Armstrong - Guitar

Ian Montgomery - Drums & Banjo

Moi - Bass & Voice

My moment of Zen at 6:02

Milner Music in the Garden: An Evening With Eric Harper this Sunday

2011-07-05T14:08:00.000-07:00

This Sunday, Milner Music in the Garden: An Evening With Eric Harper

http://www.harbourliving.ca/event/milner-music-in-the-garden-an-evening-with-eric-harper

Check out this show if you can! Beautiful music in a beautiful setting.

http://ericharpermusic.com/

Buddy Guy "First Time I Met the Blues"

2011-07-05T13:51:00.000-07:00

Chicago 1970, check out the messages on the walls.

New Orleans 2011: Dance Lessons from Dancing Man 504

2011-07-01T11:49:00.000-07:00

New Orleans dance lessons. Check ‘em out, bust a move!

http://dancingman504.com/

Photos and Videos from my April New Orleans Trip

2011-06-29T12:17:00.001-07:00

In April I traveled to New Orleans for the French Quarter Festival.

Here are all of the photos from that trip including Memphis, Natchez, and Lafayette.

Memphis, TN http://www.flickr.com/photos/61916628@N05/sets/72157626541031934/

Driving to Natchez, MS

http://www.flickr.com/photos/61916628@N05/sets/72157626546450184/

Natchez, Driving to Lafayette, LA

http://www.flickr.com/photos/61916628@N05/sets/72157626546650258/

New Orleans

http://www.flickr.com/photos/61916628@N05/sets/72157626548659330/

French Quarter Festival 2011: Day 1

http://www.flickr.com/photos/61916628@N05/sets/72157626428287559/

French Quarter Festival 2011: Day 2

http://www.flickr.com/photos/61916628@N05/sets/72157626430045735/

French Quarter Festival 2011: Day 3

http://www.flickr.com/photos/61916628@N05/sets/72157626556335490/

French Quarter Festival 2011: Day 4

http://www.flickr.com/photos/61916628@N05/sets/72157626435856387/

Videos. Still editing and uploading more each day.

Folk Man

Young Fellaz Brass Band 001 (watch your monitor level)

Young Fellaz Brass Band 002

Young Fellaz Brass Band 003

Doreen Ketchens 001

Doreen Ketchens 002

Brass Band in Jackson Square

Bourbon Street Second Line

Joy Kills Sorrow - Qualicum Beach Show July 14

2011-06-28T16:07:00.000-07:00

Pretty song by Joy Kills Sorrow "The Ice Is Starting To Melt"

They're playing a show July 14, St. Stephen's Church in Qualicum Beach - 7:30 PM.

Try to catch their show while they're still in this neck of the woods.

http://www.joykillssorrow.com/

ZAZ "Les Passant"

2011-06-28T11:16:00.000-07:00

Such a groovy trio, her voice is delicious

Zaz à Montmarte : Les passants by LEXPRESS

Check her out http://www.myspace.com/zazofficiel

https://www.facebook.com/zazofficiel

http://www.noomiz.com/zaz

My summer in Vancouver thus far (photos)

2011-06-27T14:53:00.000-07:00

http://www.flickr.com/photos/61916628@N05/sets/72157627062887830/

A Closer Walk With Patsy Cline Round 4, Grandpa's brush with death

2011-06-24T14:21:00.001-07:00

I'm living in Vancouver these days and internet is not always plentiful (and not always willing to buy a beverage for a wireless code) so here's an accumulation of the last week's blogging effort.

Friday, June 24 2011

You should hear Nathan and I gush about how this is basically one of the coolest jobs ever. And it's not the slightest self-congratulatory, more like "what the hell did we do to deserve this?!"

Check out the Arts Club's compilation video. It's nicely done http://www.artsclub.com/20102011/plays/a-closer-walk-with-patsy-cline.htm

It's the band's fourth run (S-J's 5th) and we never cease to be amazed by Sara-Jeanne, and our fearless leader Nico Rhodes. That little brat is downright genius.

Sara-Jeanne Hosie - Patsy! http://web.mac.com/sj_hosie/Site/welcome.html
Al Medcalf - Electric & 6-Stringed Bass Guitar
James McRae - drums http://theiconoclast.ca
Nathan Tinkham - Slide & Electric Hollow Body Guitar http://web.mac.com/nathantinkham/
Nico Rhodes - piano/vocals/musical director Like A Boss http://WWW.NICORHODES.COM/

Two nights ago was our opening night. Considering we've done a week of previews the only thing that seemed different was getting to meet the writer Dean Regan, the champagne, hors d'oeuvres and the post-show party at the upstairs lounge.

Give Sara-Jeanne's album "In Case You Didn't Know" a listen https://www.cdbaby.com/cd/sarajeannehosie and get your copies now, Christmas is just around the corner. In case you didn't know this album is freaking awesome! And I'm not just saying that as the bassist on the album. The composing/arranging prowess of flowmastaz S-J and Nico is something to behold. And did you know that Sara-Jeanne is the baddest freestyle rapper on da block?! I shit you not! Sara-Jeanne Hosie in concert is nothing short of magical.

Early reports say that Sarah Wood won a Vancouver Island Music Award! Best Instrumental Album for "Ocean Tapestry." Of course she did! http://www.myspace.com/sarahmariewood

Alexandria Maillot won Best Youth Artist! http://www.alexandriamaillot.com/

Two extremely talented, driven, hard-working musicians and composers who I admire/envy. ;) Congratulations. You guys earned it!

Felicitations a Cam and Jennifer Wigmore for the newest addition to the family! A very healthy boy, with an already-developed Wigmore sense of humour (adorable photos on the Book of Face). Jennifer is a superhero!

Currently Listening to: Erykah Badu "Out My Mind, Just In Time"

Currently Reading: Rock and Roll Is Here To Pay (Thanks Al! I'll tape the binding back together when I'm done reading it.)

Sunday, June 19 2011

Happy Fajah's Day to all the dads out there.

This is the card I got for my dad:

"Rock 'n Roll Bands for Dads Your Age (w/ accompanying cartoons)

The Grateful we're not Dead

Earth, Wind and Fiber (my favourite)

Fleetwood Crack (of the derriere variety, not the street drug)

Boobie Brothers

(inside) Crosy, Stills, Nash and not so Young

I added my own as well:

ZZ Nap

Van Ailin'

Jethro Dull

Stynx

Celebrex Pistols

Blue Oyster Schmaltz

Eh? Eh? Whaddya think? Hallmark is gonna be bustin down my door any minute now.

Well, it's a grey, overcast day on the west coast. Just got 4 hours of sleep and the healthiest possible breakfast option on the ferry back to the 'Mo. Call me crazy , but I tend to enjoy food in transit. Airline food, ferry food, whatever. I am not picky. You'd think I would be considering the kind of gourmet eats I've been afforded my entire life by Chef Mom. "Essen" was probably the first of the 5 German words ever taught to me - "Eat!" Perhaps these round edges are a testament to my hearty upbringing. But hey, a little junk in the trunk never hurt anyone.

Speaking of hearty - my grandpa, Opa Hans. As blunt as this may seem, the fact that he is still living and breathing to this day is nothing short of amazing.

The man's life was stressful. Growing up during WWII, emigrating to Canada with his mother and 7 or so? siblings leaving everything behind while his father was in a prisoner of war camp somewhere (who also emigrated to Canada a quarter of a century later, through no small effort!). Opa smoked tobacco almost all his life, literally since he was a child, much later on developing COPD: Chronic Obstructive Pulmonary Disorder. He drank prodigiously, much later on developing diabetes, myriad associated health problems, but also, in his darkest days causing him to act violently abusive.

He has an inherent distrust of medical professionals, so much so that even when he was admitted to Royal Columbian a couple of weeks ago he went there defiantly, combatively. Which is just great when they're trying to save his life. Sheesh. He was a big, old, grouchy German with big demands before Alexi made the 9-11 call, and likely will continue to be after being released from the care centre rehab! As frustrating as it is when doctors and nurses have to fight the man in order to save his life in his particular circumstance I'm inclined to believe that his personality bodes well on his immune system. According to Gabor Maté in "When the Body Says No" those who tend to freely express their anger and negative emotions while facing medical crisis have a better chance at remission and rehabilitation than those who internalize or mask their emotions.

We later learned that not only did Opa go 10 years refusing to take his prescribed inhalers, but his pneumonia came back and took over one of his lungs with a vengeance. He was not getting enough oxygen, which likely is what caused him to behave so erratically, and it seemed like his body was giving it up.

Just the other day I took the skytrain to New West and visited my Opa at the care centre where he was lucid, and able to walk around with the aid of a walker. He will likely be home within the next couple of days if not already.

*Big 'ol sigh of relief* Whew!

My grandpa is still alive! He has defied the odds! He is also an exception to the rule. The average smoker/drinker/consumer of all things baked/fried/buttered/breaded/sugared/salted and German would have hammered the final nail long ago. Not my grandpa. It's those hearty Schneider genes I tell ya! He better be counting his blessings though, because we sure are! Going from the ER, to the 6th floor, to the high acuity unit (one step, the final step beyond intensive care), back to the 6th floor, to a care centre for rehab, and now, on his way home! Oma Schneider, his mom, lived to be almost 100. At this rate it wouldn't be surprising if Opa enjoyed another couple decades of life too.

At this rate if I take relatively good care of myself and don't live to a ripe old age I'm gonna be pissed!

Just a couple of weeks ago, when Mom, Dad and I visited him in the HAU they were taking extreme measures to get him breathing properly and restoring his oxygen levels, restraining him in order to keep him from removing the special mask that put oxygen and steroids into his lungs, opening up his breathing passages - think of a clear gas mask connected to a giant mechanical inhaler. That's gotta be tough for anyone to endure, but especially for someone with a domineering personality with trust issues around doctors and nurses, calling them all kinds of mean names. "They're trying to kill me!" "Actually dad, they're working hard to save your life!" I'm so glad Mom is an experienced home care nurse because I wouldn't know what to do or say.

I can't believe how strong my mom is. At the time we were talking about some pretty heavy things - DNR, spiritual care, legal matters, not to mention how even the possibility of death has a way of altering ones overall perspective on life. We're all going to die at some point, and yet somehow it always seems shocking. Immortality complex?

Mom is the unifying force in this family. She is not religious, hell, she's downright pagan by comparison! But she, more than anyone I know, truly understands the meaning of unconditional love and forgiveness. Even though there are still emotional scars that come from violently alcoholic and broken homes, in the face of crisis and possible death dredging up some pretty dark sh*t from the past, she is singularly the most compassionate and sympathetic person I know. As well, despite all the stress and heartache that life has brought upon them my mom and dad are still together! They are my heroes.

And my Opa is still with us, still the one that brings chocolates, bear hugs, argues about everything (even when in absolute agreement. No joke!) and tells interesting stories from the past. Still a phone call away.

Life............. bring it on.

Monday, June 13 2011

Sitting in Horseshoe Bay with Nathan Tinkham and Al Medcalf waiting for the ferry back home. Today was the Patsy Cline band's first rehearsal for the summer run! Line check, a couple songs for the meet and greet and a rough run through, lots of doughnuts (which was such a mistake because not only are they rich in carbs and grease but all I want to eat from now on is carbs and grease!) figuring out what we remembered/forgot. Familiar/new people. This summer is going to be awesome.

Nico just pocket dialed me AND left a message. Such a hilarious phenomenon.

It turns out my electric bass is heavier than anyone else's. Maybe that explains my football player shoulders.

Horseshoe Bay is such a beautiful place. Looking forward to the sunrises on the early ferry rides home every weekend - except for one of the jazz fest weekends. James McRae and I bought Hopper passes. One of the venues is on Granville Island so we should be able to catch most of the shows after each Patsy show.

So much great music at last night's Rene Worst benefit show. They even connected the show via skype to him so he could watch from home.

Not gonna lie, walking around downtown Vancouver is overwhelming. I feel like such a country bumpkin amongst all these tall buildings, not to mention being surrounded by so many consummate professionals - musicians and actors. Here's hoping this summer will kick my sorry ass into shape.

Will power = not buying that awesome looking/smelling poutine.

Update: I caved.

According to the ferry cafeteria staff the Bruins are beating the Canucks H-core.

Last game I chowed down on a veggie burger, fries and salad from Armani's Gourmet Burgers. Burg central!

This summer it would be great to climb Mt. Benson and to pick a motherload of blackberries.

Sunday, June 12 2011

I am writing this in what appears to be the coolest place ever: a classy old west end apartment with a beach view. This is where I'll be living for the summer, a hop skip and a jump from where I'll be working for the summer ---> The Arts Club Theatre, playing bass in A Closer Walk With Patsy Cline. Pretty sweet summer job eh!

I'm all moved in and rehearsals start tomorrow.

It appears that there is no microwave in this apartment. That's going to take some getting used to. I've heard people describe microwaves as unhealthy, even "evil!" I've always thought of it as a time-saving modern convenience, but okay! Nonetheless, it'll be a good exercise in slowly defrosting those fresh frozen dinners that mom makes. A little taste of home, even though it's only a relatively small body of water away.

Last night Alli Sunshine and the Blue Sparrows http://www.allisunshineandthebluesparrows.com/ played at the Princeton Pub with Zelas Hype and Moonlight Express. What a rockin' show. I think I rock out more when I'm tired and stressed out... and there's nothing quite like severe engine trouble to inspire severe stress. Holy schniky! Steam was billowing and brown radiator gunk was spilling onto the street. A kindly gentleman by the name of Jimbow offered some helpful advice that would better our hopes of getting the rust bucket back to the island which, as of a couple of hours ago was safely returned. I believe Jimbow is a tattoo artist.

Tonight is a benefit show for bassist Rene Worst. Just about to high tail it across town. There's going to be a lot of walking and biking this summer which is great, because boy do I need it!

Currently reading: Patsy: The Life and Times of Patsy Cline by Margaret Jones

Currently listening to: west end traffic

Craft and Business of Songwriting & Self-Promoting Musician

2009-11-27T20:59:00.000-08:00

As someone with little to no business knowledge I found these books to be fascinating and will take the suggestions from both authors on what publications to read next.

Google Books preview: The Craft and Business of Songwriting By John Braheny

Google Books Preview: The Self-promoting Musician by Peter Spellman

Peak Performance Project: Day 7

2009-09-01T19:26:00.000-07:00

Seventh and final day: marketing, marketing, website design, tv/radio marketing, and setting up an indie label & publishing.

There's lots of talk about knowing your demographic. This can be extremely important when just figuring out good venues to play, and not just in bars and restaurants. There's been lots of talk about all ages shows and how valuable these events can be for your band.

With the website course the adage "content is king" apparently applies. That's why blogging is so huge on websites: every time you add a new blog post you're adding more content to your websites potentially raising your "google" ranking, or any other search engine. Making sure that you own your domain name, and that you're not going through a middle-man of sorts that could one day go AWOL and stop updating your website leaving it to the "URL sharks" that exist to purchase newly lost domains only to sell it back to you for thousands of dollars. Apparently this happens! The teacher also endorses wordpress as a good means of developing a website, although he offers really good web development and education on how to add content in a timely manner.

The natural wonders abounded today! There was more lightning, thunder and torrential rain AND there was a double rainbow right on the lake. Everyone went berserk for the rainbows, ran outside and took pictures. My camera was in the lodge but I did get a surreal night time picture of the main hall last night that will hopefully get posted here.

The buildings here are pristine and there are numerable activities to take part in. I think you'll get a good idea of what it's like here by the videos posted on the Peak Performance Project website. Aaaaand for the third time the thunderstorm is back.

Oh boy! Last night of showcases, packing shit up, cleaning the bathroom?, sleep, cleaning the bedroom, brunch, send-off message from Bob D'eith and then about a 7 hour trip back home. This place feels like another planet to me, the whole commercial side of the music industry, etc. It's going to take a while to absorb all of the information. The industry is changing at a rapid fire pace. Should one choose to dive into the industry they are only limited by their imagination. I am soooo unbelievably honoured to have been a part of this.

It's also going to be surreal going home again, even if only for 2 days, after which will be an even more surreal place: a cruise ship... for eight.... and..... a .... half... months.... Pray for me.

Peak Performance Project: Day 6

2009-08-31T23:46:00.000-07:00

Evening:

Go to http://www.peakperformanceproject.com/ to read up on what's been happening here.

This is some history making stuff that I am soooo honoured to be a part of. The Vancouver Sun also has been posting the blogs that the musicians have been posting, doing a bit of a highlight on different artists each time.

Today's Theme: Marketing, Branding, and then More Marketing

Today was my most lethargic day so I didn't really absorb the information as such that I could recount without my binder full of notes.

We were given templates of marketing plans. You should have a marketing plan before you think you'll even need a marketing plan, because you need a marketing plan now. They talked about social networking. They talked about image consulting and how a band should have a somewhat similar look, style-wise, which is a pretty open-ended thing to say. That's because it's a band/artists specific thing. Basically, a band should be able to walk into a room and everyone should know that that is a band, even if they're not performing. They also talked about how to work towards commercial radio.

Today, Alex, Al, Melissa and I recorded Alex's "In a Minute Tune" (it was a songwriting challenge for all bands and artists, of which provided a ton of amazing ideas from everyone. There was also a monetary ante provided by MusicBC).

There's still some lightning hanging around from the thunderstorm. Not good. Not for a lightningphobe anyways.

Al mentioned aptly that this conference has gone astoundingly smooth. He says this from years of going to hundreds of conferences in his lifetime. It's been a fantastic experience thus far.

Onward to the showcase!

Later that evening:

Another great night. Adrian Glynn was arresting YET engaging. He's got this intense, Bob Dylan-ish folk thing going on. It's going to be interesting to see how much the judges take into account originality versus commerciality in their final decision.

It's been said a lot, especially now that we're about to hit the last day, but this conference has turned into this huge, talented, temporary music community (although everlasting, depending on how many contacts are maintained, and how many collaborations come out of this) that has been supporting each other from day one! I'm just an accompanist, and have been more of an observer, as in not jamming much or socializing much (surprise, surprise!), but in the courses I have absorbed probably as much information as a more experienced musician who has been touring and in the music business for 10 years or more.

I've noticed a pattern in the judges' comments to the showcase bands. Don't let all of the songs be too similar. Cut the fat: the fat usually being too many unneeded sections, extended jam sections (and by extended, I think they mean no more than 8 bars, or so it says in the songwriter's check list). Really accentuate the hooks. Really utilize vocal harmonies to the fullest extent if possible. Bring out the hooks as much as possible - double that melodic vocal line on guitar, harmonize that melodic guitar line. SPACE! - The Final Frontier. I mean... Use space. Take away instruments. Leave huge holes and then hit beat two, etc etc etc. I'd have to say that We Are the City used space amazingly well! Like a full bar of silence followed by unaccompanied voice, followed by full ensemble at fortississimo, and so on. Good use of contrast. Good use of probably every single musical effect available to a composer and musician. Amazing. I will be really disappointed if WAtC don't make the top 3. The judges did say that despite their awesomeness, they didn't have a hit single on their hands. So it depends if WAtC will write a song or two with the goal of making it more "chart worthy" and, like I said, how the judges will balance originality vs. commerciality.

Commerciality is important, otherwise they wouldn't be giving so many marketing classes. Just like music, marketing is as limited as your imagination. There are also some extremely important rules to follow. One of the presenters described the music industry as a sort of "Wild West", a "new frontier" of sorts, what with the development of the internet and the current evolution into a "singles" market, as opposed to an "album" market. Not many people want to buy an album anymore! I digress. But, pretty much without a web presence you'll be going more and more nowhere a whole lot faster. Example - with 2000 people reading your blog versus 200,000 people reading that newspaper, both advertising your upcoming gig, you've got a 99% readership of that blog of yours advertising upcoming gigs and such, compared to a fraction of that percentile reading the newspaper music section, depending on how many of that newspaper's readership gives a damn about indie music (What U2, AC DC AND Nickelback are in town tonight? Oh shit...)

As much as I am loving getting these super, duperly invaluable insights into the music industry I can't wait to go home. I've basically got 2 days at home with the fam fam, including time spent on organizing my shit, until I head out to the ships for 8 1/2 months (with a 2 week break in the middle, mind you, but... damn!)

Peak Performance Project: Day 5

2009-08-30T23:32:00.000-07:00

Today's theme: Making Friends with the Media

The media industry feeds on good stories. Have a good website, construct a solid bio (with your story) that you constantly update with new pertinent information, a one sheet (for the album) and send to all media outlets. Take control of the interview and manipulate it to your advantage - as in find any opportunity to smoothly introduce your upcoming album release, or tour, pertinent event that you'll be a part of, etc.

An interesting note was how not to get blacklisted from media outlets. Don't be an a**hole (seems to be a theme), don't go AWOL, be punctual, don't cancel at the last minute (if this happens come up with a solution like calling in from the tow truck that's towing your broken down tour van, spin it to your advantage), answer all of the questions (as opposed to pulling a Billy Bob), don't drop F-bombs or related expletives (apparently CBC is a little more liberal that way).

I am terrible with a microphone and in interview situations in general. Today's seminars have been further food for thought. My cup runneth over with information.

Tonight we are back to the band showcases. Tomorrow the courses will be Marketing Plans, Marketing (in general? Tons of seminar time spent on marketing), Image Consulting, and Publicity/Radio.

Evening:

Wow, I can't explain in words how awesome tonight's showcase of bands was. The awesomeness transcends words. All I have to say is check out The Left, Kuba Oms (VI Represent!) and last, but fucking certainly not least, the band of unassuming 19 year old modern prog-rockers, WE ARE THE CITY!!!! I have nothing else to say because I'm speechless, just like the panel of industry judges...

Peak Performance Project: Day 4

2009-08-29T14:56:00.001-07:00

Woo! Someone's cranking the Bob Marley at the poolside. I'm just outside the dining/performance hall, but the sound system there is sweet.

So far today's main theme is touring. Before any of that though, I have to mention that Shaun Verreault was wearing a Blue Train album t-shirt. Props to him.

Last night people were working diligently on the song writing challenge. At any given time I could hear people playing outside our window, in the room next to us, in the upstairs and downstairs hallways. Al said that there were 4 people jamming in their bathroom.

Keynote summary: Have a good attitude, and don't be a douche. Because if you're a douche it will bite you in the ass one day regardless of how successful you are. If you have a good attitude and make an effort to connect with your fans (of course), but also the techs as well as the employees of the venues you will establish a good track record and report, make a lot of friends, and probably get more gigs. Maybe nice guys don't finish last! The antithesis of that popular addage. Also, be prepared for adversity. Shit is going to happen, but with a good attitude adversity builds character. Barney and Shaun gave some sound business advice in the touring class.

This little squirrel has been keeping me company for the last couple minutes. I'm having a Snow White moment here. Oh dear, it looks like it's taking a chance on the contents of the garbage. Many a good kodak moments have been missed due to a lack of camera (it's back in the room). Shoot!

Again with the whole relativity in profit margins: Rob Pattee and Kevin Zaruk were applying words like "only" and "maybe make (such-and-such amount" accompanied by a shrug to figures like $20,000, $30,000. The source of my misunderstanding stems from my lack of ever incurring major expenses for the sake of my music career, other than the $400 - $500 I've spent on pre-employment medicals for Carnival Cruise Lines, as well has a couple hundred per flight itinerary on airline oversize baggage fees for the gear. All of the musicians here have likely spent thousands upon thousands on studio time, travel costs, merch, management, gear insurance and repair, etc.

A huge thank you to the staff of Rock Ridge Canyon resort for feeding and taking care of us! This place is so well cared for!

Also, a huge thank you to Alex and Barb Maillot, Al Medcalf, and Doug Dodd for allowing me to be a part of this! I know I'm just the accompanist, but the things we're all learning here are invaluable.

Onward to the songwriting class and more touring info.

Peak Performance Project: Day 3

2009-08-29T14:02:00.000-07:00

Friday, August 28, 2009

Afternoon:

Everything is relative. During the keynote discussion on Revenue & Funding, Bob D'eith was saying things like, "You might only get $5,000..." or "This band got awarded $15,000, which isn't very much..." etc. Really? If someone gave me $1,000 for a project they wouldn't hear the end of the thank you's. That's cause I'm 'po.

Everyone's wondering what happened to Jackson, the 15 year old whiz kid. Him and his accompanist and chaperone seem to have left last night. You sounded great dude! Hope you're okay. During his set Jackson introduced a song saying, "This next song is for all of you pretty ladies out there. You know who you are." To which a guy sitting behind us replied, "Yeah, all seven of you." The ratio of men to women has been duly noted, by many. Supposedly that's a somewhat accurate gender ratio of the whole business, so it's been said. (The ratio for Alex's last set will be 3:1, with Al on the losing side.)

We just got back from our soundcheck and did a couple tunes with Melissa, from Wassabi Collective, who had some really good points and suggestions. She's going to play djembe. THANK YOU MELISSA! More excited than nervous now. Listening to the bands last night though, I was tempted to tell Alexandria "Why not just get the whole Wassabi Collective to accompany you! They would certainly do more justice to her songs than me." Don't know if my eardrums have ever been that close to such an intense source of feedback. It seems to be a challenging room. Kudos to all of the musicians, and of course the sound guys!

Man, this whole thing is like going to school. Instead of music theory, it's applied business. It seems like most of the people here have paid a sh*t load of dues on the road, spent time developing their sound, and worked in the studio a lot so this whole boot camp thing is like an addendum to their current knowledge, whereas it's almost all news to me.

I'm not known for being very observant or insightful, or apt, or even cognizant of what's going on at any given time, but there seems to be a good energy here. That may just be because I think that musicians are cool.

Evening:

Admittedly, when Alex told us she was writing a new song and changing the set the night before the performance I had a pang of concern. But you know, we rolled with it, collaborated with the lovely and groovy Melissa on djembe, and the end result garnered a very positive response. Lesson: never question Alex's creative decisions. Lesson learned!

Alex's set went great. She's super talented. She writes good songs. Yada yada yada. Actually, it's interesting I had no idea how the set went. But the judges had a tonne of praise for this girl. Ironically, the tune that one of the judges said he'd "Put money on becoming a top-ten hit" with the shifting of a few important lyrics (can't remember all of the specifics) was the tune that I shat on the most. Luckily, Alex is a stong enough of a musician and the judges obviously are listening to the most important aspects of the song, ie. - her songwriting ideas and performance. Now it's time to chill and try to really absorb everything that has been and will be taught, hopefully get to know a lot of the musicians, which may involve social skills - skills that Marisha Devoin does not possess.

There was a fair bit of discussion about the layering of instruments, adding and taking away. The power of simplicity ("Purple rain, purple rain. Purple rain, purple rain...) and dropping instruments at certain parts of songs in order to make the dynamic shifts that much more dramatic and effective. Apparently there's a tendency for writers to keep adding more and more instruments and maintaining a static upward climb in dynamics and density. If I remember correctly the Sweethearts and the Painted Birds really stood out in that regard. But, everyone's got some sweet composition and arrangement ideas.

The whole universality of music thing has become apparent. Everything that (studio guy) was talking about in terms of arranging music, the ideas that really work in the artist's songs, as well as the suggestions that the judges are offering, those are all things that I've learned in jazz school. In fact, those are all things that a good teacher of any music style should be teaching.

Again, the energy thing. I'm amazed that no one has been bludgeoned and no gear has gone flying or gotten knocked over by flying guitars and guitarists. It must take a lot of focus and concentration to wail like that AND not hit anyone or anything.

Someone actually got a plate full of whipped cream in the face today at dinner time. That was.. intruiging!

It's been suggested that musicians protest and call Bullshit on the 50% cuts that artists in BC will be receiving as outlined in the BC government budget coming this September 1. Musicians are asked, I think particularly on their Saturday gigs, although I'm sure it could work anytime, to play half a song, stop, and then explain to the audience why you've only played 50% of a song. That obviously is because it corresponds to the provincial figures on arts funding. DO IT. Everyone else is doing it, and it matters, to you, and to everyone. Barnie Bentall (SP?) might be doing it at his PNE gig, and (studio guy) said he'd try to convince ACDC to do it as well, even though they're not, BC-ers, nor Canadians. But if AC DC played half a hit song in solidarity with BC artists that would be pretty powerful, I think.

A Call to Axes: A Message to Musicians Everywhere

2009-08-29T13:42:00.000-07:00

MUSICIANS: This is a call to action http://www.musicbc.org/?p=1342 http://www.nxew.ca/2009/08/music-bc-calls-on-performers-fans-to.html Protest the impending arts funding cuts by the BC Government. Barney Bentall's doing it. Maybe even AC DC will do it! Let me know (can't make either show)

Peak Performance: Day 1

2009-08-28T08:52:00.000-07:00

It's actually day two now but I wasn't on the ball when it came to posting yesterday. Nevertheless:

Afternoon:

As far as I can recall I have never officially booked a gig for myself or anyone else on land - successfully referred people, yes - but never officially booked. The cruise ship show band contracts don't count - anyone can work in a show band, especially with Carnival Cruise Lines. I'm a jazz musician and all I've ever done is accompany people. All things considered, I'm a newbie in the music business. Also, the last time I was in the BC interior was on a band trip in grade 11. Therefore, I consider myself incredibly fortunate to be attending the Peak Performance Project BootCamp in beautiful Rock Ridge Canyon in the lovely Princeton, BC. I have this strong sense that I do not deserve to be here. Oh well, take opportunities like this when they are thrown at you! I'll be playing bass for Alexandria Maillot tomorrow.

Right now me and Alex are in the dining room/performance room writing our blogs (in her case, lyrics, and maybe a bridge. Go Alex! 8) and the first band is doing their sound check. They sound great but I really wish I brought ear plugs. It's super echoe-y in here. The room has a peak and is lined with glass... the sound man has his work cut out for him. Go Sound Man! Time to hit the great outdoors.

Exciting news for all of the finalists: you've all won a brand new car! No, not really. But they each will be awarded $3,500, after they submit another business plan. That's pretty sweet. (Our first thought was, "Wow, think of how much chocolate that would buy!" Okay, not really. Alex and Barb were talking about some neat merch ideas on the way to Princeton before learning of this new development.) On top of that, each band/soloist will be considered a contender right until the very last decision, as opposed to narrowing it down to a top-5. That too is pretty darn sweet.

We've already been to three sessions. The KEYNOTE: State of the Music Industry, Management, and Pre-Production. Everything they are saying is completely fascinating, and a little overwhelming, probably on account of me being a n00b. Kevin "Chief" Zaruk said that the music industry has been taking a nosedive and felt that musicians need to start building a strong community again and really start working together to get stuff happening - such as getting 3 to 4 bands together and going on the road, just like back in the day when labels like Motown sent a bunch of their artists out as a revue. (Motown.. those were the days, back when I was but a glint in my parents' eyes.) In this case it would be the Musicians' directive. This is a good way to pool resources, divide costs and potentially get more people to shows.

Evening:

Wow. First night of performances. There is so much friggin talent here. It's no wonder these people were chosen as finalists. I was delightfully surprised to read that Bend Sinister worked with Bill Runge who is a great jazz and R&B musician. Bend Sinister was this giant, collective ball of energy, and they had really cool arrangement ideas. Jackson, the 15 year old guitar player/singer has a strong, clear voice. Wassabi Collective & Téa were funky as all heck. I seriously almost busted a move, but then remembered that I lack "move-busting skills."

Alex has taken it upon herself to take the unofficial songwriting challenge from the songwriting class this afternoon. She then informed us that we would be performing it tomorrow... We worked out some chords and hopefully I remember everything. I still don't really know what the form is... oh boy, this should be interesting! It looks like Melissa from Wassabi Collective will be helping us out on a few tunes. Yay! They rocked the house, or should I say 'chalet'. "They rocked the dining hall" doesn't sound as exciting.

Tomorrow will involve a lot of caffeine consumption.

Onward to day two!

Tomorrow, Peak Performance

2009-08-25T22:56:00.000-07:00

It's 10:53 PM and I am still nowhere near to moving out. The room is still a disaster despite not having a bed nor a significant amount of my stuff. That's me, for you. We just finished watching an Eddie Izzard show after eating dinner at Armani's.

Tomorrow morning we leave for the Peak Performance Project thing in Princeton BC. We'll be driving there. I have no idea what to expect. I'm not terribly nervous, yet, because there are really only 3 new tunes of Alex's to know and 2 that I already know.

Anyways, this is blatant procrastination. And I still need to do laundry! Ack!

The Jazz Ear

2009-08-24T04:44:00.000-07:00

I just got back from the Brio Trio feat. Monik Nordine gig at Hermann's. We played almost all Jobim tunes, save for The Night Has a Thousand Eyes. It was a delightfully, and surprisingly good turnout for a Sunday night. Yay Victorians!!! Hopefully they enjoyed the show. There were some good moments. It's always a pleasure to play with Monik.

There are a couple people who I almost always see at Hermann's when I go to shows there. I haven't had the chance to talk to some of them or get to know them, but they're dedicated to live music and I already love them for that! One guy (on the charge of immediately forgetting peoples' names I am hereby found - GUILTY) consistently greets people, shakes their hand and occasionally doles out hugs.

The hum coming from my amp kind of bummed me out. Through deduction it seems as though it may be coming from the bass itself, but part of me is hoping it's from both of my Planet Waves cables (the less complicated problem) which I've had absolutely no luck with. I figured PW cables were a good deal since they have lifetime warranties, but after replacing an average of 3 - 4 cables a year it's become a plain old nuisance. A stage tech for the Marine Festival explained that their deterioration has to do with the cable ends in that the cable end sheath has too much give and therefore has a tendency to bend enough to wratch the connection. He recommended cables with metal sheaths and thick weaved fabric insulation. My Planet Waves days are over: aside from the grip on the jacks widening the input jacks on my acoustic image, I tried replacing cables at the Miami Dade guitar centre to no avail, but that's more to do with the employees being absolutely useless, as in lacking in any knowledge about the product in question and unable or seemingly unwilling to do any research into ordering the specific cable I needed (thereby solidifying Scott McLeod's title as "God Send", so-to-speak, in the world of music store reps!). Why is it that general incompetency is the stereotype of chain music store employees. I was extremely sad when Island Drum, Michael Wright's drum specialty store, closed down. What disappeared was a specialized knowledge in drum set and percussion products as well as their repair and upkeep. It also made me frustrated at my lack of funds needed to buy stuff from Island Drum, hopefully aiding in the process of keeping the store open.

When I requested to get a part replacement on my Silent Bass (SLB) (which I'll touch on later) through Long & McQuade Nanaimo I was told that there would be a 6 week wait, during which they would be withholding my bass. Even though this information came over the phone from a Nanaimo Long & McQuade employee who I had no confidence in and gave me the impression that they had no clue what they were talking about (punctuating their thoughts with "Umm" and "I think so" aided in this conclusion) my response is the dreaded WTF?!, although verbally my response was "Okay, thank you.". My acoustic bass will be getting some long needed repair this Fall, but until then it is out of commission. If I were to submit my Silent Bass to Long & McQuade I would be upright bass-less for 6 weeks. I think not.

The SLB part in question is the grip mechanism for the end pin. It's prone to stripping. I know another SLB owner who has experienced the same problem, but to a lesser degree... mine is completely stripped, the reason being that if one doesn't tighten the mechanism extremely it will untwist and cause the bass to slip at the most inopportune moments... Imagine, during a gig, your horn unexpectedly and with no warning, falling from your mouth, or the snare drum falling sideways, or all the piano keys suddenly lose their action. Fixing a small pipe clamp to the desired height on the post, taping it to the bottom of the body when performing is the solution to this problem. The pipe clamp can stay in the same place because it can be stored easily in the case. I think that ideally the post should have graduated notches down the length. Either indentations or straight up holes for the screw to screw into and stay in place without needing excess pressure.

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Driving home from gigs I prefer to drive the speed limit and under, and to take the corners gently thereby reducing sideways momentum - always a nice thing while driving in icy or rainy conditions especially en route to Port Alberni. More cars end up in Cameron Lake than I'd like to know. Driving to gigs, however, is generally another story since I'm not known for organization or punctuality. I'm working on it, I swear! Actually, I'm usually ready to play by downbeat, however frantically.

When hauling gear into the house I have an innate tendency to haphazardly throw all the gear into whatever open space there is. I need to develop a system.

Just finished reading "The Jazz Ear". It's a great book and a great format for interviewing musicians, artists in general. I like the concept of "glue" that Pat Metheny introduces. Glue is a better term that applies to the concept of swing, but in the greater scheme of things swing - or glue - applies to all things that make music, and life, move - beautiful, and generally awesome.

Pat Metheny: "...It's how things are connected. It doesn't matter if we're going to talk about Bach or Miles or Stevie Wonder or the Beatles. What I love is the stuff that makes the music connect," he said. "But there's another way that music connects: with who the person is, the time he's living in, how he's able to manifest a sound that represents all that. To me, that's swing, and it doesn't have anything to do with jazz." ... "Swing is kind of this quality? It exists in human interaction. In the way somebody talks and moves. I find its resonances in architecture, and literature."

Ben Ratliff: Acting?

P.M. "Yeah, acting. And refrigerator repair."

Pg. 22 - 23.

The Wayne Shorter interview is gold too.

For a week starting Wednesday I will be attending The Peak Performance Project, a week long conference/boot camp/competition of sorts for musicians. It takes place in Princeton, BC. This is because I will be accompanying Amanda Maillot. I think it's a pretty excellent thing for this 16 year old talent. Talented individuals such as herself are to be envied for sure! Good luck Amanda! I'll try my best not to cack all over your tunes!

Al Campbell essay for Music Anthropology

2009-06-15T13:14:00.000-07:00

I was going through old assignments and found this. I'm not the greatest writer but give'r a read anyways. Also, check out Amy Campbell's "Brass Roots". I have the book kicking around somewhere. Ask me if you want to borrow it.

Alan Campbell By Marisha Devoin

In Nanaimo's music community there are many respected teachers, mentors and professionals as well as historians; Not only are there people who collect relics and photographs of Nanaimo's musical past, but there are those who have lived and participated in Nanaimo's music community longer than the younger generation(s) can remember. They can recount specific events and aspects of Nanaimo's musical past because they were active members. Alan Campbell (affectionately addressed as 'Al') is a shining example of all four categories. I find Al fascinating because he not only plays some of the most hip trumpet solos in NMA big band rehearsals but he has a vast knowledge of music history, not only of history in general but the history of music in Canada and Nanaimo. In this interview I focused mainly on Nanaimo's music history.
Al's mother played piano and was the official accompanist on a local radio program called 'The Old Songs'. His father sang often
Al studied cornet with Mike Wardill who was secretary of the Silver Cornet brass band (now The Nanaimo Concert Band) at the time. During the war the Silver Cornet band lost many musicians and were looking to the young musicians in the community to replace them. Al has been in this band ever since and has learned a significant part of his current musical repertoire in this band.
The Silver Cornet Band (SCB) hall was located, oddly enough, on Band Hall Hill, on a 99 year lease from the city. Band Hall Hill was located right above where the current Salvation Army homeless shelter is located on Nicol Street. Much of the SCB was made up of miners of British, Scotch and Welsh descent.
Al lived in the Townsite area and used to ride his bike with friends to brass band rehearsals and lessons. He took music lessons with Frank and Gladys Carroll. His lessons were split into two sections: Frank taught him cornet out of the Arban's trumpet method book and Gladys taught him theory such as harmony and chords, open score harmony, alto, tenor and bass clef, and used a rudiments of music book. Gladys Carroll was an accomplished pianist and played in the Pygmy dance band.
Al attended John Shaw Highschool where the only music was in the choirs, so he decided to start a school dance band called 'The Stardusters'. In school they played at pep rallies and other sports events. In the community they played at dances such as a New Years Gig at the yacht club (Al was about 11 - 12 years old at the time). At one of their gigs some of the musicians were recruited by a man named Stu Story to play in the Pygmy Pavillion band, which was where the Fiesta Bowling alley is now.
The Pygmy Pavillion band was made up of 4 to 5 saxophones, 2 trombones, 3 trumpets and 4 rhythm secion and played stock dance band arrangements. Glenn Miller charts such as String of Pearls and Moonlight Serenade, or Count Basie hits such as Jumpin' at the Woodside were standard. The band leader regularly purchased arrangements of the latest pop tunes every week; everytime he heard a new hit on the radio he would write or phone the music companies in order to get the arrangements. The band would rehearse the new charts once and then play them. At that time each arrangement cost 75 cents, but then rose to $1.25 each. Al still has almost all of the arrangements.
Al mentioned that before his time it was popular to have violins in the dance bands. However, as saxophones became more popular violins became less so as the violin's dynamic range was not as large as a saxophone section's and thus was phased out. As Al put it 'this made the violinists real mad!'
In terms of amplification the halls were usually equipped with a hall microphone, one for the singer, and one for the soloists.
In Nanaimo's dance band heyday there were 5 dance halls: The Newcastle Pavillion, Pleasant Valley Hall, The Turkey Gulch, The Wellington Hall, and the Pygmy dance hall. There was also a beer parlour on every street corner, as they were popular with the miners.
Until about 1951 - 52 television, rock bands - popularized by Elvis and the Beatles, took away the crowds that normally populated the dance halls. The musicians' strike in the U.S. and Canada further exacerbated the decline. As the focus grew more on the singers, inspired by the likes of Johnny Mathis, Pat Boone, and Frank Sinatra, larger territory bands everywhere began folding in favour of smaller bands. The Pygmy hall closed just before the war ended, although they played the VE Night Dance which hosted approx. 800 - 1000 people. Shelby Saunders, who also owned Pygmy Miniature Golf, located below the courthouse, built the Pygmy Hall.
One notable show that Al saw at the Pygmy was when Louis Armstrong played with his band. Al has a picture of Louis and in the background you can see a young Dexter Gordon playing sax. Other notable shows that Al saw was Charlie Parker in Vancouver, as well as Norman Granz and the Jazz At The Philharmonic at the Denman Island auditorium. He also saw the Woody Herman, Count Basie, Duke Ellington, and Stan Kenton orchestras. Al lamented that a lot of kids these days haven't heard the older 'Jive numbers'.
After the Pygmy closed the band moved to the Branch 10 Legion on Wallace St. However many of the older members of the group began dying. This group eventually evolved into a 5 piece band that Al ran in the 1970's called 'Al C's Little Big Band' in which they played all of the same dance band arrangements. This band lasted for quite a while.
Another local dance band was called Al Addison and the Westernairs which the local radio station CHUB often broadcasted. The Pleasant Valley Hall dance band was lead by a woman drummer named Kay Lowry, whose son went on to teach band in the school district.
Al's wife Amy plays saxophone in the Nanaimo Concert Band (NCB). Their son played drums in highschool and studied with Anita Bonkowski. Their daughter played flute, alto and baritone saxophone and her children played flute and trumpet.
Al currently plays in a dance band called 'Just Us' which performs the last Friday of every month at the Bradley Centre in Coombs. They play the same arrangements that the Pygmy dance band did along with arrangements by some of the members such as pianist Dave Bird. Just Us is made up of 5 saxophones, 3 trumpets, 1 trombone, 3 rhythm section and one voice.
The NCB can be described as 'a symphony orchestra without the strings', adding woodwind instruments to the original brass band format. It is directed by Jerry Klassen, who was once the national director of military music in Canada and Lieutenant-Colonel. Jerry also conducts a similar concert band based out of Parksville and many NCB members are a member of that band as well. NCB rehearses and performs military band music, classic swing charts by arrangers such as Sammy Nestico, 'old standby' charts such as Light Cavalry Overture, arrangements of Broadway and tin pan alley tunes. They also play movie medley arrangements such as Pirates of the Caribbean, Starwars and Superman.
Al recounted about how the Nanaimo Musicians' Association big band started as a culmination of various bands. In its beginnings they regularly put on dances and the musicians would bring their wives and girlfriends. Eventually they decided to put together a musicians' association, hence the name. Al has been in this band since its inception.
Al also played in the Nanaimo Symphony conducted by its founder Maurice Kushner. This orchestra had standard symphony instrumentation and performed in school gymnasiums, and in venues in Lake Cowichan and Port Alberni.
Al feels that, as a musician, the most important thing to do is to 'keep playing, that's the main thing.'

Paul Anka - "Smells Like Teen Spirit" - a youtube commentary

2009-05-31T02:21:00.000-07:00

http://www.youtube.com/watch?v=TsS811o21-k

Here is a video of Paul Anka performing Nirvana's "Smells Like Teen Spirit" live with his orchestra. This is my response to some of the comments:

By saying that Paul Anka butchered this song you are actually insulting the arranger of this piece, John Clayton. John Clayton is one of the sickest, swingin'est bass players alive and an amazing musician and person. You are forgiven for this transgression, but only if you consider a few points and do a youtube search to the tune of "John Clayton Bass" or something along those lines. Check out this guy's music.
Smells Like Teen Spirit was a great tune to begin with and John Clayton's arrangement of it is a testament to it's quality and staying power, this version in no way takes away from that. On some levels I can understand how it can seem gimmicky what with the likes of a '50's teen idol seemingly glossing over an originally grunge song. But to say that John Clayton and Paul Anka 'butchered" the song is to assume that this tune was "sacred" in its original format and must only be played in this genre, with the original instrumentation and tonal range. Kurt Cobain being the humble guy that he was, I highly doubt that he thought his music was sacred, though by no means lacking in meaning or social importance. If you take away this "sacred" ideal Smells Like Teen Spirit is a great tune and John Clayton's arrangement, while in a different musical idiom, is super swingin; the rhythmic concept of swinging being a goal of the highest order in jazz, a goal that is attained with his arrangement and the orchestra's performance of it.

Musicophilia quotes

2009-03-09T09:30:00.000-07:00

Interesting quotes from Musicophilia

Pg. 42
"And suddenly," Llinás concludes, "you hear a song in your head or out of seemingly nowhere find yourself anxious to play tennis. Things sometimes just come to us."

Pg. 45
"Many people are set off by the theme music of a film or television show or an advertisement. This is not coincidental, for such music is designed, in the terms of the music industry, to "hook" the listener, to be "catchy" or "sticky," to bore its way, like an earwig, into the ear or mind; hence the term "earworms" -- though one might be inclined to call them "brainworms" instead. (One newsmagazine, in 1987, defined them, half-facetiously, as "cognitively infectious musical agents.")

Pg. 102
"Although a teaspoon of Mozart may not make a child a better mathematician, there is little doubt that regular exposure to music, and especially active participation in music, may stimulate development of many different areas of the brain--areas which have to work together to listen to or perform music. For the vast majority of students, music can be every bit as important educationally as reading or writing."

Pg. 114
I even think that sentimentally I am disposed to harmony. But organically I am incapable of a tune. I have been practicing "God Save the King" all my life; whistling and humming it over to myself in solitary corners; and am not yet arrived, they tell me, within many quavers of it...Scientifically I could never be made to understand (yet I have taken some pains) what a note in music is; or how one note should differ from another. Much less in voices can I distinguish a soprano from a tenor....To music [the ear] cannot be passive. It will strive--mine at least will--'spite of its inaptitude, to thrid the maze; like an unskilled eye painfully poring upon hieroglyphics. I have sat through an Italian Opera, till, for sheer pain, and inexplicable anguish, I have rushed out into the noisiest of places of the crowded streets. I lace myself with sounds, which I was not obliged to follow...I take refuge in the unpretending assemblage of honest common-life sounds;--and the purgatory of the Enraged Musician becomes my paradise....Above all, those insufferable concertos, and pieces of music, as they are called, do plague and embitter my apprehension.--Words are something; but to be exposed to an endless battery of mere sounds..."
Charles Lamb - a literary description of amusia

Pg. 124

"Something analogous to a transient simultagnosia may occur with intoxication from cannabis or hallucinogens. One may find oneself in a kaleidoscope of intense sensations, with isolated colors, shapes, smells, sounds, textures, and tastes standing out with startling distinctness, their connections with each other diminished or lost. Anthony Storr, in Music and the Mind, describes listening to Mozart after taking mescaline:

I was conscious of the throbbing, vibrant quality of the sounds which reached me; of the bite of bow upon string; of a direct appeal to my emotions. In contrast, appreciation of form was greatly impaired. Each time a theme was repeated, it came as a surprise. The themes might be individually entrancing, but their relation with one another had disappeared.

All the Things You Are - Brad Mehldau & Jim McNeely changes, Cherokee - "Jeff Hamilton" changes, Dindi - Eliane Elias changes

2009-02-26T10:50:00.000-08:00

These are not transcriptions (I can barely play in 4, let alone 7!) Most of these are written in real book format (simple melodies, if any), and I'm not completely sure about some of these chords, so if you find any mistakes, by all means, let me know!

All the Things - from "Art of the Trio 4"

All the Things - "Live at Maybeck"

Cherokee - from "Dynavibes"

I don't know if Jeff Hamilton actually came up with these changes, but it's from the album in his name so I'm calling them "Jeff Hamilton Changes"

Dindi - From "- Plays Jobim"

Topic For Discussion: Cook/Play

2008-07-05T15:18:00.000-07:00

Saying, "If you need a recipe, then you can't cook" is like saying, "If you need music, then you can't play."

Discuss.

This topic came from an interesting discussion(/argument) with a musician(/culinary enthusiast) last summer. Apparently his father owns (owned?) an Italian restaurant in NYC.

How to Approach a Music Supervisor: Transitioning from Freelance Artist to Hired Gun! by Leslie Waller, LAM*P CEO

2008-05-31T18:09:00.000-07:00

In business class we've been researching artist development websites and music supervisor contacts. Whilst googling and such I came across this link which I think is interesting:

http://www.lamusicproductions.com/Articles/LAW_Music_Sup/law_music_sup.html

How to Approach a Music Supervisor: Transitioning from Freelance Artist to Hired Gun! by Leslie Waller, L*A*M*P CEO

At a recent seminar this month, a guest was telling me about how difficult it is to get people to listen to his music. It's difficult to get heard; it's difficult getting through; it's difficult getting a response even if you get someone to agree to listen. Well, listen up, folks…I'm going to let you in on a little secret. It's the first immutable law of marketing:
1. Find out what the market needs.2. Give it to them.
That seems pretty simple, right? However, it's just not the way a typical artist operates.
Let's look at the two sides of the equation: You're an artist; you create your music; you put it on a CD; you want people to listen. This approach is fine until you start trying to place your music for specific projects in TV, commercials and film. You may think you have a song that would be "perfect" for "X" film or TV show. You may think you have a song that fits a character in a show perfectly. You may think you have written an instrumental track that would make a killer theme song.
Enter the music supervisor.
Music supervisors are busy people. They select music for film and television projects. They know dozens of great artists. They have piles of music libraries. Some even create them. They help get contracts and licensing pushed through for the film; they negotiate the best deal for the project; and they find music as quickly and efficiently as possible to help realize the director's vision. (Yes, music supervisors report to a boss. They have been selected because the boss has respect for their taste and their ability to pull things together fast and under budget. The director and others still have to approve everything they submit.) Why would a music supervisor want to listen to your killer theme song?
The answer is that they probably DON'T want to listen to your song. Why? Let's go through an imaginary week with "Joe Placement," our favorite harried music supervisor. You have your killer theme song for Show X, so you call Joe to tell him about it. You tell him how great it is. He said "thanks, but no thanks." Joe has a theme song now that's just fine. He picked it out himself and it fits perfectly. But now it's Friday, and the contract falls through and Joe is in desperate need of a theme song. Do you call Joe again to remind him about your "perfect" song? Not really. Why?
Because Joe doesn't need just any theme song. It has to have a maniacal flute and digeridoo, and it has to be 1:39 in length, and it has to be fully cleared and licensed. Does that describe your song? If you happen to have such a song – Joe wants to talk to you NOW. If you don't have such a song, but can create one fast, Joe will be your best friend.
The point is, your theme song is probably not what Joe is looking for right now. You simply don't know what Joe needs. How do you find out?
Ask!
When you as an artist are trying to get your music placed in TV, film, or commercials – even sound libraries – you're trying to see if your music fits their current needs. You're no longer a freelance artist; you're a contractor. You're not writing music for you; you're writing music for someone else. You're working on a PROJECT basis. You're also working on a DEADLINE-DRIVEN basis. Joe doesn't care what you have in your catalog. He only knows that he needs a maniacal flute theme at 4:00 on Friday. Do you have it? Can you create it? Are you getting the picture (no pun!)? So when you approach a music supervisor…
1. Don't be dumb. Get smart! Know thy supervisor, if possible. Know the projects in advance. Know what kind of music fits their shows. You can find this out from the receptionist or assistant, or look them up on the Internet. Watch their current and past shows and check out the credits. Watch films they've produced. With this knowledge base, you will see what kind of choices they make. You will be able to speak intelligently about their past work if needed. They will appreciate this. You will be calling them because your music may fit their taste and their current projects. It won't be a shot in the dark. It's called prequalifying the customer.
2. Don't ramble. Be brief! Respect their time by keeping the call under five minutes. The goal is to see if you can fill their current need(s). If you can't, don't waste their time.
3. Don't tell. Ask! Don't assume that you know what he wants. That's just presumptuous and kind of rude. And don't expect him to just rattle off his whole list of projects for you. What if three artists a day asked him to do that? Ask instead: "What's the most challenging thing you have to find this week? Is there a way I can help you?" If he articulates a need, ask specific questions – instrumental or vocal? Male or female? What genre? Comparable to what artist(s)? What's the scene? What's the mood? Length of track? Format of submission? When do you need it? Where do I send it? (Get right to the point!)
4. Don't push. Pull! What do I mean by that? Don't push your music on a music supervisor. He doesn't care. He has an avalanche of artists competing for his attention. He wants to know if you have Persian Bossa Nova music right now. If not, can you create it? If not, do you know someone who has it or who can create it? Draw him out, ask him questions about his current needs, and see if you can help solve a problem for him. FAST.
5. Don't lie. Be honest! Don't make promises you can't keep. If you can't create Spanish polka music for him in the next ten minutes, tell him you can't help him right now, but would it be okay to call him in a month to check in? He won't mind because it's only another five-minute phone call. And you were honest and courteous.
6. Don't brag. Be real! Don't go on and on about how great your music is. He's got a pile of amazing music three feet away that's cleared and ready to license. Don't think that he just fell off the turnip truck. He knows what good music is. Joe expects a high quality, ready-to-license product that fits his current need. No time for "close enough." No time to re-record something to make it fit. He needs it NOW. So don't betray his trust by sending him something that's not your best work. It's gotta be ready for the big screen. Period. Test it against other commercial CDs artists similar to your genre.
7. Don't be vague. Be specific! If he asks about your music, know what your music sounds like and how to describe it in 10 words or less. What is your forte? No music supervisor wants to hear that you do "a little of everything." That just puts you in a vague pile of vague artists that maybe he'll get to some day if he ever has spare time. (He won't.) Use terms that they recognize, like "I sound like a cross between Sarah McLaughlin and Donny Osmond, and it's perfect for game shows." Or "the track I'm sending you will enhance the tension in any urban car chase, and the tuba makes it even more ominous!" Humor is a great icebreaker when used sparingly. Remember that he only wants African accordion music right now. Do you have it?
8. Don't prepare for failure. Prepare for success!
Ø Submission guidelines: Only send tracks that are cleared and ready to license. Copyright the song and register it with ASCAP, BMI or SESAC before you submit the track! If you have multiple writers, clear it with everyone before you submit the track!
Ø Legal guidelines: Don't get stumped by a contract. Review standard licensing contracts (available from www.filmmusicworld.com) . You should not be seeing a contract for the first time when a music supervisor gives you a green light. You'll usually only have a short time frame to make a decision. You cannot let the licensing process grind to a halt because you weren't prepared. You should have a standard contract, or you should have a lawyer on call to go over the contract with you within a few hours (or less!). If you make it difficult for Joe Placement, he will probably go with someone else. It also looks unprofessional and does not bode well for future licensing. Get all legal issues out of the way well in advance.
Ø Financial guidelines: Know what your track is worth. What did comparable indie artists get paid for the same type of placement on the same show/film? If the music supervisor wants to license your music, know a reasonable rate and sign the deal ASAP! Be professional. Standard licensing rates are also available at www.filmmusicworld.com. If it seems too low, I would generally go for it to get a foot in the door. Be easy to work with. If it seems too high, shut up and sign the contract! Don't forget to get a cue sheet from them. It will probably be inaccurate. Therefore, you need to see it and correct it. And you can always submit your own cue sheet to your performing rights organization (ASCAP, BMI, or SESAC). Be accurate, and make sure all documentation matches for the best chance of royalty payments.
Ø Packaging guidelines: If Joe Placement allows you to send him something, ask him specifically what he would like to hear. And send only that. Remember, he's already overwhelmed with avalanches of artists. He doesn't have time to carefully listen to all your music and decide where he can place it for you. He's not your publisher. His job is to fulfill his current projects. Narrow the focus for him. Mark the package with a note that says "track one is the cytoplasmic trip-hop you requested for the upcoming Terminator movie love theme." (In other words, say what it is and what it's for. Be specific.) He is much more likely to listen to tracks that were selected personally for him according to his needs. Please put your contact info on everything, especially the CD itself! That means home number, cell number, email address, website, and anything else you can think of. Describe mood and length of each track. Bios and photos aren't necessary…that's for the A&R reps. Music supervisors don't care what you look like. Most don't even care what you've done in the past. That's for those with plenty of leisure reading time. (They don't have any.) Joe Placement only wants to know if the music fits his current need(s).
So now you're ready to enter the wide world of music licensing for fun and profit. So where do you start? How do you find music supervisors? Look at the credits of any TV show or film (preferably those where your music would fit best). Check out the Internet Movie Database at www.imdb.com. Buy a directory of music supervisors from www.musicregistry.com. It's updated every eight weeks! Think like an actor…keep an eye on the Hollywood Reporter and Variety and Backstage West…see what shows and pilots and films are coming up. If they're auditioning actors, they're more than likely going to need music as well. Get involved as early as possible on the music selection process. Get listings of upcoming projects from Taxi (www.taxi.com) or Film Music Jobwire (www.filmmusicworld.com). Meet indie filmmakers in local colleges and meet directors at indie film festivals. Your success is gauged on whether you have (or can create) what they need in a timely manner. Be smart, courteous, and keep your ears open. Be easy to work with. Be positive and professional. Most of all, believe in your music and don't give up!
Hope this helps bring you a step closer to hearing your music on the big screen! Happy licensing!
*******************************
Leslie Waller has composed original music for film, theatre, commercials and multimedia. Specialties include world music, romantic, ethereal, ambient, techno, trip-hop, and humor. Credits include over 50 radio commercials, numerous tracks for popular sound libraries, industrial CDs, and film scores. She is currently the CEO of Los Angeles Music Productions (L*A*M*P), providing educational events for indie artists to help them succeed in their careers. Find out about upcoming events at www.lamusicproductions.com, or call 800-783-LAMP.

MUSC 400 - Career Development - Mardell Music, Ghetto Spice Beats

2008-05-25T22:25:00.000-07:00

As part of Alex Tsisserev's career development class we have been learning about certain aspects of the pop music industry.
We have written lyrics and melodies over given rhythm tracks and then recorded them.
Now we are learning about the role of "Music Supervisors" - An executive who manages the licensing of music for a film or television production. The Music Supervisor handles music clearance and rights licensing of existing music, and also may be involved with supervising the score composer. Choosing appropriate music, especially Source Cues and Songs is usually the responsibility of the Music Supervisor. (Tsisserev A, "Building A Brand", Pg. 2)
Basically all some of us have done is taken tracks from a CD that he manages with his company, Mad Love Music, and created Myspace pages and posted certain tracks.

Kendell and I created http://www.myspace.com/mardellmusic
We stuck with the rock idiom. Nothing fancy.

However, the real gold is in Aaron Bethune and Glen Maxwell's http://www.myspace.com/ghettospicebeats
Like... OMFG! That is all I have to say.
Hats off to you guys!

They got edge, they got style, they got badonkadonk.

I need to (have the time to) find out how to upload the recording of the previous collaboration that I was a part of, that also happened to involve Glen. All I'm going to say for now is that the title of the song was "Baby, Take Your Pants Off"...

Keep it real

P.S. - Urbandictionary.com definitions of badonkadonk include:

A womens derriere that has the shape of, and bounces like a basketball. The word is derived from the sound produced when you bounce a basketball. A case of the sound of one urban icon, naming another urban icon with similar propensities but that doesn't really make a sound.
adjective used to described buttocks of exceptional quality and bounce.
"That girl has a badonkadonk fo sure."
Premium fine-a** booty
Is the ultimately highest compliment a woman's backside can recieve.
When the immense, rounded muscle tissue of the rear creates a sound wave ripping through the local environment making a pressure wave against the ear drum in a pleasing Ba-dOnk-a-dOnk rhythm.
to have or posess that certain magic shizzle in the booty-izzle.
A fine a**.

Trumpet, Piano, Hard Rubber Orchestra, Monday Night Big Band

2008-05-19T15:46:00.000-07:00

Much to the chagrin of those within earshot I have taken up the trumpet again. About a year or two ago one of my grandma's neighbours gave it to me for free! Right away I got a lesson with Norm Porter and last summer I got a couple lessons from Ken Easton, a trompetista on the last ship I worked on. Ken wrote out a fingering chart with some basic scale exercises.

I've retained very little of what they taught me. I seem to recall something about centering the mouthpiece on the embouchure, thinking of the oral cavity as a resonating chamber, purse the lips into a smile for hitting the higher notes, something about chin placement. There was something about adjusting the 3rd valve tuning slide for certain notes, but I'll worry about that stuff when I've got all of the scales down and can get my hands on some etudes or something.
Thursday, I worked on the C and C#/Db major scales.
The frequency of the spit valve discharge is a little annoying. The fact that non-wind instruments don't have to expectorate is definitely a plus. On the other hand Kenny Wheeler, Woody Shaw and Ingrid Jensen are all trumpet players. Give/Take. Yin/Yang.
___________________________________________________

I've also been working on my piano on a more functional level (as opposed to my "fishing for notes" approach to composition). I've been reading through Book I of Bartók's Mikrokosmos series. James also got me playing scales - an exercise that seems tedious, challenging and boring all at once. Two octaves of C and G Major scales don't seem troublesome theoretically until you take into account the choreography involved in crossing over the 3rd and/or 4th fingers. Save for potentially the G Major scale in the right hand, as far as I can tell one could cross over either the 3rd or 4th fingers at any cross over point. Perhaps the trick is in deciding specifically when. There's probably an establish standard.

Next time I'll work on D Major and some ii - V - I's.
At the end of June, fourth year jazz students will be performing our final recitals. It's a scary prospect. It's only an hour of music each student at the max but Hugh has got us thinking about planning our sets with keys, intensity and emotional content as the crux. So far, the plan is to write some music for bass ensemble and the rest for horns and rhythm section. Right now I'm lifting Paco de Lucia's "Playa del Carmen" for bass ensemble. Not sure whether to include drums or not.

Last Sunday I saw the Hard Rubber Orchestra play at the Vancouver East Cultural Centre in Vancouver. What a great show! Our faces were thoroughly rocked. There were a lot of interesting, intense and dynamic sounds as well as some funky grooves. Can't forget the funky grooves. I was interested in how John wrote these crazy free sounding chromatic sections. If you listen to Cruel Yet Fair (the first song of the HRO show) http://johnkorsrud.com/listen/ about a minute in where the trumpet, violin and piano sort of pop out at different places you'll know what I mean. That sound reminds me of a section in Pat Carpenter's last commission for the Vancouver Island Symphony. I think Pat described it as "water-like" but I'll ask him.

Tonight I will be listening to the Monday Night Big Band at Hermann's. They'll be featuring Mike Herriott, Joe Coughlin, and a piece by Hugh Fraser.

Triste, Speak

2008-01-05T00:07:00.000-08:00

I'm excited to finally get this big band arrangement of Triste going.
I recently got a copy of a handout from a Philip Michael Mossman workshop that this person attended at an IAJE conference called "Arranging for Big Band 1-2-3". For some reason I thought it was about how to write a big band chart in three days, which I am not going to fool myself into thinking that I could actually do at the moment with my current experience (although there are unavoidable temporal constraints regardless), but the three is actually referring to hours! ... Nonetheless, it starts off by saying "Before you start...Step away from the keyboard and pick up an index card!
Don't waste time doing an entire chart for the wrong situation.
Get the big picture first and set your priorities accordingly!"
I'd post what I've answered so far but I'm not sure if Philip would be cool with someone posting his stuff for free. Although if this chart actually turns out well in the end it could serve as a testimonial to its efficacy.
Apparently he wrote the arrangement of "Recordame" for the Joe Henderson Big Band in two days. That is a sweet arrangement!
It will be a glorious day when I can write a good chart in three hours, let alone two days!

My Triste arrangement will be based on the Joe Henderson version from the album Double Rainbow. I've already lifted some Herbie Hancock voicings (at least someone put that conference room piano to some use!)

Get this album if you don't already have it!

I like the part where Philip says, "By the time I've planned the form of my chart, I usually can hear most of it in my head. In addition, I have an architectural design that makes the rest of the job as simple as painting by numbers!"

It's good practice and generally a good and time-saving idea to plan out the form and dynamic ranges etc. before writing anything, but there's a whole lot of other issues to contend with like who is going to play the damned thing and what is the purpose or "mission statement" for writing this chart etc., and he parses out the issues to be answered quite nicely so that you can stop overly conceptualizing or staring at the blank page and get writing, but within a defined conceptual framework of course.

For a procrastinarian with the attention span of a fruit fly, this came as a blessing, at least when I finally ran out of other things to do.

"Those dishes are just screaming my name!"

In other news, tomorrow the band for the Echo Players production of "Suds" will have our first rehearsal. The music looks nice and tacky; just the way I like it!.. (in small doses.. February is going to ROCK!)

Also, a big Hugh Fraser show at Hermann's in Victoria tomorrow night.

This is copied from the event posted on Facebook:

JUNO AWARD Winning West Coast Pianist, Trombonist and Composer HUGH FRASER closes his three concert FULL CIRCLE series with two exciting nights of new groove based music in VICTORIA Saturday January the 5th at Hermann's Jazz Club @ 8 p.m.;

VANCOUVER on Sunday, January the 6th at the Jazz Cellar @ 7:30 p.m.

The final installment of Hugh Fraser's musical trilogy presents "SPEAK"a powerful combination of serious seasoned improvisors paired with young lions and lionesses multiple horns shouting over electro acoustic groove rhythms creating musical alchemy before your eyes creating a voice across water, style, sex, and age

The voice that SPEAK will create completes the previous projects SOURCE built on powerful Afro-American musicals models from McCoy Tyner and Pharaoh Sanders that gave inspiration to Hugh and his generation and led to the formation of VEJI The Vancouver Ensemble of Jazz Improvisation, now in it's 28th continuous year of recording and performing, "SPEAK" takes the strongest elements from the previous projects and folds in new, young talent that will produce a celebration of sonic discovery and joy. SPEAK in VICTORIA Hugh Fraser, Fender Rhodes, piano, trombone, composition and arrangements

Matt Pease, drums

Campbell Ryga, saxes

Melissa Hubert, flute

Brad Muirhead, bass trombone

Lorae Farrell, trumpet

John Korsrud, trumpet

Noah Becker, sax

Leigh Grisewood, electric bass

joining the voice of SPEAK in Vancouver will be;

Eli Bennett, sax

Cory Weeds, sax

Steve Mynett, trombone

Bill Runge, sax

For more information, please email or to reserve a table at Hermann's (753 View St, Victoria) call (250) 388-9166 to reserve a table at the Cellar (3611 W. Broadway, Vancouver) call (604) 738-1959 ALL AGES WELCOME!

I would love to see that show in Van as well!

There's a George Colligan show at Hermann's at the end of the month that looks mighty tempting!

Anth 231 - Participant Observation Assignment - The Kiltlifters

2007-12-09T01:07:00.000-08:00

The following post has been "Matt Carter-approved"

Participant Observation - The Kiltlifters, ska group Marisha Devoin

Saturday, Sept. 29, Midnight - 2:00 AM (The entire show was 10:00 PM - 2:00 AM)
The Queens Hotel, 34 Victoria Cresc., Downtown Nanaimo

The Kiltlifters are particularly skilled at playing ska music, creating a party atmosphere and promoting the consumption of alcohol. As such, when it comes to the fiscal well-being of the Queens Hotel, they have a formula for success.

Explicit conceptual framework shaping the performance articulated through announcement or in a printed program

If there was one announcement that represented a facet of the conceptual framework of the venue that the Kiltlifters played in that night, and I'm sure have played in many other nights in numerous other places, it would be:
"This next song goes out to all of those who want to get laid tonight."

Implicit concepts or info shared by performers & listeners

In terms promoting the consumption of alcohol: many of the band members, particularly the horn section, drank beer at every opportune moment, toasted audience members with beer bottles and one particular band member, quite possibly representing the drunkest of the group that night, shouted into the microphone "Hey you motherf*ckers, you guys ready to get drunk tonight?"
Examples of how the Kiltlifters create a party atmosphere include covering, or making brief references to familiar pop tunes in a ska and/or reggae style such as the Guns and Roses hit "Sweet Child of Mine"; the unhindered usage of the "F-word" during in-between tune banter, and in lyrics:

Jumping around and dancing on stage, complimenting the audience, "You guys are f*cking awesome," yelling seemingly random and spontaneous commentary into the microphone such as, "My n*ts are sweaty," "Holy F*ck," "F*ck," "F*ck you Sheryl Crowe" (maybe I missed something from the previous 2 hours); seemingly humourous lyrics: "Sara Lee, come back to me, you make good f*cking cheesecake." Wearing strange hats, the drinking (sometimes the wearing) of copious quantities of beer, engaging the audience to sing along and generally scream, shout and make noises as well as throwing out percussion instruments to audience members, such as maracas, thus making it an interactive performance; occasionally switching instruments, for instance the trumpet player to the drums, the trombone player to the keyboard, the drummer to the bass, and thus the bass player to the... offstage to drink beer; dedicating songs to surfers and small Vancouver Island towns, such as Tofino and Nanoose Bay; and high-fiving audience members closest to the stage.
I feel that the Kiltlifters very much reflected the values of the audience members: those who want to dance, drink, socialize, have fun and generally be merry; maybe even get laid.

Important characteristics of the performance space:

The stage is the focal point of the room due to it's height in relation to everything else in the room, the majority of the lighting is focussed around the stage and there is a significant open space in front of the stage where there are no chairs, tables or impediments of any kind.
Inevitably all patrons will pass the bar from the entrance en route to the seating areas, dance floor and washrooms.
Aside from the two support beams there is a clear sightline all around the room, particularly to the stage.

How does the musical performance relate to the space?

The keyboard, bass and guitar were amplified and the horns/singers played, sang and talked into microphones. There is a large sound system in the form of multiple large speakers lined up underneath the stage facing outwards, and two suspended speakers up front on both sides of the stage facing forward. There are also onstage floor monitors facing towards the band. The levels for all of these speakers are controlled (or out of control, depending on who you ask) by the soundman. There is, for the most part, a direct sight line between the stage and the soundman, therefore the performers can easily communicate to the soundman at any point if there needs to be any changes made to the sound levels. Also, the performers can easily refer the audience members to where they can purchase their refreshments as the bar is within close proximity to the stage.

How do performers move about this space?

The band mainly utilized the stage however, at one point the drummer walked through the audience with a microphone.

Who are the performers?

Many (if not all?) of them are Malaspina music department alumni:
Scot Rounding: Trumpet/Voice/Drums
Matthew Carter: Tenor Saxophone/Voice
David St. Jean: Trombone/Voice/Keyboard
Kayle Hammel: Bass
Brodie Ketelsen: Drums/Bass
Tristan Armstrong: Guitar/Voice/Keyboard
They are all professionals, although whether they were paid in cash or beer is unknown to me.
Age: Early 20's to mid 30's
Gender: male (at least one past member was female)
Ethnicity: caucasian
Attire: Casual clothing, some were in shorts and t-shirts. At one point they all donned matching Elvis-type masks (glasses, pompadour)

(Tristan Armstrong demonstrating the Kiltlifter attire for the evening)

Information provided about themselves in program, speech, behaviour?

In speech the trombone player proved that he was obviously quite inebriated (unless that is his stage persona).
In behaviour the band puts forth a party attitude (see Implicit Concepts, above)
By playing ska and reggae music, and occasionally speaking to the audience in some sort of a Jamaican accent, I assume that they embrace Jamaican music and culture; however I am biased because I have played music with some of the musicians so I'm not sure if that was made entirely clear from this performance alone.

Who is present and/or listening to the music?

The majority of the patrons that night appeared to be 19 (hopefully no younger) to 30 year olds and there appeared to be a parity in genders.There was a thunderous response from the audience when the sax player said into the microphone, "We want to give a shout out to all the Malaspina students here at the Queens tonight. We drink to you." I would assume from the audience response that there were many students in the Queens that night, however, I am skeptical of whether all of those responding were actually Malaspina students or whether some were responding simply because they were compelled to as a result of that evening's alcohol consumption.

Noteworthy response:

The majority of people seemed to be grouped together in a very compact manner on the dance floor. As the music was playing they either jumped up and down, side to side, a combination of those movements somewhat in time with the rhythm section groove, or stood in one stationary place, drank their beverage, observed their dance floor peers (sometimes salaciously), and occasionally raised their free hand in the air and shouted things at the band. When the band transitioned from a slower, usually half time feel, to a faster tempo most of the dance floor patrons would begin jumping up and down.
During the set breaks, when the band was not playing, the dance floor remained packed as people, this time mainly female, danced to the prerecorded music that the soundman played over the speakers. It was a very social event.
Those who were not on the dance floor either listened attentively to the music or attempted what looked like conversations. Conversing in such a high volume (LOUD) environment proved to be very challenging as either one person had to shout very close to the other person's ear or the other had to perfect lip-reading in order to understand eachother.

What specifically pleased or displeased the audience?

In general the audience responded positively to almost everything the band played and did: specifically band interaction such as sing-a-longs, humourous banter, asking questions like, "Is everybody having a good time?", the constant use of swear words, and any discussion about the topic of beer, drunkenness and "getting laid".
During the sets some of the female dance floor patrons near the front of the stage obviously found the band members themselves to be quite pleasing and expressed that through flirtatious behaviour.
In between sets much of the audience seemed very pleased to hear "Crazy Bitch" by Buckcherry, and Michael Jackson's "Billie Jean".
At one point an audience member started a fight with someone and was then violently expelled from the venue by two of the bouncers. He was obviously displeased about something but I doubt it had anything to do with the music.

Performing forces?

The musical instrumentation was that of those typically found in western popular music: electric bass, electric guitar, drum kit, electric keyboard, trumpet, tenor sax and trombone. Almost all of the band members sang. In terms of dancing, the horn players/singers and occasionally the guitar player partook in a dance typically found in the ska idiom known as "skanking". Skanking can be vaguely described as an alternate lifting of the knees and feet whilst simultaneously lifting the opposite arm which is bent at the elbow. These movements are usually in sync with the guitar and keyboard accents on the offbeats.
While there were no noteworthy characteristics of the musical instruments there were somewhat noteworthy physical characteristics of the performers in the form of what appeared to be beer guts.

Noteworthy Playing techniques:

For almost all of the tunes the guitar, and occasionally keyboard, accented the chords on the offbeats.
At one point the trombone player played with the slide pointing at the ceiling in order to facilitate the consumption of beer in between playing phrases.
How do performers communicate and relate to eachother:
It appeared as though there was minimal communication needed so I assume that the band was very well rehearsed. In terms of relating to eachother one notable moment was when the trombone player proceeded to dump beer on the sax player's head during the sax solo.

Performance Practice

The musicians did not appear to use music notation. There was some improvisation in between verses by all of the horn players and the guitar player. Onstage all of the roles appeared to be equal although I'm sure the amount of preplanning, rehearsal, and years of experience by most of the band played a role in that as there seemed to be a minimal amount of counting in songs and cueing sections.

Surprised by anything?

As a musician I am always struck by the seamlessness of the Kiltlifters' sets. However, as I am relatively familiar with the Kiltlifters' music, and vaguely familiar with each musician's personalities, as well as the nature of the venue I didn't leave the show too surprised by anything.

A marker of the end of the event:

The soundman announced "Last call for alcohol". This meant that the sale of alcohol and the music would soon be ending simultaneously and the venue would close as soon as all of the patrons left the building.
The trumpet player announced, "We got one mo' song," multiple times imitating a Jamaican accent, I think. The sax player freestyled a farewell message during a I - V - IV progression and then got the audience to sing along to their cover of "Semi-charmed life" by Third Eye Blind. Near the end of the song they repeated the chorus multiple times. At the same time the guitar player cranked the volume and distortion. There were repeated shots until the band held a chord with lots of distortion and then ended the show.

Silhouette (de Nicolette) - MUSC 447 post tune analysis hurrah

2007-11-26T01:57:00.000-08:00

A tune inspired by Kenny Wheeler's "Nicolette"

That Gmin13 in bar 4 probably shouldn't be sitting all alone up there, I just didn't put any thought into what should fill that chordal space, but then again, Obtusity is my middle name, so I'll probably just let it be. Also, I got going on a countermelody of sorts but then I remembered how much stuff I have to do tonight, none of which involves sleeping unfortunately. If I feel so inspired somewhere down the line then maybe I'll write somethin' nice.

Nonetheless, if anyone reading this feels they have any thoughts/critiques on anything that I post in here, please let me know! (My only caveat is that I don't spend as much time on these things as I'd like to because there simply isn't any! But don't let that discourage you from letting loose the jazz police within you.)

Notorious B.I.G. (Blue In Green) - MUSC 447 contrafact assignment

2007-11-26T01:52:00.000-08:00

....unlike me. This inability to play chords and melody in time really needs to change!

The notes at the bottom are actually for Prof. Greg.

We can get pretty esoteric in that class!

Nebulous

2007-11-04T23:14:00.000-08:00

This is the revised version of "Idea #1" but with a better title.

Here's a recorded version of this tune on myspace http://myspace.com/marishadevoin along with a live recording of one of James McRae's tunes.

Composition class listening log - Concert in the Garden

2007-10-15T05:02:00.001-07:00

"Concert in the Garden" - Maria Schneider

This was the first recorded Maria Schneider piece that I ever heard. Phil Dwyer actually leant me the album. Thank you Phil!
Sweet intro -
0:00 - A repeated ostinato pattern in the left hand piano (C, C#, A). 0:05 - light, sparse cymbal work. 0:07 - Then the first theme comes in with the right hand. I love how the right hand melody floats over top of the ostinato with a 2:3 feel.

0:33 - The theme is then doubled w/ accordion. I had never considered the accordion to be such a formidable instrument in the jazz or even contemporary classical idiom. Of course, for many of Maria's compositions she has been drawing on a range of South American influences such as flamenco music. As for the musical and logistical aspects Maria used the accordion because "it can play really high, up to the top of the piano forever, it can play soft, there's no endurance issues, and it fills a whole range and function in the band that no one else fills and to me the sound has such a lovely character" (Schneider, clip 09). Listening to this album is what lead me to listen to more Brasillian, Spanish and Argentinean music even though I've listened to Paco de Lucia albums and my dad's renditions of flamenco guitar pieces my whole life!
I also hadn't heard the voice as being a part of the ensemble like this before (as opposed to a chorus or a front and center lyricist). It requires tremendous vocal skill to be able to blend and tune with the band. Obvious Luciana Souza is the right person for the job!
The intro is very spacy and floaty but there's obvious communication with what sounds like a time feel dictated somewhat by the left hand piano. The accordion has high sustained notes at the very beginning. The bass hitting roots, wavering the pitch and occasionally playing melodic lines similar to the accordion's.
1:37 - Then the piano sets the time with dotted half note cluster chords with what sounds like almost all the notes in a C mixolydian scale, minus A. Kind of like a C7sus9, Add10, all voiced together. So maybe it would be an "add 3". The chord is not grindy or dissonant at all, at least not to my ears.

She alternates between this and a lydian dominant sound.
1:52 - Accordion plays main theme. 2:03 - Drums come in with a 3/4 maracatu feel. Clarence Penn conceived of this drum beat as Maria wanted an "urgent feel". Being a drummer in her orchestra is a highly creative and interpretive endeavour. She "indicates where [she wants] the drums to build and flow, but the devices he uses can be his own" (Schneider, clip 10).

2:24 - Voice comes in doubling the accordion melody. Clarinets and flutes come in with parallel harmony and counter melodies. Brass plays long notes at the ends of phrases. 2:56 - She writes beautiful counterlines for the brass and flutes.
After a while it's hard to keep track of all the themes, and countermelodies because the density is so thick, but it's cohesive at the same time. As well, there are so many subtleties that my ear isn't able to pick up right now. Sometimes I can't tell whether I'm listening for a clarinet or a flute because they blend so well. I just need to spend more time listening with the headphones and transcribing is all.
3:30 - Drums become more sparse, alternating between mallets and sticks. 3:33 - chimes. 3:39 returning to the maracatu.
3:44 - Beautiful flugel and flute counterline.

4:04 - it flows seamlessly from ensemble to solos and back.
4:10 - An example of the majority of the harmonic modulation:
C -> Eb
C -> Eb -> Gb -> Eb -> C
C -> A
I wonder if she planned the harmony out before writing the melodic movement, like a template of sorts, because the harmonic modulation is very strong and is almost the prominent part of the development into the solos (before guitar interlude).
5:20 - Guitar solo
6:54 - Solo section: between accordion and piano. It starts very soft with very sparse bass and the drums slowly building from uber funky cymbal work and chimes to implying the maracatu feel. You just know that this is going to build up to another explosion of awesomeness!
9:23 - Backgrounds - Voice with woodwinds, then add low brass at the ends of phrases. 10:11 - Maria uses augmented versions of the original themes.

She loves the very low end of the trombones!

10:48 - Yeah diminished!

10:57 - final reiteration of the theme and final cadence to the end as band dies down and accordion plays a high C of sorts (?).
Her cluster chords are simply awesome. For a while I was trying to write cluster chords wherever possible, but they weren't as lush sounding, however I'm sure there is significant emphasis on balance!
I think I see some transcribing and/or score studying in my future!

Schneider, Maria. Question Lecture - Clip 09 & Clip 10. Compositional Lecture 04. 2006. artistshare.com. 04/19/2006

Idea # 1

2007-10-08T23:12:00.001-07:00

A little thing I'm working on. Idea # 1 in the Ideas folder on the comp. Sibelius is great when your printer works and you don't crash the computer and you don't save it primarily in the latest format so that you can't open it up on anyone else' computer.
Go me!
In the summer I had a melody in my head so I sang it into my recorder and then transcribed it and then put some chords to it. There probably needs to be some blowing changes.
It's written out relatively simply but I might stretch it out to make it even more half-time-ish feeling, like bossa Giant Steps, without the whole Coltrane matrix thing. (You can thank me later!)
I'd have to say the hardest part was listening to myself sing!
... yeeeah, I think I need me some a' dem singin' less'ns.
Let's see how it goes.

Mumbledy Peg, Zoom FX

2007-03-18T00:25:00.000-07:00

I played on a track for a studio student's project.
"Mumbledy Peg" By Ted Durnin
It's a whole lot of fun is what it is!

http://www.bcrecording.ca/studioclass/teds%20song%20mumblypeg/
If that doesn't work for you click on http://www.bcrecording.ca/studioclass/teds%20song%20mumblypeg/mumblypeg%20complete%20song%20rough%20mix.mp3

I also recently bought a zoomfx recorder so if I have the time to actually figure the thing out I hope to post up some music.

Menuet + Practice Stats for Feb. 4 - 10

2007-02-14T02:33:00.000-08:00

I just finished this arranging assignment for Bryan's survey class (¡Tarde, claro, que sí!) He called for the arrangement of a folk tune for these 4 instruments, but I heard that other people wrote arrangements to piano pieces and he accepted them so I said, "Me Too!".

I don't know if I timed the breath marks right. The flute player would probably need a large pair of lungs!
These are untransposed.

It's kind of a cute little ditty, I guess.

Just to simplify last week's practice stats I'll sum it up with one word:

ZERO

Practice Stats, Moment's Notice, Destiny!

2007-02-09T01:50:00.000-08:00

I didn't feel like posting. It's been a freakishly hectic couple of weeks but nonetheless
Last week's (pathetic) practicing stats:
Sunday: 3+
Monday: 3ish
Tuesday: 0
Wednesday: 0
Thursday: 0
Friday: 0
Saturday:0
I don't wanna talk about it..

I wrote out some ideas for part of a combo chart arrangement of Moment's Notice that I'm working on. I arranged it all in strict cluster voicings. Below is a condensed score but it went 1 - Trumpet(s) with harmon mute, 2 - Tenor sax, 3 - Guitar, 4 - Muted Trombone, 5 - Bass Arco.
At first the idea was it would start out as swing and gradually morph into a heavy latin feel (read: lots of cowbell/side stick etc.), but I think I'll just stick with a latin.

I'm sure you can imagine how it sounded. After hearing it Pat Coleman said "That's kooky" in such a way that only Pat could say. It was funny and frustrating at the time because it totally does sound kooky. The idea was to try and emulate the beginning of Maria Schneider’s “Wyrgly”. http://www.mariaschneider.com/albuminfo.aspx?ID=2 It’s the first track. Of course upon re-listening it doesn’t sound like exclusively cluster voicings at all. I guess I’ll have to sit down one day and lift it. Also, she probably spent hours just working out a few bars and then more hours revising and re-revising; hours which I don’t have at the moment. I shouldn’t be surprised. The business of writing music so far has been frustrating and I just wrote the thing out in strict cluster voicings without any sort of intellectual rendition, a sort of one size fits all approach which simply will not do.
I should be well accustomed to frustration. Although my frustration usually stems from my incompetence. My inability to put in a couple hours of practicing a day, to get to my classes on time, to hand in assignments before their due dates, to come to rehearsals prepared, as well as other non-music related things.
It’s okay that I’m not happy with my harmonization because at least I put in half an ounce of effort and as a result I now know that I am not particularly fond of strict cluster voicings, although I don’t deny the possibility that they may work in other situations. Although, this chart should have been written weeks ago but I’ve fallen into the dreaded cycle of procrastination:late night last minute catch up:recuperation, another lifestyle I am most familiar with.
In an ideal world I would have (make) the time to develop ideas, play with harmony and write everything out by hand, that way writing would be more of an organic process free from looming deadlines (the late night, last minute kind), a bright, brain-numbing screen, annoying sibelius anomalies and lack of sleep. Sibelius should only be used for saving on copy time or putting music into file format for blogging or e-mailing purposes.

If I may reiterate, I love this album!
I’m trying to find things to steal from this album particularly some rhythms, contrapuntal bass lines, and shots. I don’t exactly have a monster Cuban rhythm section at my disposal but we can’t have everything I guess.

I want to buy these books.

And while I’m at it I think I’ll also purchase a study score or two! http://www.artistshare.com/artist_project_join.aspx?projectID=11&artistID=1&salesTypeID=6&selection=1

…damn this whole needing money business.

I think it’s important that before I delve into more modern territory I should get well acquainted with more straight ahead, classic jazz, maybe some commercial-esque music as well as whatever music happened between the 17th century and the 20th century (Thank you Pat Carpenter!), thus the orchestration book and the Henry Mancini book I’m borrowing right now.

I think I’ll work on Stella By Starlight this weekend.

For my sonata movement assignment I would like to write for my combo plus the chamber ensemble. This way I could get the ball rolling on some ideas for a possible musical/theatre collaboration. I'm going to do lots of writing, and studying, on the ship. To date I haven't done much writing but there's no better way than to just dive right in head first!

Within the next year I would like to write pieces for combo (ongoing), college and NMA big band (with and without vocals), jazz choir, trombone ensemble, wind ensemble, Jimmy Hazzard, chamber ensemble, decadence and some funky vocal stuff that I’d like to do with James X2, Nico and someone else on bass.

¡¿BUT WHEN?!

Oh yeah! My unofficial embarkation day aboard the (unofficially) Carnival Destiny (ooh la la) is April 29th.

Practice Time

2007-01-30T01:35:00.000-08:00

Technically I'm supposed to be posting the number of hours of practice per day/per week I've achieved each Sunday but sadly there hasn't been anything to write about.
Last week should look something like this:
Sun: 0
Mon: 0
Tue: 0
Wed: 0
Thur: 0
Fri: 0
Sat: 1 1/2-ish
I got somewhere between 2 - 3 hours tonight.
There's always tomorrow!.. oh wait, the play starts again tomorrow night. I'll still make a go of it!
Tonight I lifted about 17 seconds of the Coltrane solo on Giant Steps.
Shazam!..
17 seconds doesn't sound like a lot, but in fact it's a lifetime in "Coltrane Solo Years". I had many moments of doubting whether or not I should be doing this or whether I should just google an already written out chart that somebody may or may not have posted on some obscure website. Or just say "fack it!"
No my friends, I shall carry on!
I still have to pick a tune to arrange for the Wellington grade 9 stage band and then get it done by next week.
Right now I'm writing out the beginning of a 3 part arrangement of Moment's Notice for combo and then going over some notes for jazz choir.
Sleep is a thing of the past I tells ya!

Giant Steps

2007-01-21T00:10:00.000-08:00

http://www.johncoltrane.com/
This is such a cool website. Check it out.
I'm working on Giant Steps.
It's a whole lot of changes that's for sure!
I'm not sure how to go about this...
So far the plan is just to play along with the changes a bit and then lift the Coltrane solo.
Okay!

Image Files

2007-01-16T21:48:00.000-08:00

Just testing how these image files are looking.
Not too bad as far as I can tell. The only problems might be that each page is an individual file and when you click on them they're huge!
Nonetheless, sweet!

I finally finished this chart. It was a rush job so it's probably just total crap. I intend to rehearse it with Decadence until the band can sort of get it under their fingers, mostly the soli section because it's a beeatch. I harmonized a Stanley Turrentine solo which is relatively laid back on it's own, but when you've got 7 people playing it in 5 part harmony, it gets pretty intense. The voice leading is crappy.. everything is crappy about it! Mostly because I simply couldn't put the time in to tweak everything.

Once I change the file formats I'll post ALL 30 PAGES of it for the world to see!

Bad Start

2007-01-08T01:23:00.000-08:00

Actually, it's been a horrible start to the New Year!
This week has not been a week for fulfilling New Years' Resolutions or getting my sh*t together in general. This weekend was all about recuperation after nights of rock gigs and unsuccessfully tempting fate in psychotic weather.
I think I got maybe 2 hours of practicing in on Monday and maybe an hour and a half on Wednesday. Until I finish the Decadence chart assignment I don't see that changing.
Woo! Go me!

Operation Summer Job: Accomplished

2006-12-06T10:46:00.000-08:00

Oh my god, oh my god, oh my god!!!! I got a cruise ship job for the summer! I totally cacked on all of the charts (skipping bars, adding bars, swearing...) but apparently I did well enough. I need to renew my passport and get a full medical exam which includes testing for levels of cannibis. It's been a while.. long enough, anyways, but I have been exposed to it (whuddya expect? this is the west coast!) so before I go in for the exam I'm going to drink lots of water, eat really well, and exercise a lot. Just to make sure I'm all clear and there is no impedence to my getting a sweet summer job!
Anybody thinking about smoking pot within my vicinity? Don't you even dare!

Yeehaaaa!

Macaque, Carnival Cruise Audition!

2006-12-05T23:19:00.000-08:00

On Sunday night I played at Legends bar in Victoria with a ska-jazz-wuddevayawannacallit band called Macaque (you heard right) that's an offshoot of the Kiltlifters and Jimmy Hazzard... and Josh. We opened for The Skatalites who Scot, the Macaque trumpet player, described as "Basically like Jesus of ska". They're comprised mostly of the remaining members of The Wailers. That's right... they were The Wailers even before Bob! Well no kidding. They were so groovy I couldn't stop dancing. I found myself doing this strange repetitive dance that can be described as:

1) The light, alternate kicking of the feet.

2) The wide, alternate swinging of the arms bent at the elbows.

3) Constant wariness and avoidance of injuring fellow audience members and apologizing when such an incident occurs (this is my own variation)

Skanking, I believe it is called, yes.. hmph... yes..

-as well as making various uses of the word "rally". Unfortunately I wasn't on the ball in terms of scooping up some Skatalites CDs. I'll get my hands on them somehow.

Needless to say, I'm hooked. Honestly, I never really understood ska. I still don't really, but now I want to. I thought "yeah, it's got its roots in reggae, the guitar player goes 'm-chuk-m-chuk-m-chuk-m-chuk' and a bunch of white dudes get off on crazy stage antics..." Well, only one band that I know of in terms of crazy stage antics. And, might I say, quite the talented group of youngsters they are too!

Basically Monday was a write off.

Today was a write off. I didn't practice, nor did I do any homework or studying. I did, however buy some lovely solid shampoo and jeans and other items. Since then, however, I've done nothing productive.
Tomorrow, on the other hand, I audition for Carnival Cruise show band position.
I'm kind of nervous because I'm not really sure what to expect. For me, nervousness is crippling so I need to just chill, focus and let the audition take its course. Even though my reading chops aren't too bad I should also prepare to be denied. Prepare to have my ego deflated with those three familiar words "We'll call you." (If anything it'll be practice for my jury next Tuesday!)
Here's the preliminary e-mail they send before arranging an audition:

Thank you for your interest in working in the showbands on Carnival Cruise Lines. Keep in mind that we need to have certain requirements met prior to considering you for employment. Therefore, due to the very large number of inquiries we receive, this email is being sent to you to give you an idea of what we need from you before we can consider you for the showbands.

Showband Information

The showbands are 8- and 10-piece bands. These consist of drums, bass, guitar, piano, alto and tenor saxes, trumpet (lead) and trombone for the 8-piece bands. The 10-piece bands are the same, with the addition of a 2nd trumpet and baritone saxophone.

Musicians in these bands are well-rounded, able to interpret a variety of styles in an ensemble setting. Sightreading skills are important; there is moderately challenging material which must be performed with limited or no rehearsal time, and occasionally new material is introduced with limited rehearsal time. Flexibility and professionalism are required to function well.

The showband plays production shows with styles ranging from Broadway to rock to Las Vegas. Cocktail sets have all dance styles, e.g., swing, cha-cha, rhumba, bossa, pop, etc. The band also plays various styles, including pop, funk country and R&B for guest performers.

Rhythm players especially should be fluent in different styles. They should work well with other rhythm players, with solid feel and good focus. Rhythm players also accompany passengers for their talent show. Piano and guitar players should expect to improvise in all styles.

Alto and tenor saxes double on flute and clarinet. Bari players are not required to double, although bringing a tenor helps (some charts have 2 tenor parts and no bari part). The bari also functions as a 2nd/bass trombone in many cases, so flexibility and a full sound are important. Most of the soloing in this section is done primarily by the tenor player, and secondly the alto player. Soloing skills in these chairs, especially tenor, are important.

Second trumpet players play the second trumpet part, and also perform solos like a 4th trumpet would in a big band. All brass players should have a good range pertinent to their particular chair.

Wind instrumentalists should be good section players, with emphasis on phrasing, intonation and articulation as a group.

This should help clarify the requirements for showband players.

Audition Requirements

We require a reading audition. These auditions are scheduled in the following manner:

1) Call to set up the audition time in advance. The auditions are generally done by phone although we do onsite auditions at certain locations throughout the year. Our phone numbers are listed below.
So-and-so
1-xxx-xxx-xxxx #xxxxx
1-800-xxx-xxxx #xxxxx
(want the name and numbers? Ask me!)

2) We will ask you for a phone number that we can call you at for the audition and an e-mail address to send the reading material to.

2) One half hour before the scheduled audition time, we will send you the music by e-mail. This should give you time to print and glance over your music.

3) We will then call you at the scheduled audition time and have you read the music for us. We will also ask for wind players to improvise on some standard tunes and rhythm section players will be required to play a variety of styles to be selected during the audition as well as improvisation for certain instruments.

Once again, thank you for your interest, and we hope to hear from you soon.

So-and-so

Musical Entertainment Supervisor
www.carnivalentertainment.com

Time to get a good night's sleep and then eat a good, healthy breakfast.
Tomorrow night, A Jazzy Nutcracker Suite at the Port Theatre!

Then, on Tuesday, December 19, it's the Hugh Fraser Quintet at the Queens. At least according to Ken Lister's website, and not the Queens website.

The "new" Ying Yang

2006-12-02T03:35:00.001-08:00

John Coltrane Quote

2006-12-02T03:28:00.000-08:00

You can play a shoestring if you're sincere.
John Coltrane