Explorations Into Jazz

I love listening to jazz. I also happen to love playing it as well (at the very least I try to). In another effort to prostitute myself to cyberspace as a musician a.k.a. shameless self promotion, here are some recordings I did while attending Gary Burton’s Jazz Improvisation course via Coursera. These early 2013 recordings are my (futile) attempts at improvising over jazz standards using mostly piano and/or guitar plus a melodica on the Chick Corea/Return to Forever classic “500 Miles High”:

I hope that you (whoever you are and wherever you might be) enjoyed the sort of jazz crap I’ve been trying to spew out from my innermost being (other than my own original works).

Johnny Alegre’s Jazz Guitar Workshop @ Tiendesitas Super Jazz Weekend – Part 1: “The Experience”

(Author’s note: Earlier this week, I asked permission from Mr. Johnny Alegre to post this piece. Last night, I was granted permission to do so and even got help completing the piece in its final form from the legendary jazz guitarist himself. I feel very honored.)

Around 3 p.m. last Sunday (May 25, 2014), I stopped by Tiendesitas to attend a very much anticipated jazz guitar workshop. This jazz guitar workshop was facilitated by none other than one of the top jazz guitar heroes of the Philippines, Mr. Johnny Alegre. I’ve heard of Sir Johnny around the late 90s, but I became acquainted with his work through his CD “Eastern Skies”. The blend of jazz guitar and the sounds of the Global Studio Orchestra (conducted by Gerard Salonga) was captivating to say the least, and I wondered how Sir Johnny was able to do his thing. This afternoon’s event was a chance I took to somehow find out how he thinks musically as well as gain some useful information to improve my jazz composition and piano/guitar skills.

The workshop kicked off with an interview conducted by Zach Lucero (former NU107 DJ and drummer of Imago and Humanfolk), which served as kind of an introduction to Sir Johnny. Afterwards, Sir Johnny tried to figure out what his audience was like that afternoon, a mixed group of people consisting of beginner-level guitarists to people who’ve had many years of experience, such as myself. The key tips in his workshop were:

1. Be in tune.
2. Play in time. Have good timing.
3. Strive for the right tone.
4. Have good visualization (e.g. practice playing all your modes across the fretboard, draw fretboard charts)
5. Listen to great works of music.

The workshop had discussions ranging from some of the most basic topics such as getting in tune and scale shapes to more advanced discussions of jazz theory such as modes and the impact of Latin American music.

In terms of jazz guitar playing and composition, one of the points that greatly captured my interest was Sir Johnny’s discussion and demonstration about modal interchange and secondary dominants. Why is it such a big deal? It is because it explained a lot of things such as playing minor pentatonic or the Dorian mode over a major blues chord progression, “out there” soloing, the use of color/passing/approach tones, and other stuff that makes jazz sound like what it is. Modal interchange and secondary dominants make perfect sense as to how many jazz pieces (bebop and modal jazz in particular) start at a particular key signature, drift in and out of different key signatures, and then end right back at the original key signature without sounding jarring like a 20th-century serial composition (Ascension-era John Coltrane is a different case for another discussion). Sir Johnny’s words regarding the matter had confirmed what I have been hearing and trying to do before: Modal interchange has big implications not only in the way we approach soloing but also in reharmonization and composition.

The seminar sort of felt like most of my jazz theory discussions with pianist Steve Nixon, with the exception that this time it’s about jazz guitar. I have been learning jazz through a pianist’s perspective for most of my life as a musician, but this afternoon was the first time that I was able to learn jazz directly from a guitarist’s perspective. For years I have done work to try and understand the theory of jazz through a piano keyboard and have been trying to transfer that knowledge through the guitar. Thanks to Sir Johnny’;s workshop, I was able to confirm that I must be doing something right with all that experimentation and self-learning. More than that, I now have some understanding as to how Johnny Alegre approaches jazz guitar and this big musical language called jazz itself. Would I say that the workshop was a success? I would say yes simply because my understanding of how and why jazz guitar is what it is has improved vastly thanks to Sir Johnny.

So, how did it all end for me? Well, like a star-struck fanboy, I fumbled around thanking the man for the stuff I learned and I asked permission to publish this post (with snippets of the recording and photos). As star-struck as I am, I forgot to introduce myself properly, despite trying to converse with him three times, and I forgot to purchase his latest album (which I will BTW) despite having prepared some cash for it. I even made an embarrassment of myself by asking, “What was that piece you played at the end?” only for him and another member of the audience to tell me that it’s Stevie Wonder’s “You Are the Sunshine of My Life” in a tone that seemed like, “Isn’t it obvious that Johnny’s playing ‘You Are the Sunshine of My Life’? Duh…” Oh well, if I do meet him again, I’ll take note of these things and hope to be a bit more composed and refined in the way I conduct myself in front of him.

If time permits (and if I am allowed to do so), yours truly will  transcribe some of examples Sir Johnny performed in the workshop and make them available here (in standard notation and tab). Watch out for Part 2 of this piece as I try to retell some of the things I have learned from Mr. Johnny Alegre.

For more information about Johnny Alegre, his latest and past albums, and his other projects, please visit this Facebook page or his website.

Postmodern Societal Attitudes Give Rise to the Starving Musician

Any decent business (especially businesses involving media) would hire a number of people and services to get something done. The range of such services would involve anything from PR personnel to cleaning services. All of these people get paid, whether they get down dirty to clean whatever muck such project accumulates or act as your typical desk pencil pushers. It does seem really unfair that while people have budget for such things, there are others who simply leave music out of the picture. Such a thing has been going on for as long as I can remember like all of those times that I have played with a mediocre dinner or endless cups of iced tea the only remuneration I get for music. It sucks really that there are numerous times that in certain events, people ask you to play for them free. It’s like society is conditioned in such a way that music is free like air, yet the fact remains while it is possible for any person to learn how to play music, not everybody can become pros at it. Therefore, as law of supply and demand would dictate, a demand for music from a pro should equate to financial remuneration. What you should sow is what you should reap, right? Now, why is it that so many people, ranging from the casual party organizer to media giants, think that they can get music for free? To put things into better perspective, I’d like to share this fascinating letter from D.J. White, a professional musician, to a media company who would like to use music for free:

 

 

 

Now, every serious musician (myself included) has invested close to a lifetime of learning to be able to do what they do best. Matter of fact is that until now, I am investing time and energy to learn new skills, techniques, etc. so that I do better. It is fact that such activity requires money simply by virtue that all musicians have the same needs as other people, just as Abraham Maslow had charted in his hierarchy of needs. Therefore, professional musicians, such as myself, have every right to demand payment for what they do. Now, the problem is that why is it that certain sectors of society feel entitled to get music free, never providing a budget for it? Shouldn’t we musicians have the final say regarding that? After all, such parties are the ones in need of what we do best: provide music. Another question is how can society’s perception change? How can we change the mindset that music has a premium. It something that demands effort, patience, and time, that it is something produced by people who have bills to pay and mouths to feed in order to keep on going. Are musicians also to blame as to why people can get away with getting music for free? Maybe it’s time that all musicians in the world start to dictate the worth that they deserve so that others won’t just push as around to play or write music for free. Perhaps there are ways out there that can change the attitude of postmodern society so that we no longer give rise to more starving musicians.

The Sobering Reality of a Life as a Musician

At this point in time, it’s pretty obvious I’ve become a Devin Townsend fan. Obviously, music has got something to do with it, but more than the music I get to learn a lot of things from the guy. I’m not a touring musician at this point but I sure understand how difficult it could be.

In this recent Devin Townsend interview, other than talking about Casualties of Cool (his new album and project), Mr. Townsend presents a picture of a touring musician who has the challenges of keeping a musical career while keeping things afloat back home (kids, aging parents, etc.). Perhaps, this is the sort of thing that Frank Zappa was confronted with before, being an independent musician and all.

One thing that I think about is would it be possible for me to go the same kind of route that Devin Townsend and Frank Zappa have done before. I got a bunch of compositions now that I will start recording some time this year. Maybe I can organize a band and then go on tour, but there will always be the questions regarding finance and logistics. How much money will it take? More importantly, how will I be able to establish a following that will allow me to do such things? How do you make it sustainable? Such are things that I’m learning little by little from people like Devin Townsend, Frank Zappa, Steve Vai, etc. From what I hear, it’s so far off from the glamorous life that you get to see from mainstream artists who are on the radio stations. If Devin Townsend, an individual coming from a developed nation that supports the arts, is confounded with challenges that could get in the way of his music and livelihood, how much more will it be for me, an unknown musician from a third-world country, who is barely at Mr. Townsend’s level?

I ask myself now, what should I try doing next if I am to move forward and achieve some form of progress? After completing my studies, what’ s the next step? It’s something I have to plan carefully and, more importantly, pray about to the Lord.

To Shred or Not To Shred?

It’s been established that most of Devin Townsend’s work does not feature guitar solos. Case in point is that in the Strapping Young Lad album “Alien”, only one song gets a guitar solo. As you can see in the video above, Devin Townsend can shred (or, in his own terms, wanky wank wank), although the point of this video is sort of a mockery or a parody of the guitar hero phenomenon. In fact, in one of D’Addario’s videos featuring Mr. Townsend, he goes on to say that, “Anybody and his dog can play wanky guitar,” which I would think means that anyone can go on and play a gazillion notes without any semblance of meaning other than to impress people. So the question now is the title of this entry: To Shred or Not to Shred?

If Mr. Townsend would perform what can be called meaningful shred, it would be something like this:

 

It’s a medley of Devin Townsend songs with a title that let’s people know what his opinion is about shred guitar in general.

I remember reading that Mr. Townsend always puts the song in mind and that more often than not, wanky guitar doesn’t work well in a song (in his songs at least) and it does not add anything to it. It sort of echoes Claude Debussy who once said “The attraction of the virtuoso for the public is very like that of the circus for the crowd. There is always the hope that something dangerous may happen.” So, if we are only trying to communicate “danger” through shred, is that all there is to it?

Perhaps a sort of balance must be always kept in mind. You can shred as long as it will add something to a song or musically make a point, making shredding inevitable to the music. It would certainly be the case in other kinds of musical work. In other cases, we have to accept that shred will not work well. For example, in Dream Theater (a band known for shredding prowess) songs like “Lifting Shadows of a Dream” or “Disappear”, shredding on a guitar would be a worthless exercises because it will not add anything to the song. Clearly this shows that John Petrucci knows when to say “pass” to shredding even if it is one of his strongest points.

So, if we can forego shredding in music, then why even attempt how to do it in the first place. One reason is that there are occasions where it will work and it will add wonderful things to a song. I can’t imagine a song like “Highway Star” or Mr. Big’s “Addidicted to that Rush” without all that shreddy guitar work. Second, learning how to shred improves motor skills and reaction time in music. Steve Stine usually says in his instructional videos that the point of learning how to shred or play difficult stuff is not the goal itself. But rather practicing such things builds skills and confidence that will enable you to do things easier and more effectively. If you can play difficult material then lower level material would be easier to play. It builds skill that will enable any musician to accurately reflect what should be expressed. It’s kind of like functional musical gymnastics.

I remember my piano teacher, Prof. Richelle Rivera, saying something to effect like, “Playing fast is not the goal. We already know you can play fast. Producing a good tone is.” I am of course paraphrasing my piano teacher’s words but in essence meaningful expression is always more paramount than superficial flash. I remember getting a bit impatient about myself playing slowly on pieces by Bartok and Beethoven and so I decided to speed up a bit (especially on the Bartok Bagatelle I was assigned to work on), only to be reprimanded by my teacher who insisted that I play the piece at an almost dragging pace. In such a manner, I was again reminded that playing slow is actually more difficult than playing fast. Articulating the notes in a way that accurately represents what you want to communicate to an audience is harder than impressing an audience with a gazillion notes per second. To this day, despite no longer being a piano major, I still work on my piano skills as my teacher had instilled upon me.

So, to shred or not to shred? To shred, as long as it is done meaningfully and appropriately, the opposite of shredding as a means of self-indulgence.

James Taylor and His Big Bad Drum Machine

I grew up listening to James Taylor. I remember the times when me and my sister would be on a weekend drive going to Cavite with our Dad to spend time with our Mom (who at that time was fully immersed into running a garments factory). The music that would accompany us during those Friday night or Saturday morning drives would come from a tape of James Taylor’s greatest hits. Stuff like “Fire and Rain”, “Steamroller”, “You’ve Got a Friend”, “Sweet Baby James”, “Don’t Let Me Be Lonely Tonight” and all of that acoustic singer-songwriter stuff that he has always been known for.

In a sort of attempt to catch up with postmodern times, James Taylor sort of gave in, after touring with so many drummers, and got on the drum machine trend. However, this is not the kind of stuff you would hear from a Roland TR-808 or FLStudio. Still being true to his roots, James Taylor’s drum machine is acoustic:

 

More in line with the sort of stuff that Pat Metheny used (the Orchestrion), James Taylor’s drum machine is a little bit more rudimentary. Instead of a real kick drum, this rig uses a wooden platform with heavy posts slamming into it, kinda like the feel of stomping on stage or on a wooden panel while singing. Anyway, that big, bulky thing affectionately called “Big Foot”, is awesome. You can’t really replicate the kind of impact it has with a TR-808.

The Joys of Using Contemporary Technology and Electronic Musical Instruments

In an ideal situation, I would have a perfectly soundproofred and treated recording studio with a live room, a vocal booth, and a dead room. I would have the drum kit of my dreams in its own booth mic’ed up properly, and I would would have another room for guitars, a grand piano inside the live room, a rack of synthesizers, an orchestral room (with instruments), etc. I could go on and on about what I would like to have. Unfortunately, budgetary constraints would not permit this. I don’t have a million dollars to fund such things. Thanks to latest advances in technology, I don’t need too much equipment in my home studio.

I actually make a living with an electronic piano from the ’80s hooked up via MIDI, a couple of guitars, a condenser mic, a multi-effects pedal with modeling, a tube amp, a number of VST instruments, scorewriters and a DAW, an audio interface (that I should replace soon!), and other bits and pieces here and there that make noise. That’s about it. Thanks to VST instruments, I have access to great quality sounds that about 10 to 15 years ago I would not have such as orchestral sounds, horn sections, and drums. Many thanks to the people who have made home recording a lot more convenient!

At this point, I don’t have the funds for acoustic treatment or soundproofing, and so I have to make do with recording acoustically using a number of workarounds such as putting a thick comforter or blanket over my amp and mic for recording electric guitar old-school style, recording vocals during the “dead” hours of the day (or inside the car using my Zoom H4n). So far, I have been successfully recording acoustic stuff this way, not the most ideal thing in the world. However, these workarounds will certainly fail if I were to record acoustic drums. Not only will I have a lot of difficulty finding mics (which I don’t have) or the quietest pieces of hardware around, I will also be in trouble with my wife (who will most certainly wake up to the noise of drums) as well as the neighbors. I had experienced getting a phone call from an irate neighbor once when I was rehearsing with Jacob’s Ladder (about 15 years ago!), and I’m not going to have that kind of trouble again. And so, the solution for that would be MIDI capable electronic drums. I found this video that will explain better how electronic drums are advantageous over acoustic drums, fully convincing me that this is the way to go if I’m going to do drums faster rather than programming those parts (a tedious process, BTW):

Speaking of workarounds, even highly acclaimed bands like Haken (my son’s current favorite) use such techniques to record their albums. The next video shows how Haken vocalist Ross Jennings records some of his stuff:

As you can see, you can record vocals in an attic with some blankets, duct tape, and a good mic hooked up to a DAW. Of course, nothing beats a professional recording studio for the job, but workarounds like these augmented with today’s technology can deliver results that are pretty much close at the fraction of the cost.

These things, dear readers,  are only a few examples of the joys of using contemporary technology and electronic musical instruments.

 

That is all for now…

I don’t know if I should be happy that my piece entitled Filipino Mediocrity Starts with the Individual is getting some form of attention lately. At one point, it is flattering that some people think it makes sense.  It cannot be helped that there are people who will revile it and/or use it as a jumping point to promote their religious or philosophical affiliations. At the very least it has an audience.

First off, this site is mostly intended to feature yours truly as a composer and musician involved in everyday life. Other than that, things such as my opinions regarding society, politics, etc. are secondary. Don’t get me wrong; I am delighted in the fact that some people are taking my alternative views seriously, happy even that it is creating some form of awareness among readers regarding what are the ills of Filipino society and what can we think and work on as solutions (something that is not my expertise whatsoever).

From time to time, I may write about Filipino society, but I’m guessing it will be from the perspective of yours truly as a composer, musician, and family man and how it affects me rather than launching off into a political agenda of some sort which is very much beyond my capabilities. I’d rather talk about music instead.

——————————–

In other matters, Joel de Guzman’s (head honcho of Cycfi Research, Inc.) Cycfi Research Neo hexaphonic pickups have begun to emerge out of his shop. Watch out for those. I hope to have them installed on some of my guitars soon for more musical experiments.

That is all…for now…

LCSMC Stringed Instrument Ensemble Live @ “A Hundredfold for the Lord Music Festival” 03/08/2014

Yours truly on classical guitar, first guitarist from the left

Last Saturday’s “A Hundredfold for the Lord Music Festival” at UCCP-Ellinwood Malate Church was absolutely wonderful! I played as a lead guitar player for the group I now dub as the LCSMC Stringed Instrument Ensemble. All instrumentalists, solo singers, choirs, and support staff gave their all for the Lord. For the many people who have missed it, here’s the LCSMC Stringed Instrument Ensemble’s short set:

1. “Introduction” (Improvisation by LCSMC Stringed Instrument Ensemble)
2. “Rock of My Salvation (Music by Teresa Muller, instrumental arrangement by Joel Gervacio)
3. “Salamat Musika” (Music by Gary Granada, instrumental arrangement by LCSMC Stringed Instrument Ensemble)

Some of the things that I hope to have done in the concert include play one of my original compositions on solo piano and perform some piano as well for the ensemble (although this would equate to completely missing the point/concept of the ensemble). Anyway, there were at least six pianists around during the concert, and so it would have been redundant had I been plucked out to play some piano (plus there were much superior pianists around like Rev. Leo Rempola and Rey del Rosario).

I had initially planned to record the entire concert straight from UCCP-Ellinwood’s Main Sanctuary audio board. Unfortunately, technical limitations only allowed me to record the set where I played in. What sort of technical limitation was that? The sound guy only hand one RCA cable which he had to use to hook up mp3 players for first musical offering acts (Christian Pop). Since the group I played with was part of the second musical offering, I could only ask the sound guy to record my group’s set.

However wonderful the concert was, here’s are two items that I think could have made the concert a lot better:

1. Improved promotion. Search the Internet for this particular event and my blog shows up as the top result. LCSMC doesn’t seem to be keen on promoting their concerts except using limited exposure via Facebook. I’m not sure if this was done, but perhaps they could have also advertised the concert at 98.7 DZFE, NCCP, etc. You get the drift. I do think that the LCSMC should promote such events to a wider audience rather than to just member churches.

2. An LCSMC House Band. I am very much peeved by the preferences for backing tracks (what we call in the Philippines as “minus ones”) over live musicians by the majority of the pop singers (no offense, okay?) that performed in the concert. Such music could have been performed to a professional standard by a group of musicians available within the LCSMC. I do think that LCSMC has an abundance of instrumentalists that could have been commissioned to become a sort of house band that would play all sorts of Christian music ranging from contemporary to even classical.

Anyway, the most important thing about this concert was it was done as an expression of worship to the Lord through music. It is my sincere prayer that those who have witnessed the performance be blessed.

Prog/Dream Theater Fan Humor with PSMS and Devin Townsend @ Sea

I’m a Dream Theater fan. I’m not ashamed to admit it. I’m also not ashamed to admit that I like every Dream Theater album, and that includes the much reviled “Falling Into Infinity”. This is the band that got me into prog in the first place. Though largely known for extremely lengthy complex prog metal masterpieces like “Scenes From a Memory”, they do have good short tunes too, like this one:

This, my readers, is “Burning My Soul”, a rather serious hate/rant song with lyrics by Mike Portnoy. It was originally a lengthy song with a slower tempo instrumental section (which became, through executive meddling and producer manipulation, a separate instrumental called “Hell’s Kitchen”). Anyway, enough of that history. It’s a pretty serious sounding song, right? The video above demonstrates a fragment of Dream Theater’s impeccable musicianship skills. However, my new favorite version of this song is this bootleg video from “Progressive Nation at Sea 2014”, performed by ex-DT members Mike Portnoy and Derek Sherinian (Keys) with Tony MacAlpine (Guitar), Billy Sheehan (Bass). and Devin Townsend on vocals and stand-up comedy antics:

One comment posted said that this is a train wreck done in style. I’d say in great humourous style. It’s as if Frank Zappa came to life with Devin Townsend’s vocal cords. If you’re a musician and a fan of Dream Theater and Devin Townsend, I would bet that you will find this to be funny. If you’re not enjoying and laughing at this then I feel very sorry for you.