Latch Music's Ezine #40
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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: "To Riff Or Not To Riff?" by Dave Latchaw
- Guest Artist: Todd Brunel - Clarinet adventures.
- Featured Web Site: harmony-central.com
- Featured Web Video: Yogi & Half Zaftig
- CD Pick: Keith Jarrett Trio "Up For It"
To Riff Or Not To Riff?
by Dave Latchaw
To Riff Or Not To Riff, that is the question. Early on in my musical adventures I was inspired by players that could do cartwheels up and down their axe and compose equally intense music, so of course that was what I tried to emulate. I wanted every tune I soloed on or composed to have in-your-face riffage. Not that I could pull it off, but that was how I wanted to play and write. As a young player and composer I thought that music could only be valid if it had a respectable level of complexity. Exploring simple ideas just was not part of the early routine. Like most musicians in their early development, the knowledge of what was musically appropriate and hip was not always obvious to me! Fortunately, if a musician is honest and open with themselves, musical appropriateness and the diversity between simple and complex ideas can be developed, especially as one musically matures and develops their own voice.
Now, as a player, composer and music educator I have to laugh at myself when I think about those early musical days. I was keen with no clue or ability. Thankfully at some point I realized that you have to walk before you can run, which is a fundamental concept for practicing and developing interesting solos and compositions, and as well as over-all musicianship. If one doesn't take the time to develop a good musical foundation there will be gaps in ability, and a certain instability in playing and composing. With the way society is, it's hard to be patient and take the fundamental steps to develop one's ability.
Being realistic about your current level of ability is important. How does anyone think they are going to be able to solo over a harmonic progression with quintuplelets if they can't do it in quarter notes? How can someone think they can solo over a tune at 300 bpm when they are not solid at 100 bpm? Younger players sometimes think they are being heavy when they go for the "sheets of sound" riffing when they solo. They mainly think they sound heavy because they aren't on any one given note long enough to make it obvious to them they aren't solid on the changes. A certain level of denial can occur in the younger musician who receives accolades for being able to play a lot of notes. There becomes a point though when the young improviser needs to ask themself, do I really know what I'm doing or am I just developing "confident jive"? When a player can analyze their capabilities, growth is possible.
Learning as much as you can about harmony will make both riffing and compositions more valid. If you don't know which notes belong to a certain set of chord changes, you are using the "search and destroy" method of improvising. Knowing about harmony makes one more capable of manipulating tension and release both compositionally and improvisationally. Harmonic knowledge enhances the development of one's voice. If one can walk through any set of harmonic changes it will be easier to run. There also has to be rhythmic control that goes along with harmonic ability.
With composition, if every tune you write makes the veins in the player's head pop out like Clint Eastwood, you will lose the effect of that intensity! Even bands like Metallica realize if there is no contrast to the fast and loud with slow and soft, you will lose the effect. I used to think the challenge to writing music was to make it complex enough, then it would automatically be cool. When I was in the Scottish Rock band "The Heat", I began to realize that it's just as challenging to write music for the masses. Writing music that only other other musicians can appreciate is cool, but it's easy to become tragically hip. One shouldn't dismiss the ability to write something that non-musicians can dig also. There is an art to that too.
As a musician matures, it's most important to keep finding where the gaps are in their musical foundation and fill them in, it's essential for the growth of one's musical ability. If we don't try to expand our musical foundation in both complex and simple directions we will stand still in our musical lives, which is never good.
Todd Brunel
#1 Where on the Internet can people find out more about you and your musical activities?
I have website that people can check out, www.clarinetconspiracy.com. I am also listed on www.lillilewis.com and there are mentions of other things that I've done online.
#2 Who were your early musical inspirations, and how did they motivate you to study music?
Benny Goodman, Charlie Parker, Miles Davis, Dizzy Gillespie, Mozart, The Beatles-- early influences right? My late mother was an incredible opera singer and was pregnant with me while singing major roles. So clearly the opera repetoire. I didn't disover Coltrane or Led Zeppelin or Stravinski until I was a teenager.
#3 What was the most important training you had that helped you become an award-winning freelance musician?
I would say training with my Teacher, the late, great Attilio Poto at the Boston Conservatory. Attending Schools like the University of North Texas, and Brooklyn College Conservatory. Street performing, meeting and working with people like saxophonist Bobby Watson, Bob Mover, Butch Morris.
#4 What was it like to be on the soundtrack of the PBS documentary, "Paul Robeson, Here I Stand"?
It was a real kick to hear the tracks on television, and of course to see my name on the credits. The producer that I worked was engaging and challenged me to attempt new things, some improvisational ideas and some notated ideas as well. I mean the whole thing was really a thrill.
#5 How do you teach your students to have the improvisational diversity you display in your groups Clarinet Conspiracy and Jazz Thyme?
Wow. You really have checked out my web site. The kind of improvisation on Clarinet Conspiracy is pure emotion, instinct, listening with less preconceived parameters. Original music. The jazz improvisation is well of course more structured. I tell all my students what I heard Buddy Difranco say in a master class one time. You must know all your scales and chords, major and minor. My classical traing has been really key because of the etudes, phrasing and expression. Understanding chord changes and tonal centers and using your ear and instinct to drive the free flow of ideas. I always try to say something and on the Jazz Thyme recording session, I was in a relative Zen State after reading Effortless Mastery by Kenny Werner. It's really brilliant what he says about Miles Davis and I was really in that head at the time.
#6 What are some of the goals that you try to attain with your students, and how do you achieve them?
I just try and encourage them to practice, I teach primarily through community music schools, none of my students are aspiring musicians, but I try and inspire them all the time, shape each lesson around that student's needs. I enjoyed class room teaching much more---- more like a performance and you form a greater bond with your kids in the class room, well because you're in this together. I teach mainly kids who challenge me with their lack of musical comprehension, so there is a void that needs to be filled.
#7 What can be done to improve the music and arts programs in public schools?
Fire the Republicans and clean up the waste in the Public School system. It is a system that I left. I taught full time in Brooklyn and the administration was professionally challenged and it really compromised my health and well being. I taught in a pretty tough inner city school, but really bonded with most of the kids. My departure was premature, but the administrative details were distracting and disheartening. I think if you are a good teacher, they should just let you do your job. You shouldn't have to jump through hoops or teach other curriculae that isn't related to the subjest your were hired to do. Look- I'm a product of public shools and there should be equitable school funding everywhere, not just the best going to the more affluent towns. In one town, for instance, they just cut music, art and gym. In another town, they just rebuilt the Junior High and High School-- the new junior high looks like Lincoln Center.
#8 What future projects should people look for from you?
Well, Lilli Lewis and I just made a new recording and plan to have a cd release party in November. This Saturday night I'll be live at the Zeitgeist Gallery in Inman Square in Cambridge with a new group called Andalusian Dream. I'm also working a lot with bassist Tom Lubelczyk and cellist Robert Rivera. I have more session work coming up, I always post new performances on my website: www.clarinetconspiracy.com. I know I've plugged it twice now, but hey--- why not!
harmony-central.com
It is a challenge to get all the facts about music gear. Word of mouth is usually the best because you can never be sure of a salesman's motives when they tell you about gear you are interested in. At harmony-central.com there is wealth of information about gear from the User Reviews section. The Harmony Central User Forums is huge and a place where you can get music info from other musicians on a wide variety of subjects. There is also a pretty cool Services and Retailer locater. If you looking for used gear there is a handy search device, and you'll find loads of feature articles about various aspects of music and the bizz. Plenty of stuff for everyone at harmony-central.com.
Yogi & Half Zaftig
Web video is a great way for people to check out what you are up to live. Shawn "Yogi" Farley has some great live video samples with Half Zaftig, very cool progressive rock vibe. I especially enjoy the track "Throw Me A Bone" with the brilliant bassist Bryan Bellar of the Mike Keneally Band, and there is a brilliant cover of Echidna's Arf (Of You), by Frank Zappa, featuring Mike Keneally. Lots of cool music and playing. Check out the videos at www.halfzaftig.com.
Keith Jarrett Trio
"Up For It"
"Up For It" is a great example of how improvisation can lift one's spirit. The Keith Jarrett Trio had played at this open air jazz festival next to the Mediterranean for many years, but this particular year the weather had been very nasty. With each member of the trio dealing with different health issues, it was a challenge to be inspired to play. However, rather than cancel their performance the Jarrett trio decided to go for it. Plastic tarp was put into place to help protect the musicians and instruments from the elements (which we all know never works out as planned - the piano still got waterlogged, and Gary Peacock was dodging leaks with his bass!) But, despite it all, from the the first notes you can tell that the hassles of dealing with the elements were set aside while they traveled into "The Zone" of spirited collective improvisation. I am convinced that only musicians who have had many years enjoying making music together can tap into what this trio and music is all about. "Up For It" may seem similar to other Jarrett trio recordings, but it is great example of how music is always the best!
Musicians for "Up For It"
Keith Jarrett - Piano
Gary Peacock - Bass
Jack DeJohnette - Drums
Tracks for "Up For It"
- If I Were A Bell
- Butch & Butch
- My Funny Valentine
- Scrapple From The Apple
- Someday My Prince Will Come
- Two Degrees East, Three Degrees West
- Autumn Leaves
- Up For It
Click here to learn more about "Up For It"
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