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In the waning days of summer....

8/28/2018

Yup, another one of those random blog posts today, folks. Pickin’ up the pieces, so to speak. Summer is winding down here on Cape Cod and there has been a noticeable drop in tourist crowds as many have returned home with school starting earlier and earlier each year in many places. It is nice to be able to have a reasonable expectation of finding a parking place downtown, or even short wait at a restaurant. Make no mistake – we love the fact that tourists come here from far and wide and spend plenty of money. We’d be in a world of hurt if they didn’t. But is sure is nice to feel like I’m getting my home town back.

Random thing #1. I watched an excellent, albeit a bit long documentary the other night on Crosby, Stills, Nash and Young. It is called “Fifty by Four: Half Century of CSNY.” I always loved that band and still do. I saw one of their reunion tour concerts about 10 years ago and while not youngsters by any means they could still “bring it” when they had to. Then about a year and a half ago I saw David Crosby doing a solo show and he was great. The documentary goes into great detail about the well-chronicled break-ups, romantic entanglements, macho posturing, drug use, etc., but two things intrigued me the most. One was extensive commentary by the sound engineer who recorded their first two albums. He basically said that there was a huge amount of creative freedom in the studio, which led to some timeless, fantastic music but also many head-butting sessions between Steve Stills and Neil Young. The other thing that I found absolutely fascinating was the extensive concert footage showing the jaw-dropping collections of guitars, mostly Martins, used by the group over the years. Anyway, if you have Amazon Prime you can easily find this documentary and it’s worth your time if you are a fan of CSNY.

Random thing #2. About a week ago I played a private birthday party for the wife of a former student. This in and of itself is not a big deal, I play private parties fairly often. But this one was on a boat! The former student had chartered the 63’ power catamaran, which sails out of Hyannis harbor. Having never done a gig on this boat (although I have on others) I made a point to do as much research as possible about details like power supply, where I would be setting up (inside the cabin) and even contacted a local musician who has a regular weekly gig on the boat for one of their sunset cruises. The boat owners and the captain could not have been nicer and although the space was cramped I did manage to situate myself so I would be heard. Of so I thought, until the boat cleared the harbor and big diesel engines began to roar. Oh well! Things got even more interesting when we turned around and headed back into four to six-foot chop. My speaker stand almost collapsed on top of me – I was sitting on my folding stool, which was the best strategy as there was no way I would have been able to stand up and play. Only one thing to do: crank it up, shout out as many Jimmy Buffett songs as I could think of and keep smiling! A good time was had by all, or so I was told. As I was driving home it came to me that I should have broken into the second verse of the theme from Gilligan’s Island:

“The weather started getting rough, the tiny ship was tossed! If not for the courage of the fearless crew the Minnow would be lost! The Minnow would be lost!”

But I doubt if anyone would have been able to hear me. In any case, it was kind of an adventure and one more story to file under “The Reality of Being a Work-a-Day Musician”!

Random thing #3. It’s taken about six months of use but I’m finally getting comfortable with my “drummer” – my Boss DR-01 rhythm box. If you’re unfamiliar with this device, it is a programable drum machine that is designed specifically for use with acoustic guitar or piano. Instead of having a drum set heavy mix of available pre-sets, the instrumentation available is quite a bit more organic sounding, featuring congas, cajon, bongos, timbale, cow bell, claves and much more. There are many dozen pre-sets of various combinations of instruments and you can tweak these presets in terms of tempo, meter and volume. You can also start from scratch and create up to 48 “favorites” which will be saved. It took me quite a few hours of experimenting to fine tune things like tempo and exactly which “favorite” I had created sounds best with a particular song or genre but I’m pretty pleased with the results. I use the device as subtly as possible; in some cases it’s hardly even there but I often observe audience members who may be in conversation start tapping their feet when my “drummer” kicks in. I won’t ever use it on every tune but it’s nice to add some frosting on the musical cake, so to speak. With the use of sound altering devices the norm these days in performance I feel pretty confident that using the DR-01 does not detract from my performance. The bonus is – I probably keep better time than I have since the days when I played with a drummer regularly.

Random thing #4. Back in the 1990s one of my favorite singer/songwriters was Karla Bonoff. Karla was very well respected in the California music scene and her songs were recorded by artists such as Linda Ronstadt, plus her albums featured duets with James Taylor, Jackson Browne and others. Unfortunately, at some point she lost her recording contract but she kept touring and writing, which kept her small but loyal fan base happy. I am a Facebook “friend” of hers and I was thrilled to learn that she had completed a new album of mostly older tunes from previous albums but done in a more stripped-down format than the originals, featuring just Karla on piano or guitar (and vocals of course), a lead guitar, bass and occasional soft percussion. I ordered a copy from her web site and it arrived this week, signed by Karla too. Although some of her songs are a bit sad, lyric-wise, the production and execution of the music is absolutely beautiful and showcases her wonderful voice. Check out her song “New World” – gorgeous on every level. Karla’s songs are very much like one of my other favorite writers of similar style, Kim Richey. In both cases you hear a song and part of your brain is sure you’ve heard it before – and you like it a lot – but you know you haven’t! Now, that is fine songwriting. Check out Karla. Kim too, if you haven’t.

Peace & good music,
Gene

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How many songs do you know?

8/17/2018

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So….how many songs do you know? Sometimes students ask me this. To be honest, I have no idea. What does it really mean to “know” a song? Does it mean being able to play the entire thing without mistakes and as close to the original version as possible? Or on the other end of the spectrum, does it mean being able to just basically get through it to the extent that the listener recognizes what you’re playing? Most importantly, do either of those extremes really matter?

All I can tell you is that my standards have changed multiple times over the decades I’ve played the guitar. Way back when, in the days that my knowledge of guitar basics was a lot more limited it was necessary to compromise – a lot. Fortunately, all my guitar playing friends were pretty much on the same level so we helped each other and most of us managed to bang our way through quite a few songs. There were value judgements of course; we were all young after all and value judgements are much more cut-and-dried viewed through the certainty of what’s good and what’s not that all young people possess. Secretly though I think we all would have given just about anything to play a song to perfection.

When I left college and moved to Cambridge and immersed myself in the music scene there it quickly became apparent that being just good enough wasn’t going to cut it. Surrounded by players who were far superior was a major wake-up call. Even in jam sessions it was expected that you would know a song inside and out and be able to play it just about flawlessly. Which I could rarely do. I upped my practice time, made a point to hear and study players whenever possible and my playing and understanding of things like music theory improved pretty quickly. The unfortunate byproduct of that though was that I was a lot more prone to being critical of players who dove into songs without really knowing them.

What opened my eyes and led to being a whole lot less critical was moving out of the city and gigging around my home area. The first bitter pill was finding that the vast majority of listeners don’t really care all that much if you can play a lead guitar solo exactly like the recording or that your arrangement is flawless compared to the original. The first gig I had in Falmouth was at a bar where I was required to sit beneath a TV that was often tuned to a hockey game. The patrons had way more interest in watching Bobby Orr than paying attention to my hard-learned interpretation of a Crosby, Stills and Nash song. I was used to small rooms in the city where audiences sat in rapt attention. Welcome to the real world of music, Gene.

I began frequenting local bars and restaurants where local singles, duos and trios played. Real “listening rooms” just weren’t around. What became apparent was that the musicians who worked the most didn’t care all that much if a song sounded like the recording. As long as the words of the chorus were right and the song was up-tempo (and there was plenty of volume) the crowds responded. Further bruising of my ego ensued!

It took some years but I finally figured out a simple fact. People want be entertained. Simple as that. The trick was to find the balance between being entertaining and still challenging myself musically to avoid boredom. While I admit I’m still working on that after all these years I do think I’ve finally found that balance point, most of the time anyway.

All this gets back to the original question. I’ve played with reasonable success probably many, many hundreds of songs in many genres. But do I “know” those songs? For the most part, yes, but with one major qualification. If I haven’t played a song in a couple years it usually takes a few go-arounds to reacquaint myself with the guitar parts. It does come back, which always amazes me. The problem is remembering the lyrics if I’m going to perform or teach those kinds of songs! That’s where the now acceptable music stand comes into play (strange, strange….not long ago you were considered a hack if you needed to use a music stand and couldn’t play entirely from memory). Hoorah for this recent development in guitar performance!

So how many songs should you know? It depends upon the Big Picture. If you will always be playing purely for your own enjoyment, probably a couple dozen that you know you can play reasonably well and are not stressful. After all, it’s supposed to be fun, right? Then try to find a new song or two every month to try. There are hundreds of web sites offering at least basic lyric/chord arrangements of just about any song you can think of. Granted, in most cases these will be basic and if that’s what you want, no worries. At least you’re trying new stuff and as time passes you will most likely want to embellish those basic arrangements. I find that closely watching You Tube performances of an artist doing a particular song I’m working on can fill in the gaps there may be in the on-line version or what my ear can’t discern. But ultimately, remember that the best kind of satisfaction comes from being able to play a song from beginning to end in rhythm and with the correct lyrics. The fancy stuff will most likely come later.

How about if you do intend to play in front of people at some point in the future, or play with others? Then “knowing” a song – lots of them, really – becomes a bit more complicated. I think that the best way to do this is to take part in jam sessions. Even if you are a bit intimidated by the prospect and even if you just sit there with your guitar in your lap for most of the first few you go to, you will be learning things that are vital: timing, how to make your playing blend with others, the types of songs that are popular and worth further work on your own. Best of all, you’ll probably make new friends and who knows? You may even find some long-term playing partners.

If you’re inclined be organizationally minded, make a list of the songs you know and even the ones you’re working on. Even ones you’d like to know. This will give you a starting point when you pick up your guitar. Always view any song as having a beginning, middle and end. All those things are very important but many novices just think in terms of those middle parts. A solid intro and ending make any song, regardless of the complexity (or lack of) sound good.

Like you “know” it!

Peace & good music,
Gene

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Gene's favorite new gadgets, pt. 1

8/7/2018

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I just can’t help myself. Ever since I was a little kid, gadgets and gear have fascinated me. And for the entire time I’ve been playing guitar I’ve been drawn to the latest gizmo, practical or not in the world of guitar accessories. Some are absolute necessities, some were purchased on a whim after reading a glowing review somewhere. What follows are some of my recent favorites.

Elliott Capos. Time was, there were only a couple options in guitar capos. They tended to be inefficient at times and often downright destructive to neck edges and guitar neck finishes. No more. Today there are literally dozens and dozens of varieties out there with a new one seeming to hit the market every month or so. I’ve tried most of them. What I want in a capo is quite simple: ease of use, slim profile so it doesn’t get in the way of my hand, little or no affect on the tone and intonation of my guitar and long-term durability. The Elliott products fill all those needs. The maker – a small family run shop in Texas – calls them works of art and I can’t argue with that, they are elegant and beautiful. They make a variety of designs, including a reproduction of the legendary McKinney model used by Tony Rice and others. I own two, the Elite and the Hybrid and I love them both. They come with a nice satchel and replacement sleeves and have a lifetime warranty. But be prepared for sticker shock. I’ve paid less for a guitar than I paid for both those capos. You can even get them engraved. Their customer support is superb. To me though, they are worth it and I don’t anticipate ever needing another capo.

(First runner up, only due to popularity): Kyser Capos. Probably the most popular brand out there and until a few years ago they were THE capo used by both recreational and professional players; many, many players still use them. They are relatively inexpensive, quick and easy to use and come in a big variety of colors, if that’s important to you. The downside is that they are quite bulky and some players feel they negatively impact the guitar’s intonation. But they continue to be very popular and are very durable. Also, easy to clip onto the guitars head stock when not in use.

Ear Trumpet microphones: Oh, man, I love these things! Very cool retro design, made in a small shop in Portland, Oregon. These are large diaphragm mics designed for both studio and live performance. Beyond their striking looks is their amazing sound reproduction that combines a wide field of pick-up with excellent off-axis sound rejection. Ear Trumpet mics are designed to be used by one, two or more musicians gathered around one mic as was common practice in the “old days.” Just go to their web site and check out a You Tube performance by the wonderful Milk Carton Kids using the Edwina model (the one I own). I have yet to use my ETL mic in performance but it works GREAT in my studio for recording both my guitar and vocals. You’ll also see ETL mic used on the fantastic Tiny Desk Concerts on NPR and Elderly Instruments (from whom I purchased mine) uses them for on-line demos of all their high-end acoustic guitars. Not cheap by a long stretch, but oh my, what great reproduction of sound. And I guarantee you’ll get looks when using one. Their customer support is also great and each mic comes in a very cool retro “lunch box” case.

Charmed Life guitar picks. OK, this is a bit embarrassing. I vowed the day would never come when I would spend $30 for a guitar pick. All the hype just screamed to me – really? REALLY??? Why the heck would anyone spend that kind of money on a …… pick!!!! But after owning one for only a few weeks, now I get it. I bought two, the nf-75ss and the clf-75. My immediate reaction after using them for a few minutes was, n’eh. What’s the big deal? Nice, yes, but I couldn’t discern any remarkable difference from the standard Fenders I’ve been using for years. However…. After a few days I noticed something. My attack was cleaner and faster than maybe ever. And there was no problem with the pick moving in my fingers if I moistened my thumb and index finger before playing. Best of all it was easier than ever to employ correct technique with my wrist and forearm. A week passed and things just got better and better. I love this pick!!!! I found that I preferred the slightly mellower tone of the nf-75ss over the clf-75 but both sound great. The “75” refers to the thickness, which is 75mm, putting it somewhere between a medium and heavy gauge, which is perfect for me. This is another small company with a passionate owner who will readily answer any question or concerns and he stands behind his products. He makes quite a wide variety of designs and uses a few different materials (go to their web site for complete info) and while his inventory is pretty good you may have to wait a bit if he’s out of stock on specific models as each and every one is hand-made. I like my nf-75ss so much that I just ordered two more! Not that I’m worried about breaking it or wearing it out but picks have a way of vanishing from my pockets. I just don’t want to be without this thing!

(First runner-up) V-picks. I used these for the last year or so. They are another small company with a big variety of shapes and designs. The main reason I went with them for a while is that they are made of some sort of proprietary lexan-type plastic that absolutely sticks to your fingers when they are moistened so the pick does not move as you play. I tried quite of few of them in various shapes but finally settled on the “Chicken Picker,” which is a more traditional design. Unfortunately, the maker only makes something in the 75mm thickness rarely; his standard Chicken Picker is closer to 100mm and most of his picks are much, much thicker. I do not like thick picks. All the V-picks cost $5 - $7 each. The tone of my special order “thin” – not really a traditional thin pick, for sure, but I don’t like those anyway – is very bright, perhaps too much so. And they will break if I strum too aggressively so I will stick to my newly discovered Charmed Life picks in the future I think, despite the cost differential.

In my next post I’ll review a few more cool thingies I’ve discovered in the last year or so.

Peace & good music,
Gene

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In the waning days of summer....

How many songs do you know?

Gene's favorite new gadgets, pt. 1

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