Latch Music's Ezine #16
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* "The Zine" content is contributed by Dave Latchaw and colleagues who use the Internet to promote their musical projects. You can check out previous issues at "The Zine" Archives.
- Article: "Practice" by Dave Latchaw
- Guest Artist: Earth Balm - Wonderful dreamy soundscapes.
- Featured Web Site: Music Biz Academy.com
- Featured Web Video: The Bears
- CD Pick: John Scofield "Quiet"
Practice
by Dave Latchaw
Practice is not a mystery. As a musician and a music educator I have heard plenty of excuses for not practicing, and have even have given one or two of my own. There is no way to avoid practice in the process of expanding one's capabilities. It's the bridge that everyone has to travel to achieve a higher level of competence at any skill. The amount of constructive practice put in will directly affect the time that it takes to reach a goal. Of course, natural ability is a factor also. Generally, I look at natural ability as just being at a different starting place on the path of forward progress. Sometimes natural ability allows you to start farther down the path, but it gets you just so far. Usually, the musician who has natural ability and has a good sense of how to practice constructively will be the most successful in their musical progress. The person with natural ability who doesn't practice the areas they may be lacking in, will end up being limited. For example, a musician who starts out learning everything by ear still needs to learn how to read music. It just makes one complete. Yes, there are exceptions, but that is rare. You can find that person who can listen to very complex music and then be able to play it back perfectly. That's impressive, and very cool, but if there was no recording and only the written music, that person would be lost.
How to practice? What to practice? When to Practice? These all are questions to ask yourself, and then figure out what steps to take to have practice be a part of the regular routine. As an educator, I am surprised by how often students are "practice challenged". Since practicing isn't something we innately know how to do, students need to ask their teachers for help if they are having trouble. Most teachers have loads of ideas to share if they know that a student needs help.
I think it is important to remember to practice slow. Take the time to break down whatever section of music you are working on into small bits, then gradually expand from that. There may be a technique issue or piece of music you need to perform, just decide what is most pressing and focus your available time on that. You have to walk before you can run. Isolating small sections will help with the building of muscle memory when doing a difficult section. This takes patience and time, but is absolutely necessary for improvement. You can't fake being thorough.
Record yourself. Nothing can give you a more honest and humbling view of your playing. Recording myself has been a great source of information for me to design my practice priorities. I also find that with students, and sometimes professional players, they are so engaged with the physical act of playing that they don't have a complete perspective on what they sound like. It is sometimes easier for players and students to be in denial about their actual abilities than record how they play. Recording is very truthful and can be the great ego equalizer. The ego is great at leading people into complacency, which is counterproductive to creative growth and expansion of capabilities.
There is a difference between playing and practicing. You really need to practice the things that you can't do yet, which is not the most fun thing in the world! Make sure that you also give yourself time to just play, because that's fun and it helps to improve the musical side of you.
When to practice is tough for everyone. With limited time to practice, one should have a prioritized list of what they need to work on, so that when there is time to practice you can be efficient with your time. Most people have a zillion activities all going at once, which means making time for practice isn't easy. That's fine, but one can't expect results without consistent practice. In a lot of ways, results are equal to time spent on a task. Try to find more short periods of time if big chunks of time are not available. I think many people are inclined to bail on practicing if they can't do a long session.
In this busy world sometimes practice gets put aside. That will happen, but just keep trying to make your practice time important. Remember to have a good time all the time with music, but also respect it with practice. Your musical growth is equal to time you put towards it - keep practicing!
So... someone walked up to a guy on a New York street corner and asked, "How do I get to Carnegie Hall?"
Earth Balm
#1 Where can people find your Internet activities?
My artist’s website includes details about my music, my recording set-up and the software that I use. It also includes links to the official websites of artists who have influenced me.
An integral part of my music is my interest in aspects of spirituality and visitors to my home site will find a page of relevant links to websites of a range of religious denominations.
The URL for my artist site is www.earthbalm.com. The site also features exclusive real audio and mp3 files of Earth Balm music that are unavailable elsewhere. No cookies deposited and no email addresses requested friends. The bulk of my musical work can be found and freely downloaded from www.mp3.com/earthbalm.
#2 How has the music of Cole Porter, George and Ira Gershwin, and Rogers and Hart influenced your music of today?
Quite simply, it’s all pervading; it’s the diet I was weaned on.
When I was growing up, my parents always listened to network Radio 2 in the UK. The station’s playlists always featured songs by these composers and indeed, still do. In fact, this particular radio station must have one of the most diverse playlists in existence, Frank Sinatra shakes hands with Duke Ellington, Sting, The Stranglers, Ella Fitzgerald, Eva Cassidy, Crowded House, Enya, the Chieftains et al. Exactly my kind of musical stew!
I would imagine that the influence of the classic song-writers is hidden deep in the sounds and structures of my music; it’s probably inaudible but Porter; the Gershwin brothers; Rogers and Hart; Cahn; Burk and Van Heusen, all wrote music for public consumption, the pop music of its day. Each of them bought something unique to popular music but in essence, that is what they were composing; pop music and I’m a lover of pop music.
I’m a lover of writing and literature too, and there’s such a rich vein of prose running through songs by the composers you asked about. Cole Porter’s lyrics are so witty (almost the Marx Brothers set to music). Lorenz Hart’s words contain such melancholia. John Blackburn and Karl Suessdorf, when they wrote "Moonlight in Vermont", were so clever that, until you see the lyrics written down, you don’t realize that the lines don’t rhyme. Perhaps all the good rhymes have been used up but a lot of current music seems lyrically clichéd. Lorenz Hart was the lyricist, in my opinion, and he peaked with "Bewitched, Bothered and Bewildered" and "Manhattan". Though, now I come to think about it, Ira Gershwin’s lyrics on "Love is here to Stay" are sublime.
Harmonically, of course, there’s that chordal diversity in the "Classic" songs that seems to be missing from most modern popular music and melodically there’s more than just a (pentatonic) minor mentality. Additionally, the harmony is integrated without the eclecticism that characterizes a good deal of modern classical and jazz compositions.
I’m sure that if I was working in the jazz idiom then 75% or more of my repertoire would be standards, I love them that much.
#3 How did Jon Anderson's LP "Olias of Sunhillow" inspire you?
I have to admit that at the time I originally bought the album, I was more interested in the artwork than the music. I was actively buying vinyl albums with gatefold sleeves, inserts, decorated labels and Roger Dean/Rodney Matthews/Jim Fitzpatrick artwork; Budgie, Yes, Gentle Giant to name but three artists. I remember travelling home with my copy of "Olias", drooling over Dave Rowe’s gorgeous artwork. Of course, when I got home and put the LP on the turntable – WOW! It really was like another world of music for me, filled with Middle and Far Eastern instrumentation and harmony. I really had not heard anything like it before. I alternate between both loving and hating the lyrics, depending on the direction of the prevailing wind when I’m reading them.
I partially fulfilled my ambition to record my own "Olias of Sunhillow" with the CD "Henna" but I’d like to put out that CD Remixed, Extended and Remastered, with some beautiful packaging. In fact, that’s my next big project; it’s a sure-fire money-loser too! I think that’s the only disappointing thing about the MP3.com CD concept, there is no room for anything other than a four-page booklet. I contend that CDs have little sense of occasion or scale anyway; everything is indistinct and miniature. Boxed sets are sometimes an improvement. Maybe "Henna" could go out in a DVD style case with a booklet inside or perhaps in a bejewelled, boxwood, brass hinged case with a bound book of Mehndi patterns and a copy of the Bhagavad Gita, no?
"Olias of Sunhillow" really was a kind of a "opening of the flood-gates" album for me, it changed my whole idea of what could and could-not be done within the genre of pop music. There are a lot of really intriguing drones, big choral sounds and Asian polyrhythms on that piece of vinyl. I bought a copy of the album just over a year ago, to go with my cassette and CD copies, it cost me about $27 but it’s in absolutely mint condition.
#4 Who inspired you to get into World music, and why?
Again, my personal journey into World Music, much like my introduction to the sounds of "Olias of Sunhillow", was unintentional. I had heard musicians such as Ravi Shankar, Ladysmith Black Mambazo, Ruben Blades and Clannad on the radio but it was when I attended an educational course on teaching World Music that I became hooked.
Then, in 1995, I heard two artists who really did make a difference to my musical development: Sheila Chandra and the late Nusrat Fateh Ali Khan. Sheila Chandra’s vocal work is uplifting and experimental and challenging, all at the same time. No matter who your God, Nusrat Fateh Ali Khan’s recorded work is inspiring and enlightening.
I think it was "The Enchantment" by Sheila Chandra and "Shahbaaz Qalandar" by Nusrat Fateh Ali Khan on the 1995 Real World sampler that led me to "see the musical light"!! But that’s just the tip of my interest-in- World Music-iceberg. Papa Wemba, Davy Spillane, Patience Dabany, Afro Celt Sound System, Talvin Singh, are artists that I listen to on a regular basis. Even more interesting again are compilations such as the "Rough Guide", "Navras" and "Nascente" series that feature less well known artists. There are so many great World Fusion artists at MP3.com too, as I’m all too aware. What’s most encouraging is the way that World Music sensibilities are beginning to soak into mainstream popular music, Hip Hop being a prime example.
The wonder of "World Music" and "World Fusion" is, for me, in its diversity of rhythm, harmony, phrasing and language. African and Indian music seem to highlight the fact that the human voice is a musical instrument, just like any other. The spoken pattern teaching, used by tabla masters to hand down rhythms to students is just sheer bliss to listen to, and Sheila Chandra’s exploration of the method on "Speaking in Tongues" takes it to another level again.
#5 How did you come up with the name "Earth Balm"?
I originally appeared on MP3.com under my real name of Dale Warner, which I had thought was quite a unique and great-sounding name. Of course, five minutes on the Internet and you get to know that no name is unique and there’s already a dot-com registered for it and all of its possible variations. The time came to create a station at MP3.com, to feature a playlist of songs that I liked and songs of my own. One of my aims in composing music was and still is to create songs that encouraged reflection, healing and the contemplation of the spiritual. Earth Balm was the name I chose for the MP3.com station. In "Earth Balm", the "Earth" reflects the desire to be "global" and non parochial. The "Balm" refers to the idea of healing lotion that might anoint the whole world. So, it was "Earth Balm". "Music to soothe the world’s cuts and bruises" was the catchline; we should all be so lucky.
#6 What do you want people to get from your music?
Pretty much the kind of things reflected in the name "Earth Balm". I want the music to be accessible to all, regardless of gender, nationality, creed, age etc. I want the music to fuse together all of the elements that I so much enjoy in music, and I’m not anywhere near too proud to let those influences, on occasion, be obvious; African Guitar Soukous on "Unfettered", Enigma on "Got Inspiration" and Todd Rundgren on "Driftwood" spring readily to mind. I would genuinely like to produce music with the ability to help people reflect/meditate. And finally, the icing on the cake would be if people were to genuinely enjoy it!
#7 How has the Internet helped your projects?
Simply, if it weren’t for the Internet, I wouldn’t be creating music! I would still be playing my guitar in my spare time, and during music lessons and concerts in the school where I teach.
I began writing music again, just over a year ago, after a thirteen-year break precisely because, on the Internet and at MP3.com there was a means to distribute my work. The Internet and the MP3 format are wonderful tools for getting our music, thousands of miles, across the globe. It’s also a great means for communicating with like-minded people, working in the same field.
#8 What upcoming projects should people be looking forward to?
First and foremost, there’s the revised website which really is becoming the heart of my Internet musical activities. The much expanded website has already grown further with an audio download and streamed play page. Flash animation and Java interactivity will be added to the site over the next few months, along with more information, graphics and sound files. I’ve saved some new music for the Artist page at MP3.com and that will be posted slowly, over the next couple of months.
We’re in the process of putting together a promotional package because we’ve had requests for one and it makes sound business sense.
On a personal level, most importantly to me (musically at least) is the project to rework material from the "Henna" DAM CD by expanding, remixing and re-mastering. There are a couple of new pieces to go on there too!
Just like the whole World and her uncle, I’d love the new version of "Henna" to be financed by somebody else, particularly at the manufacturing stage but if not, then it’s up to me. As I said earlier, it has to be a full on package, with a great cover and inner booklet, a real labour of love.
Music Biz Academy.com
If you are selling or thinking of selling your music on the web, Music Biz Academy is a great source for information. There are loads of music related articles. There is a cool directory of links to various music related topics, and they have the Music Biz Academy Digest that you can subscribe to (free), which is sent every two weeks via e-mail. The Digest has various articles and relevant links for music on the net. Very useful site for gathering more information on web music.
The Bears
The Bears is a great band from the Cincinnati, Ohio area. The members are Adrian Belew, Chris Arduser, Rob Fetters, and Bob Nyswonger. They have just released their first recording since 1988, "Car Caught Fire". This month, the video I picked is the single from "Car Caught Fire" called Mr. Bonaparte, written by the great Adrian Belew. Adrian has written a catchy tune with a Beatle's-like vibe to it. The video is made for the Internet by using Flash technology. With software getting more affordable and easier to use, I am sure more artists like this will keep progressing with technology and be able to expand their musical presentations. You will need to have a Macromedia Flash web player. The video is created by Dr. Minz. Click here to check out The Bears video.
Related Sites
John Scofield
"Quiet"
With the current global bizziness, John Scofield's "Quiet" seemed to be the perfect music pick of the month. As with any John Scofield recording, there is great playing and tunes. All compositions and arrangements are by Scofield, except for "Away", which was composed and arranged by Steve Swallow. All of the tunes have a gentle and sophisticated quality, led by the wonderful expressiveness of Scofield's acoustic guitar playing and thoughtful orchestrations. The arrangements have a real strong "Gil Evans hanging out with Vince Mendoza" vibe. The main band is John Scofield on acoustic guitar, Wayne Shorter on tenor sax (tracks 3,5 and 8), Steve Swallow on Bass, Bill Stewart on drums (tracks 1, 3, 4, 7, 8 and 9), and Duduka Da Poseca on drums (tracks 2, 5 and 6). The rest of the ensemble is Randy Brecker on trumpet and flugelhorn, John Clark and Fred Griffen on french horn, Charles Pillow on alto flute, english horn and tenor sax, Lawrence Feldman on alto flute, flute and tenor sax, Howard Johnson on tuba and baritone sax (tracks 2, 5 and 6) and Roger Rosenberg on bass clarinet. Great playing by all. Get it and peace out...
Tracks for "Quiet"
- After The Fact
- Tulle
- Away With Words
- Hold That Thought
- Door #3
- Bedside Manner
- Rolf And The Gang
- But For The Love
- Away
Click here to learn more about "Quiet"
Related Sites
- John Scofield
- Steve Swallow
- Gil Evans
- Wayne Shorter
- Bill Stewart
- Randy Brecker
- John Clark
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