Blog Posts

I wonder....

7/11/2018

It’s too hot to write some in-depth discourse about the secrets of guitar playing as you’re no doubt used to seeing in this space. Yeah, right! So, without further ado….

Things that make me go, hmmmmm…..??

Why does my guitar sound great at certain times of day and not so good at others?

Why do so many indie rock and Americana groups seem to want to fill up space with choruses that go: Ahhhh…..ahhhhh……ahhhhhh…..ahhhhh….ahhhhhh……ahhhhh…….(etc.)? Are they not able to write any more lyrics?

In retrospect, listening to a lot of music that I grew up with and thought sounded wonderful at the time, it becomes obvious that there was a lot of garbage out there in the wonderful Sixties. Some truly great stuff, yes, but also plenty of self-indulgent clap-trap too.

And on that note, understand this: I love Stevie Wonder. I think he is truly an iconic musician and perhaps even a genius. But…. If anyone else had written “I Just Called to Say I Love You,” which is about the laziest lyric writing I can think of, that song would never have seen the light of day.

Will Taylor Guitar’s insistence out bringing out the latest/greatest bracing system every couple of years give a financial kick in the ass to the people who bought the previous incarnation of the latest/greatest bracing system?

Is it really necessary to memorize lyrics anymore? Back in the day you were considered a rank amateur if you went on stage with a music stand and read the lyrics while you played. Now, just about every performer I see uses a music stand or an IPad on a stand – or both. I’m not complaining – it certainly makes things easier and the audiences don’t seem to mind. Now if only my old eyes were good enough to read anything smaller than 18pt. print!

Are well-planned instrumental solos a thing of the past? Seems that way. Sure, when we jam with friends playing solos that go on and on are fun and a great way to hone your licks. But in performance, limiting solos to a pre-specified number of verses or measures makes a group sound tight and well-rehearsed. I blame a lot of the current trend of open-ended solos on the use of loopers. Oh, how wonderful to have a rhythm guitarist who never gets tired of playing the same changes over and over and over! From an audience perspective? Booooooringgggggg.

Why the heck can’t I get used to using finger picks?!? Been trying for over 40 years. I have a container with every variety made. Every once in a while, I pull a few out and try them. And then remember why they mostly gather dust. I am so envious of players who use them well. Ain’t gonna happen for this old guy.

Why is it that I can practice a new song over and over, get it in passable shape and perform it but if I don’t play it regularly I will screw it up the next time, for sure. But…. I recall a tune I haven’t played in many years and play it flawlessly the first time I try it?

Will the trade war with China have a long-term effect on the availability and price of instruments and music accessories in this country?

Even after all these years, being a bit nervous when I perform always results in the best performances. Being totally at ease and relaxed before I begin is a recipe for disaster, sooner rather than later. YMMV of course. It’s just one of my quirks.

I often wonder about musicians I’ve played with over the years but have lost contact with. Are they still playing? Would getting together with them be a great experience or a disappointment?

It takes a long, long time to learn to temper expectations with realities. Being the best you can be, musically speaking, is an admirable goal and probably vital in the long term. The trick is knowing just what you can be best at. Musically speaking.

Is the love of music implanted in our genetic code? I have come to believe it is. All I have to do is watch my precious granddaughter smile and dance and sing when I play.

Peace & good music,
Gene

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Why oh why can't I predict how well I'll play?!

7/4/2018

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My buddy Tony from Australia is a regular reader of this space and we often email back and forth about various guitar-related things, with some politics thrown in from time to time. As anyone who reads this blog regularly knows, I shy away from using this forum to spout my political views, although on this 4th of July, 2018 it is very hard for me to keep from breaking that self-imposed rule. Tony often offers some great ideas for subjects here and he recently wrote of playing his 48th open mic. Wow! That is very impressive indeed.

He did mention an interesting phenomenon recently and it’s worth exploring. He said he did an open mic and it went very well from a performance perspective but did another only a few days later which wasn’t quite as good.

Why does this happen? And if you’ve never performed in front of people with any regularity, you can be sure it does and WILL happen. It doesn’t matter whether you’re an enthusiastic amateur player, a seasoned professional or even a world famous star. Everyone experiences good and bad performances. I certainly do.

The thing is, if there was some way to predict when this was going to happen (the worst ones AND the best ones I mean) it seems like there would be some way to avoid or look forward to the experience. Sadly, to some degree anyway, I really don’t think that’s possible. Even obvious indicators like personal issues interfering with your musical train of thought may or may not affect your performance. Some people let issues affect them; some find solace in immersing themselves in the playing experience with great results. Sometimes you can feel just too good, too confident going into a performance and speaking from personal experience that can be a disaster if you’re not good shaking off unexpected flubs.

It should go without saying but I’ll say it anyway. Being prepared is absolutely vital. For example, I’ve always been amazed and maybe a bit envious of performers who can take the stage with only the vaguest idea of their set list. Some can do that, most can’t and shouldn’t. Have a set list prepared and even if you feel like straying from it from time to time, it gives you a foundation to build upon.

Another thing that amazes me are musicians who can show up minutes before they are scheduled to play, do a quick set-up and then dive right in. I am so not that person. I always arrive well ahead of time to make sure my equipment is operating as it should but mostly to survey the listening audience. This tends to give me confidence in what I’ve prepared or makes me realize some tweaking of that set list may be in order. Then I like to relax for a few minutes, talk with people, have a drink of some sort (usually coffee or water, my days of sucking down a couple beers before I play are long gone!) and relax.

So let’s say you do all those things and begin playing. The first song may be easy as pie or it may be a bit of a struggle. One little trick I’ve been employing for a few years is nothing more than moving my picking hand back toward the bridge a bit. What? Well, if my nerves are a bit on edge I’ve found that moving back just an inch or so where the bridge offers more resistance to the movement of the strings seems to mitigate any trembling that I have in that hand. Strange, eh? Give it a try if you find that your first song is difficult to control with your picking hand. Works for strumming, too.

Now you’re into the set a few songs. You’ve found a bit of a groove and your confidence is building. Then, from out of nowhere, someone walks up and wants to start a conversation – while you’re playing! Unless you’ve played out for a long, long time this is guaranteed to destroy that groove and even your confidence. Your choices are: ignore the person (but do smile, they shouldget the hint) or go into something akin to auto-pilot. That is what I do. I just keep playing and repeating a section of the song that doesn’t require my total attention. However, there are times when there is really nothing to do but stop and allow the conversation to commence. For a lot of years I thought this was unacceptable, “the show must go on” and all that. But then I came to realize that in a casual setting like a restaurant or bar where only a portion of the audience may be paying attention to what I was playing, they could see why I was stopping and didn’t have a problem with it. Conversation ends and I begin the song again from the beginning. No harm, no foul. I might even play it better the second time.

The thing that is most baffling to me in the vagaries of performance is this. There are times when I play my average best, which will certainly include a few “clams” as my brother the trumpet player calls them, but the audience seems to really enjoy the music and will often tell me so. That feels good, for sure.

But then there are the times when I play just about flawlessly and…. No one notices. Experience over the many decades I’ve been performing has taught me to let that go, just like I can (usually!) let go of a less than stellar performance.

So I guess that for most of us, regardless of our level of experience, there is just no way to predict what’s going to happen! Any performer who understands this and is prepared to give the best they can will do just fine, most of the time.

In closing today, I am going to break the rule I mentioned at the beginning.

We are very proud here in Falmouth, Massachusetts that Katherine Lee Bates grew up here. She was the author of “America the Beautiful.” One of our greatest physical attributes in Falmouth is the Shining Sea Bikeway, a beautiful stretch of paved surface (an abandoned railroad way) that runs from North Falmouth to Woods Hole. It traverses cranberry bogs, forests, salt marshes and follows Vineyard Sound along the coast, the “shining sea” that Ms. Bates was surely thinking of when she wrote those lyrics. I highly recommend it if you ever visit Falmouth.

There’s another line in that song that today has more significance than ever.

“And crown thy good with brotherhood….”

In these troubled times I can’t think of a better way to truly “make America great.” Because along with being “great” we should never forget to be good.

Peace & good music,
Gene

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R-E-S-P-E-C-T, find out what it means to me!

7/3/2018

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As the summer heat arrives and tourist season begins in earnest here on ol’ Cape Cod we locals tend to hunker down a bit. The up side is that for everyone who lives and works here the influx of tourist dollars are welcomed. In my case, last week was a very good one: three guitars sold in one day. I guess I can relate to the mind set to a degree. I readily admit that when I’m on vacation I’m ready and willing to drop some cash. And I have plenty of useless souvenirs to prove it! Hopefully, the people who bought those guitars won’t come to view them the same way, but I doubt they will. In any case, the cash infusion allowed me to order a new Martin D-35 Seth Avett model (custom shop). It arrives today and I’m psyched, just as I always am when a new guitar is on its way. Will give a review after I’ve played it for a while.

Further talk about the issues of high humidity and what it does to guitars. There is an interesting thread going on one of the guitar sites about the effects of humidity on rosewood vs. mahogany guitars. The general sense (and I agree) is that rosewood is more affected, tone-wise, than mahogany. There was an interesting observation by a custom guitar maker that is about something I’ve experienced and don’t like one bit but never really considered.

It’s common for the action on an acoustic guitar to get worse (i.e., higher) with extended period of high humidity due to the top bulging. This guitar maker pointed out that while annoying and sometimes distressing it will probably go away when the weather moderates and drier conditions prevail.

But…. He pointed out that wood absorbs humidity fairly quickly but typically takes much longer to dry out. In other words, patience is definitely a virtue. Now, patience is certainly not my long suit. A couple years ago I bought one of the new, updated Martin 00-18’s. A sweet, sweet little guitar, for sure, super comfortable to hold and play, excellent fit and finish and it sounded great. I bought it in the winter when dry conditions are norm around here. All was well until summer came. Then the action started to get worse. And worse. I knew it was humidity related and made sure it lived in my studio most of the time where the air conditioner does a decent job of keeping the air cooler and drier. Alas, this didn’t help much and by September that 00-18 was all but unplayable. My regular guitar tech said, don’t worry, nothing is really wrong, give it time. But I couldn’t resist tweaking the truss rod, with only marginal improvement.

One of my long-time students loved that guitar and she wasn’t particularly intimidated by the high action above the 5thfret because she does 95% of her playing in first position. She told me if I ever wanted to sell it to think of her first. So I did, and she bought it (for a very good price, I might add).

A few months later I began to notice that guitar was getting easier and easier to play when she came for her weekly lesson. By about Christmas, it was perfect and sounded even better. This proves the point made by the guitar maker on that forum. Oh well, she’s in love with that little Martin and I know why, it’s as perfect an example of a 00 Martin as I’ve ever heard or played. Lesson learned, Gene.

Other random stuff. In the past month I played a couple gigs that were a study in contrast. I won’t be too specific but just want to make a simple point. Yes, I get paid to perform and I know I’m a very small fish in a very big pond but basic respect is just as important to a musician as anything else.

At the first one, the people involved could not have been nicer, thanking me profusely for doing the job, telling me how much they enjoyed the music, and most importantly, paying me (with a nice tip, too) before I played a note. And then at the end they again thanked me and said how much they had enjoyed the music, and that it had definitely enhanced the day. I really appreciated everything they said and did.

On the other hand, at the second engagement there was no doubt about my status: hired, temporary help. No one was rude or outright nasty but the vibe was distant and somewhat dismissive, at best. No biggie really, I’ve been doing this a long time and I know how the game is played. I guess if I hadn’t played the first one soon before I might not have even noticed.

The final small bit of an insult came when it was time to get paid. No one in charge could find my check and in fact seemed to be pretty disinterested in the fact that I was all packed up and wanted to go home. Finally, the check was found but the person giving it to me thought it would be fun to wave it back and forth in front of my face before it was given to me, as if it was some kind of gift that I should be grateful for. I think this person could see by the look on my face that this was unacceptable behavior. I did take it, finally, and I can say with conviction that this is the last time I will play that particular venue. Oh, and by the way, the price I gave them for this engagement was well below what I usually charge because one of my students (who was not there) is a member of the group sponsoring the event. So it goes in the world of a work-a-day musician.

But hey, let’s end this installment on the up-beat. I booked my trip to the big NAMM show in Los Angeles next January. NAMM is the trade group of the music industry and the winter show (one just concluded in Nashville) is the biggest they hold. I’ve been a member for a year or so and joined specifically to be able to attend one of the shows, which are only open to members. Every manufacturer in the music industry will be there and showing their latest/greatest gear. Plus, there are performances going on all the time and great players demonstrating the new gear, giving workshops in marketing strategies and much more. My hope is to find a new line of guitars to offer, survey the latest in instructional aids, and most of all to just hang with the best in the musical instrument world.

I’ve never been to LA and I’m looking forward to that, too. And perhaps a little detour to Las Vegas for a couple nights on the way home may be on the agenda (!).

Peace & good music,
Gene

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Where's your focus, hand-wise?

6/24/2018

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Although I teach plenty of songs that require strumming, most of my intermediate and advanced level students are much more interested in finger-style playing, i.e., using their fingers to pick out individual notes or patterns when playing chords with their other hand. You notice I didn’t say “right hand” or “left hand” and this is because I always seem to have at least one “leftie” who needs his or her instructions mapped out in reverse of what is generally available in guitar literature. No problem really, just a bit more work for me in lesson prep. So it goes!

I feel very strongly that becoming a good finger picker is ultimately much more satisfying than just strumming. In the most basic sense this is because when someone learns a good variety of finger patterns often times just picking through the chords of a song without singing can be almost as satisfying as singing along. I always urge people to sing but in spite of my best efforts to make my students know that I am totally non-judgmental about their vocal abilities, singing is just not a comfortable thing for some people. So for a while at least, I do all the singing to demo the songs (and record that with the guitar part on the CD I give every student). Hopefully, my less than perfect voice will inspire them to think, hey, if he can do it, so can I! But I would never, ever try to force someone to sing if they didn’t want to.

And that’s why I do push finger-style playing on my students as soon as possible. The key there is knowing when that moment arrives.

When someone strums, the ear tends to focus on what’s good about a chord, not what’s bad. That is, notes inside a chord that are muffled are more easily overlooked when five or six strings are strummed and at least a few of them are right. In the very beginning when I do introduce some songs that will be strummed I am pretty forgiving of less than perfect chords because I focus much more on rhythm: keeping a steady beat with the strumming hand, counting measures, and anticipating chord changes. As the student advances however, it’s time to clean up those chords. I have lots of hints and techniques that will help them this but of course there are variables that affect how long it will take for those chords to clean up. Those include – but are not limited to – things like hand strength, understanding correct wrist and thumb position, finger arch and relationships to the frets, and even things that are more out of their control like width of their fingers, flexibility related to age, and the relative quality of the guitar they are using.

Why is that so important? Because when finger-style playing is introduced, suddenly that chord that you thought sounded just fine……doesn’t. Picking individual notes inside a chord will immediately reveal any deficiencies. Without exception, this is the biggest source of frustration I see with just about every student who begins to learn finger-style guitar. But here’s the peculiar part.

In the very beginning anyone learning finger-style MUST look at the hand with which they are picking. Picking out individual strings in a specified order is tough! Plus, there is nothing in everyday life that prepares you for it. So I do allow a student to watch his or her picking hand, for a while at least. But as soon as possible, I urge them to look away from that hand and do the picking while looking at the hand that is holding a chord. Sounds hard? It is! Finger picking is such a small but precise physical action that being inaccurate is just about a given, for a while at least. But I use a few technique tricks to help develop the essential muscle memory required to find the correct strings. In pure classical guitar method, which I do not teach, there are many, many exercises using one, two or three fingers on individual strings that help develop picking accuracy that is essential for that style of playing. My students however are not interested in classical method or music; they want to play popular, folk, blues, jazz, and country music. This involves repeating patterns (numerical sequences). I always start with simple patterns that require the thumb to play bass strings “on the beat”, sometimes combined with a treble or higher sounding string, and the treble strings often played on the second half of a beat. This is the essence of American popular music finger-style playing.

I could of course use one of the standard guitar courses from Mel Bay, Alfred’s or the like, which are kind of a hybrid between popular and classical techniques but long ago I came to the conclusion that most of those courses are fine for kids but adults quickly tire of their regimentation and the lackluster songs that they offer. Sure would make my job easier though, when it comes to lesson planning…. But no, no Mel Bay or Alfred’s in this studio.

Getting back to the core issue – why is it so important for a person learning finger style to look away from their picking hand as soon as possible? Because as always, it all comes back to rhythm. Fast, accurate chord changes in tempo with chords that sound clean will make even the most basic finger pattern sound interesting and satisfying. And there is no way to accomplish this without looking at the fretting hand and anticipating the next change, or fix what might be wrong with a chord you’re already playing.

It’s very easy for the habit of looking at the right hand all the time to become something of a crutch. When a student does conquer a pattern but is still looking at their picking hand I know this is their “happy place.” It took lots of long hours of practice to get that pattern right, damn it, and they are NOT going to take the chance of messing it up by looking away! Or so their brain is telling them, whether they realize it or not. So I make them look away, look at the music and/or their fretting hand and often they panic. Mistakes are made and frustration grows. “I did it great at home just before I got here!” I’ve heard that a hundred times.

What I always do at this point in that crucial lesson when a person must break the habit of watching their picking hand is to kind of press a mental “clear button.” We stop, take a few deep breathes, relax, and then I allow them to watch the picking hand for a few pattern sequences without changing chords. Then, gently, I urge them to look away. Yes, they often hit the wrong string or strings but they almost always hit most some of the right ones, too. We look back at the picking hand, then look away again. After a few times of doing this, accuracy improves.

And then I always say: see, you can do it without looking! Now let’s look at the fretting hand and try a couple chords with a specified number of picking patterns on each. Without stopping, keeping a steady beat.

And you know what? That almost always works. Then comes bigger task of taking bigger bites of a song, always keeping a steady beat. This is never easy but at least when the student leaves the lesson I know that THEY know how and what to practice.

Must you ALWAYS look away from the picking hand? Of course not! Experienced finger pickers all glance down from time to time and that’s perfectly fine. Just be sure the focus remains on what is about to happen in the song and chord changes, not just what IS happening via your picking hand. The result will be a complete, rhythmic and fun guitar experience.

Peace & good music,
Gene

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Observations

6/13/2018

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A few recent observations.

I recently heard a local band who are quite good at the style of music they play and obviously love what they’re doing. Unfortunately their performance (and this was not the first time I’d heard them) was seriously marred by two very basic things. First, their PA system. The sound was muddy and it was virtually impossible to understand their lyrics. Now, I know that replacing equipment involves some expense but with this band in particular who play lots of area gigs that is not a valid excuse, in my opinion anyway. We are in a great period of time related to both guitars and sound reinforcement equipment. Many superior sounding PA’s that can handle decent sized crowds can be had for a very reasonable price. Decent mics, too. Plus – and I don’t know if the guitar player just likes the one he plays and accepts its thin, nasty sound – reasonably priced guitars with excellent pick-ups are readily available. These things are easy fixes and the audience will appreciate the big improvement in sound. Invest in the best sounding gear you can afford, that’s all I’m saying.

An even easier fix is something I’ve mentioned here many times in the past. Don’t….waste….time….between….songs. In the case of this band the total amount of time between songs was often as long as the songs themselves! I can’t think of a better way to lose whatever connection to an audience that may have been established. Yes, it means there will need to be more songs in the set list (and DO use a set list) but short breaks between songs tells an audience that you love playing and they will be much more responsive. One of the best bands I’ve heard over the last few years was a blues band from Mississippi at the Green Parrot in Key West. They didn’t break between songs at all and the energy level was intoxicating. Their audience was a happy, sweaty mess by the end of their hour-long first set, and after a short break they did it all over again. Just a superb show and I’m sure many, many beers were sold so the management must have been happy.

I’m not advocating such a ramped up performance for most of us; certainly a few moments between songs is fine, especially if the performer says a few words to the audience. But total disregard and long spaces between songs is just unprofessional and quite frankly kind of implies you don’t really know what you’re doing.

Enough with the negativity, Gene!

Want to hear a great performance? Go to You Tube and search “three girls and their buddy.” You will find a wonderful segment from a PBS concert program from a few years ago that features Emmy Lou Harris, Patti Griffin, Shawn Colvin and the great Buddy Miller on lead instruments. Each of the “girls” play one of their well-known songs while Buddy fills in some leads. Stunning performance and sound, and the mutual admiration is plain to see. Check it out!

OK, true confession time. I am always fascinated by the back stories of musicians I like. Even the dirt! For example, I’ve been using a couple songs by Sara Watkins with my students and those songs are a bit on the bitter side, lyrically, and it leads me to wonder if they are pointed at one of her former bandmates in the now defunct but great band Nickel Creek. Sara is a terrific musician in her own right but I can’t help but wonder just where those songs came from.

Another example: the Civil Wars. They burst on the Americana scene a few years ago but only released a couple albums, the last one being a bold-faced “break-up” album. Pretty much everyone was left to wonder why this duo who sang together in such a breathtakingly beautiful style quit at the moment of wide recognition. Neither party has been willing to explain and of course they are under no obligation to do so, but it just seems so tragic….. I’m just nosey, I guess!

Here’s one that I found hard to answer or more accurately, to justify. One of my newer students asked me: why do you have so many guitars? An innocent and total valid question. My current line-up includes a Martin OM-28, Eastman AC-422ce and a Gibson J-45. That J-45 kind of landed back in my lap. It belonged to a former student who bought it from me a few years ago, then decided to go with a Martin 000-18. I had the J-45 here on consignment for a while and one of my other students decided he wanted it. I paid the owner but then, the one who said he wanted it backed out at the last minute. Not wanting to burden my former student with giving it back it now resides with me, which is not a bad thing and hopefully I will be able to move it for a better price and send the former owner some more money before too long. An awkward situation, for sure, but the fact is I like that Gibson – for certain things.

This gets me back to the original question. Why do I have so many guitars? Well, the fact is each one serves a purpose. The Martin OM-28 sounds terrific acoustically but not quite as good amplified. The Eastman sounds fantastic amplified (deep and resonant but with nice sparkly trebles, too) but doesn’t have the complexity of tone the Martin does when played without amplification. That J-45 is classic Gibson all the way. That is to say, woody and dry sounding with plenty of volume that is perfect for strumming both when amplified or not plugged in. It is particularly good on country and blues tunes, which is not surprising as many country and blues artists loved that sound; many still do. It doesn’t have nearly the complexity of tone or responsiveness of the other two when finger-picked however.

But hey, I know I’m very fortunate to be able to have “special purpose” guitars. Most people have just one that has to cover many bases. I’ve been playing with a guy recently who has the most impressive collection of high-end recent acoustic guitars I’ve ever seen. I’m not close to being in his league and most likely never will be unless I win Power Ball!

Or maybe (probably?) both he and I are simply justifying a simple and unavoidable fact. We love guitars!

Peace & good music,
Gene

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Tricks of the trade

5/31/2018

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Thought I’d throw out a few little tricks and tweaks today that might make your playing experience easier or even more fun! No great revelations here, just some tidbits that I’ve learned over the years. If you have some of your own I’d love to hear them, too.

It’s just about required these days that all guitarists have and use digital tuners. Like most things in the world of electronics, these little wonders have become better and cheaper as the technology has evolved. There are many types available today but most players I know and see use the clip-on type and the Snark tuner is by far the most popular, and it’s what I use. But these things may be a bit temperamental at times. If yours is reluctant to settle in on the desired note the first thing to check is the battery. If the display is not as bright as it used to be, time to replace it. However, even with a brand-new tuner or battery the display can sometimes waver. The fault may not be with the tuner; it may be your guitar. Interestingly, this seems to happen most with very expensive or very cheap guitars. Why? Because the tuner is picking up notes other than the one you’re hoping it finds. A very expensive guitar may have those wonderful overtones that make it so special to our ears, but tuners get very confused by them. Conversely, a cheapie may have harsh and conflicting notes generated by the cheap wood of which it’s made. The solution is to lightly cover as many strings as possible with one hand while you tune the string you’re focusing on. This will eliminate sympathetic vibration and overtones coming from the other strings (on a fancy guitar) or decrease the volume enough to damp out the nasty sounds that may be coming from inside a cheaper guitar. Try it!

When you’re changing strings (assuming the ball ends are held in by bridge pins), use a pair of needle nose pliers to slightly bend the string as close to the ball as possible. This will ensure that the ball seats itself firmly against the interior bridge plate, which is essential for good transmission of the vibration of the string to the guitar. Gently pull the new string up until you feel it seat firmly. Do NOT pull hard and bend the string because in doing so you might diminish the overall vibration of the string and that new string won’t sound any better than your old, dead one.

One other little tip that is a source of debate among guitarists related to bridge pins. Some feel that slotted pins reduce the amount of vibrating surface in the relationship of string end and bridge plate so they turn the slot to the bottom of the guitar. This way the ball end is resting against a solid surface, not in the slot and string vibration is transmitted more efficiently. Or they will discard the slotted pins and go with unslotted ones. I’m kind of on the fence about this and haven’t heard any appreciable difference regardless of which way the slot it aimed, but some players swear there is a noticeable improvement when the pins are “reversed.” Worth a try, probably.

This one should be a no-brainer but very few players I know do it. Especially in the summer when our hands sweat more with the hot, humid weather, always take the time to wipe off your guitar after you play. Just keep a clean, dry washcloth in your guitar case and make it habit to wipe away any moisture on the strings, neck and body of the guitar before you put it away. If you keep your guitar on a stand, put that dry, clean rag on the yoke of the stand not just to remind yourself to do a wipe-down, but it also adds another padded contact point that will not react with sweat as the rubber used on some cheaper stands can do. Although not as common as it was years ago when guitar stand makers didn’t understand or care about rubber against guitar finishes, damp guitar necks against cheap stands have resulted in plenty of finish damage on some very fine guitars. It always breaks my heart when a student shows up with a well-played and well-loved old guitar that has nasty, bubbled finish on the back of the neck where it rested on rubber or even inside a cheap guitar case. And don’t forget to wipe down the body, especially the front of the guitar where your forearm rests. Body moisture will definitely cloud the finish over time if you don’t. This is often the case with guitars with mahogany tops. Cloudy finish on well-used guitars with a tobacco sunburst gloss finish is pretty common, both on the front and back. If you don’t care, OK. But it will definitely affect the value of such an instrument.

Worst of all, allowing a guitar to “bake” with sweat on it over a period of time will make that guitar take on some very unpleasant odors. Although undeniably cool in some ways, I’ve often wondered how Willie Nelson’s famous “Trigger” must smell! And by all means, avoid cigarette smoke around guitars. Before long they will smell like an old ashtray and that stink is just about impossible to eliminate, although many have tried. For me anyway, a smoky smelling guitar is a deal-breaker if I’m considering buying a vintage instrument.

Finally, a tip regarding playing. Even if you know a song pretty well chord-wise and are comfortable singing it, try to work out by ear the single notes of the melody. You probably won’t be playing them in performance but it is an excellent way to discover how melodies are related to and contained in chords. Good for your ears, good for your brain. In the long run this will also help you sing in tune, too, because your brain will be searching for the correct melody notes inside those chords even if you’re not conscious that it’s happening. It may also inspire you to learn more about music theory (chord structure, scales and intervals) and the relative relationships between notes on the neck. It’s also a vital step in learning to improvise because good improvisation is usually based to some degree in the melody.

Peace & good music,
Gene

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There's one born every minute....

5/22/2018

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One of my students mentioned recently that a friend of his got an amazing deal on a Martin HD-28. He said his buddy only paid $800 for it and it was in perfect condition. I was skeptical, to say the least, but said to tell his buddy “congratulations” on his find. I asked if would be possible if he could borrow his buddy’s new guitar and bring it to the next lesson. He did.

I stifled my skepticism but kept my mouth shut for the first few minutes as I examined and played the guitar. From the get-go, I knew there was something amiss. The case it came in was definitely a cheap OEM hardshell, with cheap clasps and the top and sides even bent slightly when I pressed on them. Oh well, I thought, maybe the original owner chose to keep the original case and sold it in this cheaper one, which would be reflected in the price. But after only a minute or so of playing it was clear. Regardless of the perfect Martin logo on the headstock, this was no Martin. The sound was thin and slightly dissonant. The neck was the wrong shape and fret edges were rough. The inlay around the sound hole was wrong – and slightly off center upon close examination. Looking inside, I could see some drops of glue along a few of the braces, something Martin would never allow. And the “rosewood” sides and back had a strange color, more of a tan brown than the deep chocolate hues of a real Martin. I have no idea what the wood actually was. Yes, the top was solid spruce judging by the edge of the grain around the sound hole. But that was just about the best thing you could say about this “Martin.”

As gently as possible I instructed my student to tell his friend that he’d been had. I asked if he could get his money back and my student said it was probably doubtful as the thing was purchased at a flea market in another state.

You can easily see how pervasive this influx of bogus instruments is by doing an internet search of “fake Martin guitars.” You will immediately find a number of web sites of companies in China who will gladly sell you not only a bogus Martin but also a fake Gibson or Taylor, and multiple models of each, too. Incidentally, the most recent price listed for bogus Martin HD-28 is $549. So not only was my student’s friend taken by the seller in terms of what he thought he was buying, but also in the price he paid!

I confess that I too have fallen for a guitar that was not what it was supposed to be, in that case a supposedly all-original early 1960s Gibson ES-225 hollow body electric. It turned out that this particular guitar, while in fact being a Gibson ES-225 body had all reproduction parts, making it worth about half what I had into it. I had traded perhaps the best sounding Martin HD-35 I’ve ever owned or played for it, and when I tried to get my Martin back the person who traded me the Gibson claimed he had already sold it and had no way of getting it back. Live and learn. That one still hurts. A lot.

But with acoustic guitars you usually don’t have to worry about something as basic as swapped-out parts. While the example of the fake Martin I saw was shoddy, at best, I have seen in recent years a couple other Chinese “Martins” that to the untrained eye would seem identical to the real thing. The sound wasn’t even close of course, but there is a larger issue here.

Both Martin and Gibson have gone to great lengths in recent years to shut down these Far East operations, with limited success. They have also alerted the border authorities of counterfeit imports and many Chinese fakes have been seized and destroyed. But with lax enforcement in China the practice of making and exporting fake high-end guitars to the U.S. will no doubt continue.

What can the consumer do? First and foremost, buy from a legitimate dealer here in the U.S. While that may sound obvious, there will always be those who let their better judgement be suspended when confronted with a “bargain.” Places like flea markets, second hand stores, and even Craigslist should be shopped at your own risk. In the case of flea markets, it is even more insidious because criminals sometimes dump “hot” (stolen) guitars in these places and buying a real Martin, Gibson or Taylor in such a place can lead to that guitar being confiscated by the police if the true owner happens to get wind of it being sold or happens to spot it when you’re innocently playing it somewhere.

Educate yourself to look for telltale signs that a guitar is not what it’s purported to be. There is an excellent video on You Tube that shows the difference between a real Martin D-45 and a fake one. The old adage about “if a deal seems to be too good to be true, it probably is!” certainly holds true. In this age of detailed information about prices of used guitars being almost instantly available online, you should assume that EVERYONE knows what a guitar is worth.

But in spite of this, and perhaps because of shows like Storage Wars and even Antique Road Show, there are people who are convinced that an undiscovered and undervalued pre-war Martin is languishing out there somewhere, waiting for the savvy buyer to swoop in and grab it for pennies on the dollar. Who knows? Maybe there is. But also remember that famous adage from P.T. Barnum: “There’s sucker born every minute!”

Peace & good music,
Gene

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Long term possibilities?

5/7/2018

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A couple of months ago I noted my seventh year of playing regularly at the Daily Brew Café, a small but wonderful breakfast and lunch spot a short drive from my home. It’s been great on so many levels. I’m certain my playing has improved over that time period – having a regular gig to look forward to not only does great things for one’s confidence but also is inspirational when it comes to learning new material. In that time I’ve gotten to know the family of the owner and made new friends. The customers are often fascinating to talk with too. Living in one of the premier vacation areas of the country means there will always be new folks coming in during the summer. During the off season, locals make up the majority of the customer base and there is no doubt I never would have met so many interesting people without this gig.

So, how does a musician secure a long-term gig? Frankly, a lot of it is being in the right place at the right time. This one came about for me because a close friend introduced me to the owner who is a fine singer in her own right and a music lover who understands how important it is to support live music. But the owner is also a no-nonsense business owner (which is why she is successful and her place is known and loved) and if I had not proven myself I’m sure she would have had no hesitation in telling me to pack it up.

You have to have some level of experience and talent, no doubt, but perhaps not as much of those things as you may think. I think that to a large degree it amounts to nothing more than paying attention!

Thinking back on the many decades I’ve played out, and the many times I’ve watched others doing the same one thing is abundantly clear. Interaction with the listeners is crucial. Making the effort to talk with people, even those who may not be demonstrating a lot of interest in what you’re playing is what it’s all about. Making the customer feel welcome, making them know that you appreciate the fact that they are spending good money on something that is NOT a necessity in their lives.

There are other factors of course, some of which we have no control over like the overall viability of the business – sadly, if things aren’t going well live music is often the first thing to go. The things that the performer does have control over should be obvious but I’ve certainly seen musicians who either don’t care or haven’t considered those things. Here are a few.

Always, always be on time and be prepared to play when you’re supposed to. A few pros I’ve known take great pride in being able to show up at a gig 15 minutes before they’re scheduled to play, set up and jump right into the music. I am not one of those guys. I usually show up at least a half-hour before but often it’s an hour out from play time. This way I can get set up, do a brief (but QUIET, for god’s sake!) sound check, be sure all my equipment is operating as it should and then relax for a few minutes, collect my thoughts, talk to people who may have come to hear me play, review my set lists, whatever…. I always perform better when I don’t have to rush.

Look around. Who’s there? I consider things like how many people are present of course but also the demographic. Is it a young audience or an older one? That will help me decide the order I’ll play my tunes and which ones are best suited.

When it comes time for a break, be sure to make it reasonable time-wise. I try to break for no more than 15 minutes between sets, usually it’s shorter than that. The only time I’ll go longer is if I’m talking with people and I don’t realize how long it’s been since the last set. Owners of the places you’ll play are keenly aware of how long musicians go on break, believe me, and that will factor hugely in whether or not you’ll be asked back. However, they are also aware of how much interaction a musician has with the audience, whether while playing or on break. The savvy ones know that the interaction between sets is just as important as the attitude and involvement a performer shows while playing. It just makes people feel good. And who knows? You may connect with someone who is looking for a musician for a private party or other function.

A very important part of a gig that many musicians seem to overlook is what happens when it’s time to pack up and leave. This will most definitely affect your long term status at any venue. A band or single performer who rushes to pack up and get the hell out, leaving trash behind and the performing area in total disarray is making more work for the employees of that place, or worse yet, the owner him or herself. To you, the gig may be history, but to them all you’ve done is made it harder for them to get home themselves. I always make a point to restore the area I play to as close as possible to what it looked like when I arrived. Better, maybe. This WILL be noticed. And again, if you are packing up and someone wants to tell you about how they too are a guitar player, or their late uncle who loved a song you played, stop what you’re doing, smile, and make them feel good. Five minutes more isn’t going to ruin your day or night and that person will go away with a good feeling about you on a personal level. They may even tell their friends and the next week you may see them back again with more people, i.e., more customers for the place you’re playing. Everybody wins.

Peace & good music,
Gene

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It's movie time!

5/2/2018

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I love books about musicians and music making and read them whenever something catches my eye. I recently finished “This Wheel’s on Fire” by the late, great Levon Helm, which is Levon’s take on the history of The Band. Although in fairness I should read Robbie Robertson’s book for another side of the story (Robbie does NOT come out well in Levon’s book) I loved “This Wheel’s On Fire” and it further reinforced my opinion that today’s Americana/folk/indie musicians owe a huge debt to The Band.

But sometimes I just want to veg out in front of the TV and watch a music-related movie. The other night one of the cable stations broadcast one of the great ones in recent years, “Crazy Heart” starring Jeff Bridges. It’s the tale of a fading, hard-drinking and hard-living country star and his ultimate redemption. The music is nothing short of great, which is not surprising when you find that one of the producers was T-Bone Burnett. See it if you haven’t; enjoy it again if you have.

That got me to thinking of other movies about music and musicians that I’ve seen and always seem to watch again when available. Here’s a list of a few of my favorites. Some are specifically about individual musicians, some use music-making as a backdrop for a story, some are documentaries. Check them out if you haven’t. In no particular order…

“Almost Famous” (2000) starring Billy Crudup, Kate Hudson (!) and Patrick Fugit, whose character is closely based on Rolling Stone writer Cameron Crowe. While fictional in terms of the band (Stillwater), their lead singer (Crudup) and the groupie who loves him (Hudson) it closely parallels the adventures of the very young Cameron Crowe (Fugit’s character) on a writing assignment from Rolling Stone, covering a national tour by up-and-coming Stillwater. Crowe, when only in his late teens, went on tour with the Allman Brother’s Band and many of the incidents in the movie are very close to what happened on that tour. Supporting roles by Frances McDormand as Fugit’s character’s mom and the departed and truly great Philip Seymour Hoffman as the jaded and tough-as-nails publisher of a rival magazine are big highlights. Look closely and you’ll see cameos by other well-known actors such as Jimmy Fallon and Rainn Wilson. In short, the movie captures a unique moment in rock history in the early 70s when big money eclipsed the hippie mentality that drove many bands and musicians of the time. The music is terrific too, and the acting is first-rate.

“Bird” (1988), directed by Clint Eastwood, starring Forest Whitaker as the troubled genius, Charlie “Bird” Parker. This is not a great movie in my opinion, but a very good one. While I don’t agree with Eastwood on most things – like politics – his love of jazz was apparent when he made this movie and Whitaker does a great job of portraying this genius of jazz. How much of the content of the story is accurate is debatable but the music is fantastic. I do wish Eastwood had used better lighting in this movie but I’m sure the darkness that almost overwhelms it visually is meant to portray the darkness in Bird’s soul.

“Oh Brother, Where Art Thou?” (2000) directed by the Coen brothers and starring George Clooney, John Turturro and John Blake Nelson. I positively love this movie and I’ll bet I’ve watched it ten times. The story is silly but all the actors seem to be having the times of their lives. But what it really comes down to is the music, old-timey, authentic country and mountain music, plus some fantastic blues by Chris Thomas King portraying a character loosely based on Robert Johnson. The cameos and supporting roles (and there are many) are also great and there are many, many memorable lines. Clooney and company singing “Man of Constant Sorrow” (voice overdubbed by Dan Tyminski of Union Station) cracks me up every single time.

“Crazy” (2008) starring Waylon Payne as the legendary Nashville guitarist Hank Garland. I confess that I knew very little about Garland before I watched this movie but what a great and sad story it is. I won’t go into the plot details but while only average as a bio-pic I do think it accurately portrays what the music scene was like in Nashville in the 1950s, and just how great a player Garland was. Not easy to watch at some points but the music is absolutely first-rate.

“Woodstock” (1970). The granddaddy of all concert films in the rock era. Musical cast of hundreds; audience of hundreds of thousands. I did not go to Woodstock, although I could have. Many of my friends went but I opted for the 1969 Newport Folk Festival and I’m glad I did. My friends, to a person, reported having pretty much a miserable time at Woodstock. Rain, mud, no food and the impossibility of getting anywhere near the music were their complaints. Of course, their stories have changed somewhat over the years (!). In any case, some of the music in the film is great, some not so much, but viewed with the benefit of hindsight plus hearing stories after the event from the musicians themselves make the film worthwhile, to me anyway.

“The Last Waltz” (1978). Many consider this to be the greatest concert film of all time in terms of the quality of performances. Interestingly, in “This Wheel’s on Fire” Levon Helm states categorically that he hated the event and only viewed the film once. His disgust comes from the fact that by that point Robbie Robertson had made his intentions known about quitting The Band; the others would have continued and did in fact try a few iterations without Robertson in the following years. But there is absolutely no question about the playing of the legendary performers that night. My favorite is Muddy Waters, whose pure, menacing, powerful and wonderful blues is on full display. Joni Mitchell was great too. But Neil Diamond???? What the heck was he even doing there?? I never miss an opportunity to watch “The Last Waltz” when it shows up on one of our cable stations.

“Inside Llewyn Davis” (2013) Although this may be the least known of all the Coen Brothers films I think it’s one of their best, although if you’re not a guitar geek or interested in the Greenwich Village scene in the early 1960s I can see how it might be boring. It won and was nominated for many awards when it was released but faded away quickly. Listed generally as a “black comedy” it is based on the autobiography of Dave Van Ronk, “The Mayor of MacDougal Street.” I highly, highly recommend that book by the way. The Llewyn Davis character is played by one of my favorite actors, Oscar Isaac as a struggling folk singer in the Village and is based on Van Ronk. As with all Coen Brothers “dark” comedies, various misfortunes befall Davis as he tries to build a career at the epicenter of the folk music world at that time and still remain true to himself and his music. And oh, the music. With T Bone Burnett as the musical producer and contributions from groups like the members of the Punch Brothers and Marcus Mumford it is sublime. Cameos are everywhere but my favorite is the great John Goodman as a very powerful manager/producer who many feel is a take-off on Albert Grossman. One of the most powerful scenes is at the very end, when Davis goes to a club in the Village to hear a new, young singer/poet who has begun to sweep the folk world. Davis’s reality and the larger world collide. It should also be noted that Oscar Isaac plays and sings all his own songs. See this movie! And read the book!

And finally, for now…

“A Mighty Wind” (2003). Written and directed by the wonderful Christopher Guest, this film is generally thought to be a take-off on a tribute concert that took place about that time for Harold Leventhal, who was a very influential folk music concert producer in the 50s and 60s. The cast will be familiar to anyone who knows and loves Guest’s gentle but often hilarious comedies (“Best in Show” “Wating for Guffman” “This is Spinal Tap” - oh God, how I love that one!). The characters are direct take-offs on people and groups like The Kingston Trio, New Christie Minstrels, and even Dylan and Joan Baez. Imagine Eugene Levy as a Dylan character!! A detail that I loved was the instruments used. Way down in the credits you will see that they were provided by the sadly gone and lamented Mandolin Brothers store in Statin Island, New York. Vintage Martins, vintage Gibsons, vintage Vega banjos, etc. Very cool indeed. And the songs (all written by Guest and all perfect in terms of period-correct folk whimsies) are terrific. Over the years I’ve tried to turn on a few of my older folkie students to this film, and while most “get it,” a couple who were heavily into the folk scene in the late 50s and 60s took offense at the way folk music and its players are portrayed. I tell them that they are missing the point. Guest is not mocking that time and that music, he’s only giving it a gently nudge with a smile. Over the decades I’ve been into folk music in various forms I’ve met more than a few oh-so-serious practitioners of that style who could do with a nudge from time to time!

Peace & good music,
Gene

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Back from the road!

4/24/2018

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After seven weeks and 4803 miles of driving (plus a couple thousand on a cruise ship) I’m back on the Cape. What an amazing trip, filled with fun, laughter, good friends, wonderful family, too much good food and drink – and music. As this is a music-oriented blog I won’t bore you with stories of those first few things. Let’s get to the music.

My first big decision was: which guitar to bring along? I opted for my new Martin OM-28, packed in a good quality padded gig bag to save on space in my vehicle. Yes, this was risky. Such a nice guitar needs attention; I was heading to Florida for most of the trip and I knew it would have to reside in my truck for the eight days we were at sea on the cruise ship. I made sure to loosen the strings, but not entirely as guitars are braced to assume a certain amount of stress from the strings will be present. I have to admit I held my breath when I got to our rental in Lake Worth, post-cruise, and removed it from the gig bag but all was well. The big thing was as much as possible to avoid extreme heat. That, combined with the humidity of Florida was a recipe for warpage and who knows what else…. In any case, by exercising care my new Martin survived just fine and I’m glad I had it along rather than a lesser guitar.

But back to the cruise. I always look forward over the course of the 22 cruises we’ve taken to hearing the musicians on board, especially the guitarists and this one as most of the others did not disappoint. The show band that played for all the production shows was the best I’ve heard. I was particularly impressed with how they handled the charts for a brand new neo-Soul singer who boarded the ship one day. They had ONE rehearsal and absolutely nailed the tunes. This is one more example of why I am constantly in awe of truly professional, work-a-day musicians. Just like their counterparts in recording studios everywhere, they must handle a wide range of music, not just playing it to perfection but also capturing the essence of the style of music they are playing, be it Broadway/show tunes, rock/pop or even backing up opera singers.

The guitarist from the band even did a couple of one-hour performances in the ship’s atrium of solo jazz and bossa nova tunes on an amplified nylon-string. And he was excellent at these, too. Hat’s off to the ship orchestra on the Crown Princess – and all other bands that have to perform flawlessly for audiences that can be indifferent to their abilities. As always, one of my long standing musical fantasies of playing on a ship came to mind. If only I was 30 years younger – and single, ha!

Back in Lake Worth we went to a local bar to hear a man and his lady friend (with a trumpet player who doubled on bass) who bills himself as: Not Rod Stewart. Yes, that is correct. What a hoot. Do a search online using that name and you’ll see what I mean. He is an older Scottish guy who dresses (down to the chopped haircut), sings and talks like….Rod Stewart. His show was very good, although a bit off color at times. He is extremely popular in that part of Florida and always packs the house. My wife and I couldn’t stop giggling and we knew this was a musical night we would never forget. Good on ya, Not Rod. Just another work-a-day musician who’s found a niche and will keep exploiting it as long as crowds still want to hear “Maggie May.”

Then is was down to Key West for another 10 days of fishing, margaritas (many, many), and again hearing some music in multiple locations around town. As has been the case for the last couple of years the absolute highlight was the incomparable Ericson Holt on piano and vocals. I’ve written about Ericson a few times before in this space I know but I can’t help but say again: He is one the finest proponents of New Orleans-style blues and jazz that are around today. What a voice, what chops. His covers of Fats Domino, Tom Waits, even Chuck Berry and Elvis (!) in his own style, plus many more, are not to be missed. He is pretty much an institution around Key West and has so much work in that area that he hardly ever leaves. His own material is first rate too. However, and here’s a strange thing, I enjoy Ericson much more when he plays solo rather than with other musicians. Not because they are not good; I heard an electric guitarist with him one afternoon who had monster blues chops but Ericson’s piano playing is so solid – his bass lines with his left hand are absolutely powerful and unwavering – I feel like other musicians detract from his sound. He does play with multiple combinations of players in Key West and I’m sure they are fine, but give me Ericson by himself.

I had many conversations with him and it was enlightening. Yet another true pro, with no attitude whatsoever. I look forward to hearing him again, whenever I can.

Elsewhere in Key West, it was pretty much same old, same old. Lots of singles playing Tom Petty covers and sing-alongs. This is the reality of playing in a hardcore tourist town. They have gigs so God Bless, I guess. I couldn’t do it, for a lot of reasons. My favorite band of the last few years in Key West, the Doerfels (now calling themselves Fuel on Fire) have gone on to Nashville to seek fame. They deserve it, believe me. But I do miss them. And my favorite bar, the Little Room, has yet to reopen after damage from the hurricane last year. I sure hope they get back on their feet. I have heard lots of great music in that place. It used to be one of the only places on Duval for grown-ups, if you get my drift.

So now I’m back in my studio in West Falmouth, listening to new music and doing my lesson planning for next week and beyond. Almost all my students are scheduled, which is a relief. Then this Sunday I will return to my long-standing gig at the Daily Brew Café. The owner has let me know that I was missed, another relief!

Back to reality. But I’m fortunate. My reality is very good, indeed.

Peace & good music,
Gene

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