Making loops interesting…

There’s been a long thread over on Looper’s Delight about making loops interesting. A lot of the discussion has been around things to do to your loops, or ways of playing that will make them interesting. All good stuff, but missing something… Here’s my reply to the list of about 5 minutes ago –

“Some interesting stuff coming through on this topic (that which I’ve had the time to read, anyway).

My own way of dealing with this, philosophically is to not think about the looping aspect of it unless I have to, but instead to try and conceive the ‘music’ first in an of itself. Having spent a lot of years playing loop-based music, I already quite naturally hear form in a loop-influenced way, so don’t tend to need to force things. Occasionally I’ll be looking for a different kind of arrangement, and then I go to my tools at hand to see if it’s going to be possible… the ever-growing feature-list of the Looperlative certainly helps in this area.

But I have, for the most part, avoided self-consciously labeled ‘loop music’. There are some people who do much more ‘loop-essential’ music than I that do it incredibly well – Bill Walker, it seems to me, exploits his looping boxes in a more obviously loop based way (especially his ultra-rhythmic synced stuff), but his boundless musicality comes through in a way that makes it sound like the technology was made for him. Likewise Claude Voit – quite obviously loop designed music in the rhythmic/repetitive mode, but not even remotely ‘dull’ or ‘tedious’ – just great music making use of the arrangement possibilities of his chosen hardware.

What’s most notable is that great music is unhindered by tech or lack of. The great musicians are the ones who enslave the technology to their musical ends, but also allow it to liberate their musical sensibilities into otherwise impossible arrangement options, but still hear it and present it as music, where the fundamentals of music, be they melodic, rhythmic, textural, cultural or onomatopoeic, carry through to the audience, and the geekability of the loopage is an added bonus not a necessary diversion from the unsatisfactory listening experience.

just a thought or two… “

It’s all about the music, peoples. Experimenting with looping possibilities makes for a fun (and personally rewarding) science project, but those techniques then need to be forgotten and committed to the subconscious so that the music can flow unimpeded. It’s a constant struggle, especially when one gets new toys, but one that must be resisted.

Things looking up for traveling musicians…

Looks like those really stupid hand baggage laws that were introduced a few weeks ago are about to be relaxed. And not before time.

This paragraph is especially heartening –
“Musical instruments will also be allowed on board again, after professional musicians complained the measures were hindering them”

Will it make me want to fly round Europe? Nope – gimme the train, fo’ sho’.

But for musos that do fly, it’s a blessing…

Anniversary…

Pretty much impossible to avoid blogging about the anniversary of the events of 11/9/01.

As a subject it’s so fraught with the possibility of being misunderstood in your appraisal of its legacy, to sound callous by attempting to frame the deaths in the context of the many tens of thousands more deaths that have followed based on the lies that the UK/US governments formulated about those responsible as an excuse for invading Iraq…

So I’ll start with my sadness for New Yorkers, for those who knew people involved. I really feel for the American people, the confusion it must’ve caused – the US has been pretty much impervious to attack on its own soil for ever, and all of a sudden, a few guys of indeterminate origin or affiliation managed to hijack planes and fly them into buildings. Thank God the media’s initial insane assessment of the death toll was wildly over exaggerated. Two and a half thousand people dying is an enormous tragedy. One person dying is an enormous tragedy when it’s your dad/husband/son/brother/friend. That’s two and a half thousand individuals with circles of influence whose lives were shattered.

And it’s utterly vital that we rethink the way we view those who’ve died in the middle east to see them in the same way. Because they have families, friends, colleagues whose lives are torn apart in exactly the same way. Because your country has a history of war doesn’t mean that its people are laid back about losing their family members. Because people are inspired to fight against the occupying forces, doesn’t mean that their families aren’t torn apart when they are killed.

Sept 11th 2001 was one day in a continuum that stretches back decades, that takes in the whole Israel/Palestine problem, the Suez crisis, the Iran/Iraq war, the Soviet invasion and repulsion from Afghanistan, and even further back Britains colonial meddlings and pointless wars in the region. Relations between the Arab world and ‘the west’ have been fraught for decades, occasionally flaring up into wars, but often being held in tension for the sake of the oil. Now the two have come together – it’s flared up into a war for the sake of oil.

Sept 11th 2001 stands out because a) it was utterly unexpected by the public (though apparently not by the security peoples) b) it was americans who were killed and c) the killing all happened on one day, not stretched out over a few weeks or months. It was a heartbreaking event, perpetrated by evil people that wreaked massive destruction on the city and struck right at the heart of America’s sense of invincibility at home.

But it was also used as a catalyst/excuse/fountain of lies for our governments to then go and bomb Iraq, making up all kinds of shit about links to Bin Laden, WMDs etc. etc. We all know what’s happened. We know the numbers involved in how many have died, don’t we? – Well, most estimates put it at hundreds of thousands, but here’s the rub – WE DON’T ACTUALLY KNOW. As Tommy Franks said ‘we don’t do body-counts’. We know exactly how many died in the World Trade Centre. We know their names, can see their pictures in memorial books, hear recordings of their last phone calls. The iraqis killed are collateral damage, civilian casualties, a regrettable byproduct of a war that needs to be fought…. Bollocks. They are people, with families and friends and hobbies. They are internet junkies and news-hounds, footballers and model train enthusiasts, people who grow the own food and people who resent paying over the odds for supermarket food. People in poverty and people who are doing quite well thanks. People who love their cars, people who take pride in their new sofa. Just normal people, not saints, not heroes, just people needlessly killed. Exactly the same as the people in New York. They weren’t heroes, they weren’t saints. They were people who worked for multinationals, paying the bills and feeding their families. Just normal people who were phenomenally unlucky, in the grand scheme of things. Unlucky to work in the WTC or unlucky to born in Tekrit or Basra. It’s the same shit. Same death, same grief. The numbers who died on a particular day don’t change that.

So what’s the anniversary/memorial stuff all about? Should we mark it? Of course we should, but we should mark it by vowing to stop provoking mad nutters into bombing, to stop killing, to do what we can to end the pain of loss that families round the world are feeling, the families of civilians and the families of servicemen on all sides. We should put an end to it, and put pressure on military states to end it, put pressure on Hezbollah and on the Israeli government, on the Burmese government and on the Chinese illegal occupation of Tibet. On Mugabe in Zimbabwe and on the Sudanese government. If only the big economies of the world understood the notion of being ‘wise stewards’ of what they’ve been entrusted with looking after.

The fucking nerve of our governments going to war against the Iraqis is so infuriating given all the things they ignore. The barefaced self-interest of it, couched in such transparently bull-shit-laden ‘moral’ terms. Winning the war of hearts and minds requires consistency, transparency, honesty, humility, and a level playing field.

We need peace, we’ve been dragged to war. We need to negotiate and discuss, we instead use threats and bombs. We need fair trade, instead we offer sanctions and political weighted ‘inducements’. We need to empower, instead we enslave. We need to respect and celebrate diversity, instead we talk of tolerance and ‘Britishness’. Wrong at every turn, good swapped for evil, peace for war, doves for bombs.

The long term tragedy of 11/9/01 is that instead of learning lessons for peace, our elected officials have told lies to create war. The worst possible memorial to the people who died there is the fact that a war was started and still goes on as a result of their deaths being opportunistically cited as a reason for an invasion.

Fair is foul and foul is fair.

So we should indeed never forget, but I’m buggered if I can think of any more ways of telling the governments that.

Greenbelt 365

It never ceases to surprise me, despite having been at St Luke’s for very nearly 10 years, that when I get back from Greenbelt, I no longer have that sinking feeling that it’ll be 361 days before I encounter that kind of intelligent, passionate, grown-up, messy, engaging, cuddly spirituality again. It for my first few years at GB, there was a rather large disconnect between the model of church I was witnessing week in week out on a sunday, and what was happen over the August bank holiday in a field in Northamptonshire. Like it has been for so many people I know, Greenbelt was entirely integral and vital to my developing into a human being, helping me deal with increasing levels of discomfort at what was happening in the various churches I attended, and also providing me with the link between social and political activism and faith. Greenbelt has always been about the intersection of the arts, spirituality and social activism – using the arts to reflect on what our spirituality compells us to do in the face of a world of wonders that’s being fucked over in so many ways. What to do when the majority of God’s children are struggling for clean water and food, while the few are dying from fast food addiction.

Back then, it was an oasis in the year, one that would hopefully sustain me throughout the rest of the year. In 1996, I took a year off from Greenbelt, as I was booked to play bass at another big church event elsewhere in the country. I spent most evenings crying at what the hell I was doing where I was – that weekend really screwed me up for a long time, and I vowed not to miss GB again for a while…

BUT, at St Luke’s, it’s basically greenbelt all year round – a church full of thinking grown-ups, not afraid of questions, doubts, fears, or disagreements; not worried about the cultural nonsense that gets mistaken for faith, not obsessed with being ‘the only ones with the truth’, and attempting to formulate an authentic spiritual life, one that causes us to negotiate the wonder of being alive as part of the gorgeousness of creation rather than wishing for it to all go away in some ‘Left Behind’ end-times-horse-shit scenario where the world can go to hell cos, hey, I’m off to heaven and you can all fuck off.

No, it’s great, and I’m forever grateful for the community there. It ain’t perfect, but it’s the best I’ve ever come across, and after a weekend in the rain-soaked, mud-covered paradise of Cheltenham Racecourse, it’s a welcome reminder that it’s no longer one weekend of the year for me.

Last night was Pat-The-Vicar’s-Secret-Weapon’s 60th birthday. Curry was eaten, wine was drunk, songs were performed (Julie and I did a handful of tunes, along with the rest of the St Luke’s Cabaret) and people danced into the small hours. Many a smiling hung-over reveler was seen in church this morning. Life in all its fullness indeed.

Happy Birthday, Pat – a party well deserved.

National Theatre gig…

In my post-Greenbelt blogging frenzy, I forgot to blog about the NT gig with the lovely Theo. It’s amazing that we keep getting booked there, given that most of the music there is either solo classical guitar, or standards. We seem to get away with playing original spacey ambient loveliness in a straight setting. Still, the audience seem to like it, we like it, so what’s not to love?

Anyway, the gig went really well – it’s always too quiet in there, thanks to the powers that be complaining about the volume, but that aside, it was such a joy to be back playing with Theo – he’s an exceedingly nice bloke, and a fantastic musician and improvisor. It’s a really natural musical hookup. Most of the gig was freshly improvised stuff, with a couple of ‘Open Spaces tunes thrown in’ (Flutter, Bernie and Lovely), a solo tune from me (Behind Every Word) and our duo arrangement of ‘All I Know’ from Theo’s excellent Heart Of The Sun album. All in a most enjoyable gig, with a mix of friends and strangers in the audience, many of whom were most complimentary about the music afterwards. We even sold a pile of CDs, which is fairly rare for a foyer gig…

No doubt we’ll be back there soon.

Tax avoidance?

I’m a little late on this one, news-wise, but someone mentioned to me over the weekend that U2 have moved a load of their business affairs to Holland To avoid paying tax back home.

I’ve always found this kind of tax exile behaviour pretty reprehensible. You choose where you live, and render unto caesar what is caesar’s. Taxation isn’t the great evil – it is, until someone comes up with something better, the least-worst way to redistribute the wealth a little, based on the assumption that no-one makes money on their own, we’re all beholden to eachother to some extent, and if you’ve got a shitload of money, there’s zero evidence that having an even bigger shitload of money will make you happier. In fact, the misery of bitterness over how ‘unfair’ it is to be taxed is likely to make you more miserable if you’ve got loads of money.

So, when a band famed for their campaigning stance on the insidiousness of certain aspects of global finance, to do something that so clearly directs wealth away from their country of birth, of residence, of nurture seems not only fiscally suspect, but displays a scant lack of gratitude…

I just asked BDB about this via MSN, and his comment was ‘it depends what you’re planning on doing with the money’, which seems to be the american ‘compassionate conservative’ argument against higher taxation – let people earn more, and choose where to donate it.

the problem is, free markets are never free, and we’ve already got a world where charity fund-raisers are paid daft amounts of money to access all that financial goodwill that is out there. When individuals take it on themselves to do the redistribution themselves, certain hot-button charities do incredibly well, and others fall apart, regardless of how vital their work is.

The role of governments in this is to redistribute based on need, not on how effectively an advertising campaign tugs at the heartstrings. Yes, central government can be deeply inefficient, beaurocratic, non-sensical etc. etc. but it is still the least-worst option.

Within this web of life, the rich do bear some of the responsibility for the poor – neither riches nor poverty exist in a vacuum, and sharing the love benefits everyone.

So shipping your business dealings off-shore strikes me as complicity in the worst two tier-ism of globalisation. The rich end up paying a much smaller percentage of their wealth in tax than the poor, so those trying to feed their kids on one crappy McWage are struggling, while U2 and the Stones get to keep a few more million a year… yeah, that sounds like compassionate conservativism to me. What a crock.

Anyway, has anyone seen a response from the U2 camp on this? I’m certainly open to the notion that there’s a reasonable excuse for this, but I’m buggered if I can tell what it’s going to be…

The finest weekend of the year is over

For another year.

Another magic Greenbelt has come to a close, and we’re home. We drove back late last night, which was pretty hair-raising given how tired we were, but I’ve got a gig today at the National Theatre Foyer with Theo so couldn’t really have stayed over and partied til 4am like so many others…

The last day of GB was a fab one – starting with an organic vegan breakfast, and progressing via a panel discussion on Norther Ireland featuring Assembly members from the DUP and Sinn Fein along with two peace activists, one of whom had had his wife murdered by the IRA. The session was incredible, and what was said was so remarkable, that I doubt they’ll release the tape of the session… A big step forward. Maximum kudos to the most wonderful Gareth Higgins| for chairing the session so well.

After that, I was back into compere mode, to introduce Lleuwen Steffan, Huw Warren and Owen Evans – definitely one of my musical highlights of the festival (that’s their gig, not my introduction, which was good, but hardly a highlight). Amazing music, great performance, very well received.

After that it was full-on Recycle gig logistics – collecting keyboards for Huw to play, getting my gear up to the venue, missing lots of things I really wanted to see… Anyway, got all the gear up to the venue, and set up. Lovely audience comes in along with my co-conspirators.

The gig started with a me-solo set – (Grace and Gratitude, Behind Every Word, MMFSOG, Scott Peck, FRHU, Deep Deep Down and Deeper Still, for those keeping notes), then Julie joined me for some New Standard-ing – Video Killed The Radio Star, I Don’t Wanna Know and Running Up That Hill. Then we went into One Step from the album, and about three quarters of the way through, I gave Huw a nod and he joined in on the baby grand piano that was in the corner of the room, which worked an absolute treat.

After that, he came up to the stage on Keys and laptop, and he Julie and I did a couple of improv things, with them doing a duo version of ‘The Water Is Wide’ in the middle that was exquisite.

All change after that, and Andrea Hazell joined in on voice for our version of Dido’s Lament, which was gorgeous as always.

The wonderful Juliet Turner then got her first taste of Recycling with Harry Napier and I. Most lovely.

And finally, Huw and I played a gentle duet to send the lovely crowd off into the night. All in all, a fab Recycle night. Don’t miss Sept 20th at Darbucka!

Then it was all systems go to get all the stuff packed up before Spearhead started on mainstage. We missed the very beginning of the set, but it must be said that standing in a field at Greenbelt with TSP listening to Spearhead is as close to utter bliss as I can imagine. Really really great way to end a stunning weekend of great music, me-gigs, new friends, old friends, brain food, organic food, camping, chatting, hugging and kissing, laughing, sharing etc. etc. etc. All good nothing bad. Everything was wonderful in this best of all possible worlds.

See you there next year?

Another great day at Greenbelt

It’s was a fabulous day at Greenbelt on Sunday – I wasn’t scheduled to play, but did a couple of poetry and bass things with Steve Stockman, which was much fun.

Two great moments to day – Nizlopi on the mainstage were outstanding. If you get the chance to see them on their upcoming tour, don’t miss it. John’s an amazing bassist – to play like that and beatbox at the same time is remarkable, and for any of you BassMonkeys reading, it’s unmissable. Go and see it!

Great moment number 2 was Jude Simpson’s gig – jude is an amazing performer. She’s a performance poet, comedy songwriter and weaver of rambling spontaneous tales and stories from her life. She was in a tent that held 450 people, with at least as many again outside – they had to take the sides down, and she had the entire crowd rapt. You may remember she guested on my last night at Edinburgh last year, and was brilliant then. Go and see her if she’s gigging near you – I’ll book her for the Recycle Collective soon…

And now it’s Monday, last day, and we’ve got loads to do – have got keyboard sorted out for the gig, am compering this afternoon for a couple of shows, and then getting ready for the recycle collective show tonight. And somewhere in there i’ve got to pack up the tent, and get the car loaded so TSP and I can get back to London late night tonight, so that I’ll be ready for tomorrow’s gig at the National Theatre Foyer! Busybusy…

Greenbelt gig with Julie

Tonight’s Greenbelt gig with Julie went well – playing in the Winged Ox to a pretty packed venue, we played pretty well, though obviously not with the sharpness we had in Edinburgh. Because of Julie having lost her voice during the week, we dropped the key of ‘Video Killed The Radio Star’ which made it slightly odd to play, but we got through it OK, and Julie sang really well considering her sore throat.

A great preparation for the big Recycle Collective gig on Monday! Yay!

Greenbelt on the whole is going superbly well – catching up with many many many lovely friends, meeting fascinating new peoples, eating delicious food, going to the occasional seminar or gig, and generally having a fantastic time. Double Yay! This is definitely the the best weekend of the year…

The art of transcription…

Transcribing music is hard. Much harder than you’d imagine, if you’re trying to get it ‘right’.

TAB taken from the internet is, always, as you’d imagine, total shite. Without exception. It’s a limitation of the form – TAB just doesn’t contain most of the information needed to read a piece of music properly. It can show you roughly where on the fingerboard you can put your fingers to get sounds similar to the ones on a CD, but unless you’ve also got the CD and good enough ears to correct the handiwork of some inbred 12 year old from the mountains of Montana, y’all aren’t going to get very close to sounding like the record, and what’s worse, you’re screwed should anyone ask to play along and want some clues as to the key, the notes involved or any other actual musical information about it.

Sadly books often aren’t that much better. I’ve got a Jaco Pastorius transcription book. It’s rubbish. Total balls. lots of it isn’t even close. A student of mine brought round a Muse transcription book today. more nonsense. The notes were roughly right, but the TAB given for the tune we were doing (Hysteria) was utter nonsense, and would result in it sounding not much like the original, if you care about the feel of the tune. It only took me 30 seconds to confirm via YouTube that the bassist from Muse did indeed play this the way I thought he did and not the way it’s tabbed in the book.

And all over the country kids are parting with their hard earned pocket money for this crap.

See, the problem is that even if you get the notes right, there’s an easy way to write most things and a hard way – another student of mine has got a couple of transcription books of Jamiroquai stuff. There don’t seem to be many actual ‘inaccuracies’ in the book – a few minor discrepancies, but nothing beyond a reasonable margin of error. However, the way the stuff is written out is way way way more complex than it has to be. Staccato quavers written as alternate semi-quaver notes and rests rather than staccato dots being added to the notes. Rhythmic groupings within syncopated bars that make it tricky to read. Too much nonsense generated by Sibelius or whatever score-writing package is being used.

Look, if you’re doing transcriptions, the art is to make it so that the reader can read the music, not just to be ‘right’ but to be ‘good’. It’s all well and good telling me that ‘that’s what he played’ but is it what he intended, is it how he thought about it. those semi-quaver rests aren’t rests at all, they’re just the gaps between staccato notes. A very different thing, and the quavers are MUCH easier to read and understand, and make it easier to see what kind of groove it is at a glance.

It’s possible to over-transcribe too. when I was doing my transcription of Portrait Of Tracey for Total Guitar Magazine, I used a few different ones as source material. The one in the aforementioned Jaco book was nonsense, of course. The one in Bass Player magazine was so ‘right’ that is was impossible to interpret – bars of 11/4 and 13/8 where all that was happening was a ‘gap’ between the phrases. Was Jaco counting 11 beats, or whatever? Doesn’t sound like it to me. So put in one of those little hat things that mean ‘pause’ over the last note, and let people ‘feel’ the space and get on with actually playing music.

Transcribing should be totally accurate, but not pedantic. It’s a hard line to tread, and one where you have to keep in mind what is going to lead to the reader getting to the music accurately and painlessly? That’s why Sibelius or whatever is only ever as good as the person using it. It always needs correcting away from whatever it defaults to.

As a rule, Bass Player Magazine has the best transcriptions – they’re always worth a look, occasional attacks of gruesome pedantry notwithstanding. The ones in ‘Standing In The Shadows Of Motown’ are great too. fab stuff. Watch out for the dodgy ones, they’ll take you longer to suss out the lines on than it would to work it out from the CD…

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