Music Ezine | Articles Interviews Reviews - Indie Musicians / Niklas Ahman

Latch Music's Ezine #6

"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.

In This Issue

Article: "Creativity" by Dave Latchaw
Guest Artist: Niklas Ahman - Amazing music and musician from Sweden.
Featured Web Site: PBS/Jazz
Featured Web Video: Dave Liebman
CD Pick: John Scofield "Bump"
Cartoon by Steve Smeltzer

Creativity

by Dave Latchaw

What is "Creativity"? Some might say it is the process of looking at something familiar in a different way. Creativity is seen as a positive thing, I think that most people would like to consider themselves creative. As an educator and a student of music, I look at creativity on five different levels.

The first level is innate or basic. This is how the untrained individual creates, just for the sheer joy of it. This art has a simple, direct approach in it's expression. Folk and primitive art would be an example of this level.

The second level is achieved through academic study, which leads to an accomplished degree of technical proficiency. This allows the artist to be expressive within the confines of what is correct for a particular style or genre.

The third level would be invention. This is where the artist has a strong enough command of their artistic language that they can explore it in a non-traditional direction. Level three creators come across as adventurous and experimental.

The fourth level is that of the innovator. This is where the artist works "out of the box" of traditional ideas to break the boundaries and rules of a given idiom. They have such complete control of the academic side of their art that they seem to create with an inspired effortlessness, a whole new direction out of the ordinary.

The last level would be the genius. This is where the artist's creations are unexplainable. Bach, Mozart, Hendrix and Miles would be a few that come to mind. Generally, I would say that this is something that one is born with. All of us who create should explore all of these levels of creativity. If you are making a commitment to be an artist, you are really agreeing to be a lifetime student of developing your creative voice.

There are several factors that get in the way of an artist developing their creativity. Firat, the fear of being ridiculed keeps some artists from exploring even level oneof creativity. This hassle usually comes from other artists or colleagues who are lofty with their academic skills and narrow perspective. They have spent so much time learning the skills that the academic world says are important, they have lost touch with the basic joy of expression and creation. Fear of failure is a reason many artists don't explore creativity past level two. Our society measures success according to commercial potential. Yes,buckets of money would be cool, but don't let that be your only motivation. Remember, the person who is first at developing the next new thing is the creative one. Many artists will copy something successful just to cash in. That's what the entire commercial record business is all about. If one is going to create in a more commercial area, they need to focus on the second and third levels of creativity. The second level will let the artist have a good connection to the genre, and the third will let them bring something new to the table. Many artists are insecure, which makes it hard for them to explore the third level. Society's need for conformity doesn't help the artist to have the confidence they need to be adventurous and experimental.

The fourth level is the hardest and the lonliest. Society looks for familiarity, and being an innovator, you have to try to break the traditions that would keep you from fully developing your creative voice. To create at the fourth level, I believe one has to bring an element from level one, the sheer joy of it. The forth level has the least commercial possibilities, art and economics really battle with each other here. If you have the luck to develop the next new thing, and it brings a better economic situation for you, enjoy it, it is a rare thing.

Everyone who has chosen an artistic path should spend some time reflecting on their creative efforts. While you reflect, try to objectively analyze your creative procedure. Make a note to yourself about those moments of creative bliss, or what I like to call "The Zone". How did you get there? You might find that there is a consistent pattern that takes place. The idea then would be to let those patterns naturally happen to enhance your creative efforts. Don't try to force it, just be aware of what works for you. "The Zone" is a place where you are detached from conscious thought and you are just creating. If you try to force it, you are too attached to the process. When analyzing how you reach "The Zone", think of that process as a map for you to reach it again. Good luck and be creative...

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Niklas Ahman

#1 On which sites can people find out more information about you, your music and projects?

Right now you'll find my stuff at:
http://www.niklasahman.cjb.net
http://www.mp3.com/niksgarage
http://www.mp3.com/caravanseparator

#2 What made you decide to be a musician?

I’ve always been interested in music and at age 13 I saw "Janne Schaffer" (a very gifted Swedish guitarist) on TV and thought, hmm... playing the guitar would be cool. But it wasn’t until I was 15 and met an old buddy, sitting and playing a blues on his acoustic and I went woahiii... amazing, incredible, I wanna learn how to do that. So after a while I bought my first guitar and from the moment I unpacked it and plucked the first tweeky notes I’d made up my mind. I wanted to be a musician and by that day everything else was secondary. It sounded like hell in the beginning, but I remembered how determined I was, wrote a lot of songs and practiced about 4 hours a day. Anyway at the age 23, I got my first pro job as a guitarist in a drama/dance ensemble and by that point I was convinced that there’s no greater privilege than working as a musician, you know just go to work and have all time fun.

#3 How has the Internet changed your musical endeavors?

Like night and day. For example, in spring-2000 I signed up with Spinrecords.com (sadly they went down a few months ago). They contacted me after having heard my stuff on the net. Before the Internet, I was just hard working in little Sweden, now I get worldwide response and support. It’s really made a great difference for me, to know there’s some people that likes what I do. Another great thing is the possibility to work with other musicians globally. I haven’t tried that yet but I guess it’s coming.

#4 What has been the biggest surprise for you about having an Internet presence?

That must be the amount of time I’m online, all the information available and how much it has influenced my life.

#5 How do you balance your music routine of composing, recording and practicing?

Actually I feel very unbalanced. I would like to have two lives, one as guitarist and one as composer. There's definitely a conflict for me, mostly between composing or practicing, that I feel utilizes different parts of my brain. It depends on the situation. Since I’m working part time as a guitar teacher I have to practice on certain stuff, it comes with the job. I do these wild jam sessions with other lads quite often and that gives me a lot of fun practice and experience.

When I compose, it’s hardly ever time consuming, since the melodies seem to pop up every now and when. I don’t find any reason to spend a specific amount of time trying to find new melodies or arrangements, except if someone has ordered music from me (film, drama, exhibitions, jingles, etc). I tried for a while to compose 2-3 hours a day, right after having breakfast. The result was over 200 sketches in a month and that was frustrating because I didn’t have time to record more than 10 of them that year. When I try to prepare my composing sessions it usually ending up in boring and introvert stuff. So I guess I basically compose when I feel for it.

To record, is for me a very intense period for 1-2 days, where I try to stay focused and concentrated. I usually want to make that unique time stamp, that describes where and who I am at that time. The right feel and expression of the piece is very important for me.

#6 What are your thoughts on how you use tension and release in your compositions?

I love doing melodies, especially those simple ones that you can sing along to. Basically the more simple the melody gets, the more you can add rhythmic complexity and vice versa. If you’ve done a strong theme you can pretty much do whatever you want around it. I often choose to add mantra-like polyrhythmic patterns, like 2 - 3, 3 - 4, 5 - 4 or a mix of 7/8, 5/4 and 6/4 parts. I strive to make every part with it’s own rhythmical language, which often results in a colorful mix with stems pulling in different directions. To control density I just turn the different parts on and off to create space, diversity and different sub resonance effects (like the behavior of harmonics in a chord full of notes).

#7 Who do you listen to for fun?

I don’t have much time to enjoy others music, but when I do I prefer Van Halen (especially the period with Dave on Vocals, I heard he’s back again) or Allan Holdsworth. Also the sounds of my nearly one year old daughter are pretty interesting and quite fun.

#8 When you surf the Internet, which sites do you like to check out?

www.harmony-central.com - a goldmine for musicians
www.mp3.com - tons of interesting music and artists
www.musikborsen.com - Swedish music store

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PBS/Jazz

Ken Burns is a documentary film maker who has an upcoming television series called "Jazz" on PBS. The first of this 10-part series premiers on January 8, 2001. Click here for more details of each episode.

Episode 1: "Gumbo"
Beginnings to 1917 January 8, 2001, 9:00 P.M.
Episode 2: "The Gift"
1917 - 1924 January 9, 2001, 9:00 P.M.
Episode 3: "Our Language"
1924 - 1929 January 10, 2001, 9:00 P.M.
Episode 4: "The True Welcome"
1929 - 1934 January 15, 2001, 9:00 P.M.
Episode 5: "Swing: Pure Pleasure"
1935 - 1937 January 17, 2001, 9:00 P.M.
Episode 6: "Swing: The Velocity of Celebration"
1937 - 1939 January 22, 2001, 9:00 P.M.
Episode 7: "Dedicated to Chaos"
1940 - 1945 January 23, 2001, 9:00 P.M.
Episode 8: "Risk"
1945 - 1955 January 24, 2001, 9:00 P.M.
Episode 9: "The Adventure"
1956 - 1960 January 29, 2001, 9:00 P.M.
Episode 10: "A Masterpiece by Midnight"
1960 to the Present January 31, 2001, 9:00 P.M.

Be sure to check your local listings for the exact time of each episode. In the United States you can check listings here.

The PBS Jazz web site is great for the combination of text and corresponding audio clips. Musicians and fans will surely enjoy this documentary and web site about the history of Jazz.

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Dave Liebman

This is a collection of short video segments available on the Global Music Network. Dave Liebman discusses a whole range of topics (listed below). Good fun to hear what Dave has to say. Click here to see the Dave Liebman video.

David Liebman covers these topics:

Early Experiences
Musical household
John Coltrane
Started on piano
Transcriptions
Why a jazz musician?
Unique communication
Apprenticeship
  Learnt from Miles
  Elvin Jones
  Elvin's Rhythm
  First meeting Miles
  Miles' Personality
Musical Influences
Different Music
Classical, Indian & Funk
As a Leader
  Liebman's group
  Playing soprano sax
  Early working groups
  Quest's switch
  Soprano difficulties
  Individual voice
Issues
  Jazz education
  Dumbing down?
  Jazz's future
  Upbeat about the Net
  Lack of individuality
  No more innovators
  Worldwide audiences

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John Scofield
"Bump"

John Scofield has been playing guitar in various situations for as long as I can remember (the 70's). He has been involved with projects ranging from the most rocked-out fusion to the most swinging, groovy jazz one could listen to. Scofield is a prolific expressive improviser who travels with ease from the most involved and difficult tune to straight-ahead swing and one-chord jams. It doesn't matter whether he's playing with Martin, Medeski and Wood or Vince Mendoza, he brings his own voice to the table. Most musicians work on being able to play a wide range of styles, and it is a necessity to have a broad palette to draw from because it increases the potential for work. The trick is being able to keep your own voice in every context. Scofield is master of that. "Bump" is a vehicle for Scofield to explore his blues jam band direction. The disc also has an enhanced feature where you get to see a video of Scofield talking about "Bump" and see an alternative take of the band playing "Blackout".

Musicians for "Bump"

John Scofield - electric and acoustic guitars
David Livolsi - bass (tracks 1, 7 & 11)
Eric Kalb - drums (tracks 1, 3, 4, 6, 7 & 11)
Johnny Durkin - congas (tracks 1, 3, 4, 7 & 11)
Johnny Alemandra - percussion (tracks 1, 5, 6, 9 & 10)
Mark De Gli Antoni - keyboard sampler (tracks 2, 3, 4, 6, 8 & 11)
Tony Scherr - bass (tracks 2, 5, 8, 9 & 10)
Kenny Wollesen - drums (tracks 2, 5, 8, 9 & 10)
Chris Wood - bass (tracks 3, 4 & 6)