"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: "Improvising" by Dave Latchaw
- Guest Artist: Juan R. Leon - Wonderful dreamy textures.
- Featured Web Site: indie-music.com
- Featured Web Video: Peter Gabriel
- CD Pick: Keith Jarrett "Facing You"
Improvising
by Dave Latchaw
To improvise is to invent on the spur of the moment, or perform with little or no preparation. The act of improvising isn't just limited to the musical domain, it exists in many facets of life. We are constantly adjusting and adapting to many situations or environments that are in a state of flux, very similar to playing music in an ensemble. The jazz group is the extreme situation in music where the music is played in a spontaneous fashion and the musicians are always adapting to the musical variables. Having personal experience and knowledge is an asset, but one has to know how to use their knowledge and experience on the spot. Being able to "think" on your feet and use the materials available to adapt to a given situation can lead to success in many areas of life. The skill of improvising can be taught, and should be included in all school curriculums. The results would be positive for all of society - Education, Science, Business, and of course the Arts would be just a few of the areas that improvisation would benefit.
An educator that can improvise has a greater chance of succeeding at connecting with students. Of course an educator's knowledge of subject matter is important to give them a broad base from which to improvise. The dynamic of individuals or groups of students is always fluctuating. As an educator develops their riffs, they also need to develop an ability to produce new riffs spontaneously, if the old ones are not proving effective. A student may present a question or situation in a new and unexpected way, and one needs to be able to hang with that specific situation. An educator that can improvise will hold the attention of the classroom better because the students will never know exactly what to expect.
In the area of science, improvising can be the catalyst of many new inventions, medicines and so on. Again, having a great foundation of knowledge of subject matter is very important, it's the jumping off point where one can start working on new ideas and concepts. If one is able to "think outside the box" of what is known, the possibilities of discovering or inventing something new or improving on a current item is greater. Similar to the jazz musician, the scientist has to take all the known elements about their craft and have the confidence to go exploring. To be successful one has completely let go of the fear of being wrong. This is the way items get discovered, invented and improved upon all the time. I think if improvisation was taught in academic situations the amount of items that are discovered, invented and improved upon would greatly increase.
Improvisation is also necessary in business. Business definitely needs people that can think on their feet and adapt to each customer's individual needs. Sometimes the sale can be made by the book, but having the skills to improvise can help in closing a deal if the situation is not going as usual. With all the diverse personalities and situations in business, and with the variety of customers one encounters, the ability to adapt to various individuals and situations will increase efficiency, which is always positive for a business. If a business encourages improvisation, new products can come about, or new ways to increase distribution, both of which could increase sales and cut cost, all having a positive effect on the bottom line, benefiting business and consumer both.
For the arts improvising is a great way to develop new material. There is of course a market for the standard traditional material in all areas of the arts, but new material is very important to keep an audience engaged and supportive. New material is often not accepted by the more traditional conservative-minded audience, but creating something new and personal to the artist should be the first reward to any creative person. Commercial success is cool but should not be the prime motivation for the artist.
Learning to "think outside the box" and "on your feet" is a great asset. Improvising music, conversation, or whatever, can be learned. A good broad base knowledge of subject matter is important. Be brave and boldly improvise and explore the unknown.
Juan R. Leon
#1 Where on the Internet can people find out more about you and your music?
All beautiful people, geeks, freaks, and non-Terran beings can check me out at: mp3.com along with links to great musicians which I admire or have been a great inspiration to me.
#2 How did you get started in music, and what made you gravitate towards the bass?
My parents are music lovers. My mother loves classical and my father listens to Mexican folk music and plays spanish guitar (my mother played clarinet). My uncle Juan played french horn in the National Symphony of Mexico and was regarded as the finest they ever had. He worked on many recordings and soundtracks. My grandfather Juan played the tuba in the military and after in various settings. He was a master of the John Phillip Sousa style of tuba playing. I actually started out on drums in high school. They were the closest I could get to rock and roll! I received an electric guitar as a gift from a friend but wasn't very good at it. I later "acquired" an electric bass from a drummer friend of mine and I sort of fell into it naturally. I started to notice the bass more in the music I was listening to. I was tremendously influenced by John Entwistle, Geddy Lee, Chris Squire, Steve Harris, Stanley Clarke, and later on Billy Sheehan in his Talas and David Lee Roth Band days. The bass became an extension of my personality. I would walk around town on the weekends in the summer with my bass strapped on so I could keep my chops up and not be a social recluse locked away in my bedroom! It took root in my being and character, not to sound to "new age" mind you!
#3 Who and/or what has influenced your compositional and playing style the most, and why?
The guys I mentioned already, Jaco (of course), the music of guitarist Michael Hedges and bassist Michael Manring. They certainly influenced my playing. Mark Egan's explorations of the 8 string bass in solo settings was a revelation of sorts. Acid rockers Ozric Tentacles, the ambient scene, guitarist William Eaton's work with R. Carlos Nakai, Trey Gunn, Robert Fripp, Mick Karn and David Torn, Phil Keaggy, John Patitucci, Tony Levin. Steve Swallow is amazing. What I gained from listening to these amazing musicians is that technique should always serve the music. Michael Manring is a perfect example. He has some of the most amazing technique of any bassist out there, but what you notice first about his music is the compositional value which it imparts to the listener. His command of harmony, melody, and rhythm is exemplary and beautiful in it's sincerity. It's only after close listening that you realize that this cat's gotta be from the 5th dimension to pull this sort of playing off! He composes and plays on up to 3 basses at once and all tuned differently, but the music is so beautiful. I value that so much. It's not just paint on a canvas, it's the right paint in the right amounts.
#4 How would you describe your music, and what do you hope the listener gets from your recording "Stolen Moments"?
I feel strongly about 2 things when it comes to music. I mentioned technique serving the music already. The other is that music is not so much "organic" as it is spiritual. The indigenous peoples of the world have known this for thousands of years. King David as a young boy soothed King Solomon's headaches with his lyre and harp music. As a man, David danced "naked" to the Glory of God. Music holds a powerful place in the Bible. A spiritual authority has been ascribed to it and it's "servants", if you will. There is no denying that music is tightly inter-weaved with the fall and rise of empires. Take a look at all the major art and music movements of the last 1500 yrs. Music has had dramatic changes which precede to great changes in social and governmental behavior. Someone told me that my music is likened to Enya and Deep Forest with an angry determination. I suppose my music reflects the social mood of my time. Not just an urban scream which echoes the cries of an angry, post Sept. 11th America (although some of my music does), but a subtle whisper that hopes for truth in a world that forgets that we have a Creator whom wishes to commune with us. Now a whisper isn't always quiet, it can be a terrible trumpet call to awaken the sleeping and alert the watchful. I hope that people are reminded of the past and hope for the future when they listen to my music (insert weeping violins here). Having said that, sometimes I just like to play for the sake of playing. A good romp into the world of highly experimental explorations is good medicine. And that can be intensely spiritual as well!
#5 Do you get to play your music live?
Not yet. A lot of my solo bass stuff is improvised and I'm not sure that I would be able to reproduce it faithfully! But therein lies the challenge I suppose. That's the beauty of live performance. I have played with other bands in the Orlando and South Carolina area but the music is miles removed from my own stuff. I plan on assembling like minded musicians in order to realize my music live. But it would only constitute a portion of the material and not the whole. The project would need to be a collaborative effort and every player would contribute their own music as well. I don't foresee a "Juan R. Leon Band" because I'm rather the "equal opportunity jammer" when it comes to live situations. But I would like to play some of my stuff in front of an audience. Maybe a coffee house solo setting? Break out the lattes and biscotti!
#6 How do you use the Internet in your musical activities?
The Internet has allowed me to create art in a manner which suits me and probably about 95% of any artists out there. It creates an environment that promotes freedom on so many levels. I create the music, the artwork, the distribution, the schedule, etc. It is a media that allows for total control. MP3.com offers some very fine alternatives to the conventional music biz. It is a very exciting and refreshing time to be an indie-artist.
#7 What future projects should people look for from you?
Whew! Another project already? Well I will be adding some more Native American Flute into my compositions. I have been playing it for about a year now and rather enjoy it. They won't be traditional flute songs but will reflect the culture and heritage which my parents have passed on to me. I may play some acoustic guitar on the next release as well. There will also be a "download only" tune available on my site in the near future. It won't be offered on a CD. It's intended as a "Thank you" to everyone who visits my site. I hope to acquire a Chapman Stick or some type of touch-style instrument and explore the sonic possibilities which it offers. I love to play touch style and I believe that an instrument of that type would open many musical environments for me to wander in. I would also love to work with other musicians on my next offering. I have some friends who are as sick as me, I mean as "focused" as I am (yeah right!) and I would love to jam with 'em, let the tape roll, and see what gels. I know a phenomenal guitarist by the name of Gary Tompkins whom I had the pleasure of jamming with for a couple of months. Work has relocated him to the DC area but he may be coming back. We'll see. Thanx for the interview and for spearheading the cause of the Net Music scene and beyond! Keep up the great work!
indie-music.com
Being an independent musician is not the easiest thing to do, but the more that indie musicians educate themselves about all aspects of the music bizz, the greater their chance of success becomes. The site indie-music.com is a place where one can read a wide variety of articles about many music related topics and get ideas on how to improve their current musical situation. They also have a premium service that will help manage your calendar, book gigs through a venues database, improve communication within your band, and more. Check out indie-music.com, it is worth the time.
Peter Gabriel
Peter Gabriel was one of the founding members of the great band Genesis. He left the group in 1975 and since then he has released many solo recordings. In 1986 his recording "So" won a Grammy. He has also been a leader in music video production and received the #1 spot in Rolling Stone's top 100 videos of all time. He started Real World Studios for the label Real World Records, which is dedicated to promoting a wide range of artists from around the world. Peter is also active in Human Rights and Environmental issues and has worked with Amnesty International, Greenpeace, and initiated the program Witness. Have a good time and check out some great Peter Gabriel videos.
Keith Jarrett
"Facing You"
"Facing You" is the ground-breaking solo piano work that was the obvious blueprint for all the great solo piano work done by Keith Jarrett. It is his first recording for the European label ECM. Keith's playing is a great example of blending styles. "Facing You" is a perfect mixture of impressive jazz, classical and gospel playing blended into improvisational masterpieces. Keith's ability to use the technique that is demanded by classical music, the freedom of jazz and the soul of gospel has made this an important work to be studied by all improvising musicians. Check it out.
Tracks for "Facing You"
- In Front
- Ritooria
- Lalene
- My Lady; My Child
- Landscape For Future Earth
- Starbright
- Vapallia
- Semblence
Click here to learn more about "Facing You"
Related Sites
- Keith Jarrett at ECM
- A Sketch of his Life and Work by Lynn David Newton
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