Tag: art

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Happy Christmas, blog-readers!

Right, I’m just off to do my christmas shopping, and just have time to wish y’all and very happy and blessed christmas. Please don’t spend too much, eat too much or drink too much – there’s something deeply perverse about celebrating God coming into the world as a homeless refugee by overindulging in everything. Instead, be thankful for your family, tell them you love them, and spare a thought for those who are alone. If you can, invite someone over who’ll be on their own.

Thanks for reading this year – I must congratulate you on your superb taste in trivial reading matter. :o)


Soundtrack – Jonatha Brooke, ‘Steady Pull’; Theo Travis, ‘Earth To Ether’; Talk Talk, ‘Spirit Of Eden’; The Pixies, ‘Doolittle’; The Works, ‘Beware Of The Dog’.

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Turning down gigs…

It’s been an interesting week work-wise. I got a phone-call last Tuesday from Carl Palmer, the drummer with 70s prog-rock legends, ELP, and 80s prog legends, Asia. Carl now has his own trio, which until recently Dave Marks – who I taught when he was studying at Basstech – was playing bass for. Dave left to take up a job at Basstech, and Carl had been recommended me via a few sources, aparently. Carl rang to find out if I’d be interested in joining the trio. Having been a big ELP fan in my teens (‘Pictures At An Exhibition’ got some major rotation on my record deck in the late 80s/early 90s), I was really up for meeting him and finding out more.

We met up on Thursday, to have a listen and chat about the gig – he lives pretty locally to me, and seems like a very nice bloke.

The music itself is mainly heavy rock reworkings of classical works, by the likes of Bartok, Prokofiev, Copeland etc. Most of it is at full-throttle, and while very exciting and energetic, a long way from the languid mellow stuff that I’ve spent the last five years getting good at…

So I was faced with a very odd decision – here’s a good paying high profile gig with a legendary drummer who seems like a very nice bloke, that I’m going to turn down… What?? But still I felt very comfortable with the decision. I’ve obviously been primarily a solo/duo player for some time now, but that was never tested until now due to not having been offered anything of this kind of size. Now that I have been, but am faced with the need to change my technique back to a full-on rock approach, and build up a huge amount of stamina to maintain that level of drive for almost two hours a night, I chose to stick on the path that I’ve been carving.

It’s not that I don’t want to work with other people – I’d still happily do sessions, and obviously do a fair few jazz and funk gigs with Jez Carr, Mike Haughton and our floating drum chair (which features some incredible players – Mike Sturgis, Tom Hooper, Phil Crabbe, Eddie John etc…) – but if the gig requires me to divert a lot of attention away from the path I’ve chosen, that I’d rather stick where I am.

It feels like a bit of a rite of passage. Four years ago, I’d have jumped at the chance, seeing it as a big step forward. Now, despite the obvious advantages of the gig, the distraction from what I’m doing was too great, and I’ve turned it down.

Am I nuts?

Soundtrack – Talking Heads, ‘Stop Making Sense’.

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A questionaire…

I quite often get sent mini-interviews by students studying music who are doing a project on solo bass. Here’s the latest one – feel free to add to it over in the forum…

1) What is the biggest problem with young (18-30) bass players? What is the main obsticle that hinders young players from becoming well rounded musicians?

I think the biggest single factor is the shift in the west towards a culture of immediacy. Closely followed by the cult of celebrity. Becoming a ‘well rounded musician’ requires years of dedicated and focussed practice, a lot of unglamourous work, crappy gigs, rehearsing, jamming, mistakes, expense, lessons, books etc. Before you really get anywhere. There are no shortcuts, and there’s no ‘secret’ to it. It just takes effort.

Couple that with the tendency with the entertainment industry to value celebrity over integrity, fame over talent and exposure over experience, and you’ve got yourself an uphill struggle to ignore all the millions of distractions and do the work required, then keep doing it, never stop learning. That’s tough.

2) What do you see as the future of solo bass?

I think the music made on bass will continue to develop as more people see past the restrictions of the ‘function of the bass player in a band’ and see it as an instrument full of unexplored potential. The bass guitar has very few fixed physical properties in terms of what’s possible design-wise with the classification ‘bass guitar’ – and those limits are always expanding. I think we’re going to see a lot more hybrid instruments that go beyond the standard divisions between guitar, bass and other stringed instruments.

3) When you pushing the musical envelope on bass, are you thinking musicality or “is this even possible to do on bass”?

The purpose of pushing the envelope is to find the music that’s behind the limitations… pushing limitations is fun, but unless the quest is meaningful music, it doesn’t really hold that much interest for me. I love working on new ways to access sound, process sound and peform music on the bass, and seeing what new textures, sounds, ideas, and compositional processes are facilitated by that exploration.

4) What is the average time you put in per week for practicing?

Not enough. I guess it ranges from about 6 hours up to about 20 hours, depending on what else I’ve got going on…

5) Who has been the single most influential player for you musically?

Michael Manring. As much conceptually as sonically. The feeling of reading an article by someone who was able to articulate a lot of the thoughts I’d had and was already forging ahead exploring that territory gave me a lot of encouragement to head down a similar path. Our music doesn’t really sound all that similar, but the thought process behind it shares a lot of territory.

6) Why do you push yourself musically? What drives you to expand your musicality?

All sorts of things – boredom and frustration are great motivators, as is the need to come up with new material for different projects. Hearing new things that move me and trying to conjure up the same emotions in my own music is a big one for me. Lots of things outside music inspire me to play – nature, cities, people, relationships, faith – big things, small things. There’s a corresponding soundtrack to most of life’s events, and I’m perpetually exploring that space.

Soundtrack – Paul Simon, ‘Hearts And Bones’; Paul Simon, ‘One Trick Pony’; Bill Frisell, ‘Blues Dream’; Wheeler/Konitz/Holland/Frisell, ‘Angel Song’; Theo Travis, ‘Earth To Ether’.

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General update…

OK, I’ll fill you in on general goings on over the last week or so.

Last weekend was spent in Holland and Germany. The event I went over for was the European Bass Day, run by Marco Schoots, who publishes the Dutch bass mag, and runs a record label – an amazing guy. I was booked to play solo (actually, I was booked to play last year, but there was a pretty major breakdown in communication with the people who had offered to fund the trip, and I ended up not going… but that’s a whole other story…) Anyway, I was booked to play solo, and also with one of my favourite singers/bassists, John Lester – John, as you’ll know is the guy that opened for Michael Manring and I back in March on our tour here in England, and neither Michael nor I can work out why he isn’t a megastar yet – amazing voice, great songs, friendly engaging stage presence and a fabulous bassist… I’ll never understand this industry…

So, I went over to Amsterdam a day early to see John, to rehearse a few of his tunes and hang out in Amsterdam (oh, life is hard for your friendly neighbourhood solo bassist!). That was Saturday, and Sunday we drove to Viersen, just over the German border, where the Bass Day was being held.

My feelings about bass-days in general are mixed – I really like the idea of getting together with a load of bassists, and I love the chance to catch up with all my bass-chums that are at these events. But I really can’t cope with listening to hours and hours of machine gun slapping; after about half an hour it all starts to sound like someone drilling for oil. I guess it’s just me, ‘cos lots of people seemed to really be into it, but it really gets tired pretty quick. Guitar-fests and drum-fests are the same.

On a gigging level, it tends to work in my favour, as I’m often there as the alternative to the slap-monsters, and certainly both my set and John Lester’s went down really well – good crowds, well received, and quite a few CDs sold.

And it was great to see so many friends there – Stefan Redtenbacher, Jan Olof Strandberg, Jono Heale, Stevie Williams, amd even one very nice guy who’d travelled from Germany to see the gig with Michael Manring in London a couple of weeks ago!

So a fine time was had, and we stayed up in a bar back in Venlo til the early hours of the morning.

Monday was back to England, and Tuesday we collected the cats. So the rest of the week has been pretty cat-centric for The Small Person and I, discovering that these truly are remarkable, friendly and utterly adorable little animals. How anyone could have given them up is beyond either of us. It’s been a week of many snuggles with our new feline family. We always felt so lucky to have had five years with The Aged Feline, and there’s no way that any new cats could replace him, but it’s great to be able to give a home to more abandoned cats, and to then find that they have personalities bigger than most drummers is such a great bonus!

Teaching has gone mad of late – I’ve been doing loads and getting loads more emails from people wanting to learn, travelling from all over the southern half of england, and wales! I really really enjoy teaching, so it’s great to be in demand, but I don’t want to get into a position where I have to start turning people away… maybe I should make street-team membership a prerequisite of having lessons, and whittle them down a bit that way! :o)

Which brings us up to Friday night, when I went to a comedy gig – I’m a big fan of Rich Hall, but this was the first time I’d seen him live, doing his ‘Otis Lee Crenshaw’ failed country singer routine. Very very funny indeed, don’t miss him if he’s gigging near you. He was on at Club Senseless, which is hosted by Ronnie Golden – a comedy songwriter, who plays at the club with his band Ronnie and The Rex – he’s great, very funny, very clever. My only problem with the club is the amount of smoke. The Kings Head in Crouch End has a very low ceiling and really shitty air conditioning, so I end up leaving half way through anything I go to there, choking to death. BRING ON THE SMOKING BAN, says I.

And Yesterday, after a 7 hour teaching day, I went over to Oxford to see Jez and Susan Enan. I hadn’t seen Susan in ages, probably not since I played on her EP, but she’s been very busy working on a new album, getting a management deal and is about to move to the states and become a star. She fab, and it was very very nice to catch up with her and hear a few of the rough mixes from the new CD.

But I got back so late that I slept in and missed church today… doh!

anyway, here’s another piccie of the Fairly Aged Felines –

Soundtrack – Keith Jarrett Trio, ‘Tokyo 96’; Julie Lee, ‘Stillhouse Road’; Eric Roche, ‘The Perc U lator’; John Martyn, ‘Solid Air’; Lifehouse, ‘Stanley Climbfall’.

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New residents in the house…

So Tuesday was the day our new owners moved in. Oh, we would love to think of ourselves as their owners, but it’s more than apparent who runs the show, even at this early stage.

Gizmo and Spender are two Fairly Aged Felines, from whom many lessons will be learned over the next while. They are both cuddly, gorgeous and full of personality. We picked them up from a cat-fosterer, courtesy of HAWS – Hounslow Animal Welfare Society – very lovely people who take good care of lots of lovely animals.

I’m sure I’ll blog lots over the next wee while about their antics, but at the moment, here’s a few pix to give you some idea of who we’re talking about…

this is gizmo –

and this is spender –

they’re currently investigating the house, getting into everything, and pausing occasionally for food or cuddles.

Soundtrack – Kim Taylor, ‘So Black, So Bright’; Chic, ‘C’est Chic’; Julie Lee, ‘Stillhouse Road’; John Martyn, ‘Solid Air’; Paula Cole, ‘This Fire’.

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Great gig with a sting in the tale

Had a very bizarre night last night. The gig was at the top of ‘The Gherkin’ – marvellous building in the heart of London (which isn’t officially called the Gherkin, and if you’re hiring it you’re not allowed to refer to it as such, but do any of you know what it’s really called without using Google? Thought not…)

Anyway, it was a corporate do, with Theo and I providing cool jazz inflected soundscapes while people in suits talked about money and made use of the free bar and munchies. The venue is spectacular – possibly the best view of central london that there is (it’s even higher than the top of the London Eye), and it was a great place to play – the fact that we had no direct monitor meant that we were listening to what everyone else was listening to, and it all felt all the more integrated, and lead to some marvellous music. Good response.

The evening got weird when it came time to leave… when I’d arrived I’d borrowed a trolley, come up the building in the service lift, and made my way painlessly to the venue, and no-one had left any perculiar instructions for later, so I assumed the get-out would be the same… not so.

Firstly, I go looking for the service lift, but there’s no button to call it, so I go back to the restaurant and am told to head down to the lobby where security will direct me to the basement. I go down (40 floors), and security say the only access point is on floor 37 (back at the service lift), and I have to go back to the very top to get it sorted. I complain loudly, and eventually go back, this time I’m sent back to the service lift which aparently has to be phoned for. We stand by the service lift for about 25 minutes, before a friendly soundman rescues us, by telling us there’s another service lift, and that one arrives as we get there. All this time we’re carrying my rack and flight cases around, as no trolley was ever forthcoming.

We eventually leave the building one and a half hours after we finish playing!!!!

A shitty end to what was otherwise a spectacular gig (Theo was particularly spectacular on this one – he’s always brilliant, but did play some sublime stuff. I’m very lucky to get to collaborate with people who play that well and are such damn nice people!)

Soundtrack – Prince, ‘Purple Rain’; Gillian Welsh, ‘Time (The Revelator)’; Green Day, ‘Dookie’; Andy Thornton, ‘Things You Never Say’; Del Amitri, ‘Twisted’; Steve Lawson, ‘Lessons Learned From An Aged Feline Pt II’ (now available as a paid download from the e-shop on my site)

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Tour blog Pt II

So Thursday – started out with a seminar/workshop/clinic/masterclass (I really out to work out different definitions for each of these so I know what it is we do) at the British Academy Of New Music – run by Access To Music. The National Events Co-Ordinator for ATM is Jono Heale – a fantastically resourceful guy, and a bassist, who has all manner of wonderful ideas for getting interesting bass playing out there to the public, and ideas on interesting bass playing out there to bassists.

The seminar/workshop thingie went really well – at the beginning, for whatever reason, no-one spoke at all. Just sat there, which was slightly un-nerving. But as the students loosened up and started asking questions, it was great. Some really good questions coming up.

So we set off from the school in Bromley-By-Bow and headed over to Petersfield for my fifth (fifth!) visit to Traders this year, and second one with Michael. This was another gig organised by Stiff Promotions – Iain Martin, who runs Stiff is one of those people who if there’s any justice in the world, will be the next Harvey Goldsmith. He books great music, looks after artists, does great promo, loves what he does and has developed a bit of a reputation in Hampshire for only booking quality stuff. Exactly what a promoter should be like. If you’re in that area, you should get on his mailing list, and support the gigs – he promotes shows in Southampton, Petersfield, Portsmouth, Brighton, Winchester – all over that bit of the South of England. support the shows, take your friends, and help it grow!

Anyway, the gig went really well as always at Traders, though there were a couple of flies in the ointment – first was that they’ve installed a pole-dancing pole on the stage at the venue… now, even putting moral and feminist considerations aside (which we didn’t), it made it impossible to play on the stage, and we set up in front of it. Add to that just the fact that it’s a pole-dancing pole, not some root support, and it becomes a real problem in what is otherwise a great venue. I really hope that at the very least make it removeable. I’d hate to see a band try and set up around it.

The other thing was that on the way out of the venue, somebody stole a framed, signed poster of Michael and I that belonged to the venue. Geoff and Patch who run Traders are big supporters of live music, really enjoy it, and have a collection of signed posters from all the shows that they’ve had at the venue, so having one of them stolen off the wall is particularly shitty for them. Please, if it was you, or you know who it was, send it back. It’s signed to someone else! All you had to do was ask and we’d be able to find a poster to sign for you. Please, take it back.

Friday was a day off, so we did what any self repecting bassist does on a day off in London – went to the Gallery – as I’ve said many times before, we’re really really lucky in London to have the two finest bass shops in the world in the one city, with The Gallery and The Bass Centre. Michael had been to the Bass Centre before, when we did our clinic there a couple of years ago, but this time we visited Martin Peterson at his Camden hide-out. It’s a real Aladdin’s cave (particularly apposite in Pantomime season… maybe Martin and Alex should dress as Widow Twanky and Aladdin??) So we spent a good few hours talking bass and trying out toys there.

Saturday, I was playing at The Captain and Tenille’s wedding, which was great fun. The rest of the band was Cathy Burton‘s band. Sadly, my Neuralgia kicked in just before the service, so I had to rush off at the end, to get a Vit B fix before my vision started to go… which was a downer, as the reception would have been cool too.

And Sunday was the gig at The Headgate Theatre in Colchester. The Headgate is a fantastic amateur run charitable venue, with the best acoustics of just about any venue I’ve ever played. Everything sounds great in there.

This was the second of the gigs where we added a Q&A/Masterclass to the beginning of the gig. We did this for Petersfield and Colchester for a number of reasons – firstly, so that we could have a chance to explain a bit about what we do; inevitably, after a gig there are a thousand questions from people about how the hipshots and detunable bridge work on Michael’s bass, about the Ebow, about looping, about my processing, about what strings we use etc… So the chance to answer those in a more structured way proved very helpful. It also meant that we could make the gigs slightly more economically viable. It’s great to be able to play gigs like the Headgate and Traders and make it pay, and this is one way to make it a bit easier on everyone. For both venues, money taken over the bar is a big factor in it working for them, so people arriving early is good for the venue too.

The live music economy is a tricky balance, given that venues need to make money on food and drink, so artists and promoters need to think of ways to give a gigging audience ample time for ordering at the bar! That way everyone wins.

So that was that. Tour over, some great gigs, some fab new friends, great clinics, CDs sold, and the mortgage paid for another couple of months :o)

Then, today, Michael left, about 10 minutes before the postman delivered a box of CDs for him to sell on the tour… DOH!!

Soundtrack – Iona, ‘Book Of Kells’; Cuong Vu, ‘Come Play With Me’; Nick Harper, ‘Double Life’; Patrice Rushen, ‘Straight From The Heart’.

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Half way through the tour…

So, we’re at the half way point of our lil’ Manring/Lawson tour, and having a great time – So far we’ve had gigs in Brighton and London, and a day at the ACM in Guildford yesterday.

Brighton was at the Joogleberry Playhouse – a very cool new venue, which we managed to fill on Tuesday night (no mean feat for a solo bass gig!). Great to see some familiar faces there – our good friend Rich Ravenhill who has organised all my solo gigs in Brighton worked his magic again, flyering, postering, getting the word out and generally being fab. The venue people were great too.

the day at the ACM is a fabulous college, and just keeps growing – new buildings, more students, more teachers… a very cool place. Stefan Redtenbacher, the head of bass, has booked us there before, and it’s always a pleasure to go and give some esoteric inspiration to the students.

And then Darbucka last night – it was my second gig there, and I love it (though they could do with some stage lighting… 🙂 ) – another great turn out, and lots of friendly faces. Good stuff!

My favourite part of these gigs with Michael is the duo improv stuff, not knowing where it could go. The duo set in Brighton was probably the best improv stuff we’ve ever done – loads of lovely ideas, and it all seemed to flow really well. London wasn’t quite so stellar, though there was still some magic at points, which i’m glad we got recorded…

So, onwards and upwards. This afternoon, we’re at the access to music british academy, and then back at Traders in Petersfield! See you there!

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Democracy unveiled…

This quote was sent to me by mini-harv, and does seem somewhat apposite…

“As democracy is perfected, the office of President represents, more and
more closely, the inner soul of the people. On some great and glorious
day, the plain folks of the land will reach their heart’s desire at last,and the White House will be adorned by a downright moron.”

-H.L. Mencken, Baltimore Evening Sun, July 26, 1920

Soundtrack – Jing Chi, ‘Jing Chi 3D’; Jimmy Haslip, ‘Red Heat’; The Cure, ‘The Cure’; Moya Brennan, ‘Two Horizons’.

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OK did anyone video it??

Saturday night’s John Peel documentary – I saw the last half an hour, but if anyone video’d it, I’d love to see the rest. I saw it listed in the TV guide and thought ‘oooh, got to see that!’, but was then watching ‘School Of Rock‘ and forgot about the time (that happens when you’re raising your goblet of rock).

So if anyone has it, that’d be great…

Soundtrack – Tom Waits, ‘Real Gone’; Jamie Hartford Band, ‘Stuff That Works’; Jackson Browne, ‘Looking East’.

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