Blog categories…

I’m just in the process of introducing categories on the blog (you can’t see them yet, as I haven’t found or added the code to have them listed on my pages, but will do as soon as Sarda gets online and helps me out).

Now, the quandary is, do I got for big general categories (music, life, politics, cats etc) or do I go for v. specific ones (gigs, tech-talk, food, cat health, cat photos, uk politics, world politics, spirituality etc)? Not sure which way to go… I guess I should start with general ones, and then add categories as they become necessary.

Soundtrack – D’Angelo, ‘Voodoo’.

Forum Spammers…

Been getting a lot of spammers on the forum of late, which is a pain. But I’ve finally found the thing to click in the forum admin bit that means I can manually approve anyone signing up! Hurrah… I hope it works.

Soundtrack – Daby Toure, ‘Diam’.

'Particularly Recommended'

Nice to see in this morning’s Time Out that tonight’s Recycle Collective gig gets the ‘particularly recommended’ red star of approval. I always feel that what I do operates in some strange realm where audiences love it and the press are never going to be interested, so even getting little things like this cheers me up immensely.

It also means that you really ought to be there. No excuses (except maybe living in another country. unless it’s Wales, that’s near enough)

SoundtrackThe Works, ‘Beware Of the Dog’.

New Music/Recycle Collective tomorrow…

Went into town this morning (town=central London), ostensibly to pick up a copy of Sibelius G7 software. It’s a score-writing package, that I need to be able to a) do my column for Bass Guitar Magazine properly and b) get a load of PDF scores of my stuff up on the web-shop ASAP. I get emails every week from people requesting the sheet music or ‘TAB’ for my tunes. Rest assured, there’ll be precious little TAB going on. Reading music isn’t hard, and is a much more useful skill that interpreting numbers of frets on imaginary fingerboards so that you can learn lots of really simple songs badly.

Anyway, long story short, no-one had G7 in stock. Shit! A wasted trip into town. Well, not entirely – I did get to call into Ray’s Jazz, and picked up a couple of very cheap CDs. One was Daby Toure’s album (something I’ve wanted since seeing him at Greenbelt last year), and the other is ‘Nordic Quartet’ by John Surman, Karin Krog, Terje Rypdal and Vigleik Storaas. It’s a fascinating album, featuring lots of classic Rypdal guitar loveliness, and inspired me to record another idea towards the new album. I don’t think it’ll make it on there, as it was just recorded to stereo, not on separate tracks, but it is a great idea that I’ll definitely revisit. Terje’s stuff always inspires me, please check out some of his CDs. {EDIT – I’ve just compared the recording of this new tune with ‘Not Dancing For Chicken’, and it’s SOOO much better – amazing how clean the sound of the Looperlative is!}

And recording that piece has got me all excited about tomorrow night’s Recycle Collective gig – I’m playing in a duo with Patrick Wood – Patrick and I have recorded together lots over the years, lots of lovely improv stuffs, some of which is in the street-team stash (or was – I’ve no idea what’s currently in the stash!). We’ve also played live together at Greenbelt, both in a duo, and he was a part of my Global Footprint huge improv thingie last year.

So we’re playing, followed by Orphy Robinson and Roger Goula – both of whom are fabulous players I’ve collaborated with in the past.

I really am like a kid in a toy shop with the Recycle Collective – I get to book all my favourite people to come and make lovely noises with me, in a gorgeous venue, to lovely audiences, which you’re more than welcome to come and be a part of. See the RC website for more details.

So that’s tomorrow. I’ve been doing LOADS of teaching of late – schedule is filling up, for sure, I’m almost maxxed out on evening teaching (if you’re wanting any lessons, best book a fair way in advance…) but I’m looking forward to my next lot of gigs – book shows in April with Muriel Anderson in the UK, and some solo stuff in April, as well as some clinics/masterclasses around… watch this space!

Soundtrack – right now, it’s my new tune, before that it was the Franks – Sinatra and Dunnery (not together!)

Five words

Pip BHP asked for five words to describe your life just now –

Expectant
progressing
happy
experimental
transitional.

there’s my five? what are yours?

Soundtrack – Sam Philips, ‘Fan Dance’.

Vanity Fair parties like it's 1975…

From Feministe, a critique of the current Vanity Fair magazine, their ‘Hollywood Issue’.

I’m not particularly well-versed in Vanity Fair’s usual output – I’ve picked it up in airports before now, only to put it down due to there being nothing in it worth reading, like almost every other magazine out there (if there’s one thing that’s guaranteed to turn me into a tree loving tearful EcoMonkey of the most extreme variety, it’s magazine stands in newsagents – trees being chopped down in their millions to publish page after page of unreadable horseshit… but I digress…)

Anyway, the critique of the gender politics at work in the current issue of Vanity Fair is pretty incisive, though oddly enough it only seems to be shocking because Vanity Fair is less crass most of the time, otherwise they’d be critiquing Loaded/FHM/Maxim and all the other porn-lite that peddles the notion that a clothed woman is unworthy of being interviewed or photographed.

It’s not a new problem, it’s indicative of the relationship between women and print media for half a century, but it just seems to be so stark in that particular issue of Vanity Fair, and the critique is particularly clear (as with about half the stuff on Feministe – the other half being patchy…), worth a read.

SoundtrackPeter Gabriel, ‘Up’.

Jyoti on downloading and the majors…

more great stuff from Jyoti Mishra on downloading. If the BPI starts getting trigger-happy with legal action against people for downloading music, we could end up in a v. bad place.

What they don’t seem to get at all is that more people will pay for music by artists they feel some connection with. Faceless corporate no-marks who happen to make nice music don’t engender any fan loyalty, so people will happily download their stuff. Why not, they’re rich enough already goes the argument. Whereas a band like Nizlopi allow free access to their video of The JCB Song for months, and instead of people just downloading it and then ignoring the record, they get a number one record out of it, totally outside of the music industry machine. It was a glorious success, not to mention a fabulous song, and shows what happens if enough effort is made to connect with an audience, to give them something of value.

The same thing has happened with a host of indie bands that launched this year- Jyoti talks about them with far more insight than I have, cos everything I’ve heard by the Arctic Monkeys sounds like shite, so I’ve not really taken much notice of them musically, but the story is one that fills me with hope, and the quotes I’ve heard from their fans suggest that they engender fierce loyalty.

And there are corporate rock monoliths that still do it. Iron Maiden, Queen and a few others have fans that will buy multiple copies of every single, on as many formats get released, even after they are well out of fashion. Marillion managed to raise the cost of making an album from their fan-base in advanced sales, for a record that wasn’t even written. Loyalty, trust, value. If people feel positively disposed towards an act, they are happy to part with cash. And those who never part with cash for music are going to get hold of it anyway – if you cripple software copying of music, people will just write software that records the audio – it means the copying will be slightly slower, but it’ll still happen, and the file-sharers will have the added buzz of getting one over on the wankers who want to fill their computers with spy-ware to stop them copying CDs to their iPods.

Meanwhile the indies keep providing MP3s, writing blogs to stay in touch with their audience, answering emails, playing gigs and selling merch, and it’s rolling along quite nicely thanks. Balls to the Sony share-holders.

SoundtrackMichael Manring, ‘Soliloquy’ (Michael has spent 20 years on various record labels, putting out great music. This time he makes the album of his life, puts it out himself, and is no doubt doing better from it than any previous album. It’s better packaged than any of his other albums, it’s beautifully recorded and is almost without doubt the most complete musical statement I’ve ever heard from a solo bass guitarist.)

Gotta love macs.

Ever since TSP and I got an iBook last summer, I’ve wrestled with trying to get things on the laptop to print via printer sharing on my XP PC. now that the iBook is connected to the internet independently of the PC, I thought ‘ah, it’d be nice to connect it straight to the printer as well’. So I go to the Epson website to find the drivers. ‘no driver available’ which at first seems like a bad thing, but the second sentence says ‘possibly because it’s already built in to OSX’ or something like that.

So I plug in the printer, and hit ‘print’ and up comes a box that tells me it’s an Epson Colour 680 (oh yes, 2001’s finest technology) and proceeds to print the document.

Live with OSX gets easier and easier. Roll on the 12 intel-powered MacBook…

Soundtrack – Andrew Buckton, ‘Now, But Not Yet’ (probably my favourite of all the albums I’ve played on that don’t have my name on the cover. The whole process was a pleasure from start to finish)

forgotten influences…

It’s happening to me a lot of late – hearing things I haven’t listened to for a while, and realising how formative they were in me getting the ideas together to do what I do solo. Hearing Iona again was one, and seeing the Doug Wimbish clinic at the Bass Centre at the end of last year was another.

And now I’m listening to Iona again, and hearing Robert Fripp‘s parts on one track, and having a vivid flash back to his opening soundscape set at the ProjeKct one gig at the Jazz Cafe in London back in, er 98? 99? something like that… Anyway, he came down 40 minutes before the rest of the band, and set up all this soundscaping stuff, overlapping asynchronous loops of mainly synth sounds. The effect was mesmerising, and as someone who was already experimenting with looping (at the time, all I had was my old Lexicon JamMan, and an ART Nightbass processor) it was a big inspiration.

Not long after that I got one of his solo soundscape records, and was a little disappointed. Not in the musical ideas, but in the synth sounds, and it swore me off ever getting a MIDI pickup fitted – I’d had one for a while to demo it for Yamaha, but ended up sounding like a bad keyboard player. Fripp sounded like a much better keyboard player than I, but it still sounded like keyboards a lot of the time, and that to my ears lost much of what is magic about stringed instruments – the attack, the decay, the way we can keep moving the note after it has happened (especially if you’re using an Ebow or the Fernandes Sustainer circuit that Fripp uses in his guitars) – to use that to trigger a synth seemed a little disingenuous.

Still, it meant that I was less likely to end up sounding like him, which was a good thing I guess, but the influence is undeniable, and that gig was a pivotal moment for me. As was the rest of the night – watching the free improv of Fripp with Trey Gunn, Tony Levin and Bill Bruford, I got a glimpse of what was to become one of my main ways of making music – just getting up on stage and playing. The sense of each sound evolving from the last, in an instantaneous thought process, with the intentions of the players meeting, combining, clashing and melding into one another. It’s a magical thing, and the direct descendent of that gig (and in no small way, the interview I did with Tony Levin and Trey Gunn after the gig) is the Recycle Collective.

Soundtrack – James Taylor, ‘Hourglass’.

Weekend away…

Just back from a weekend away teaching a bass and drum course at Lee Abbey in North Devon. Lee Abbey is a Christian retreat centre, and runs all manner of courses throughout the year, and I was approached over a year ago, I think, to be involved in this one. The idea was to have a Rhythm Section weekend – they do a lot of creative stuff there, but most of it is fairly mainstream church-music related stuff, nothing to out-there.

The drum half of the weekend was being handled by Terl Bryant, an amazing musician, who I’ve been a fan of for many years, and even played on albums with while never having actually played together. So that was an incentive.

After getting lost on the way there… well, not actually lost, just missing my turning off the M5, got there Friday night to find out that Terl was massively snarled up in traffic and ended up not making it there til Saturday morning. Which meant that our introductory improv sesh became a stevie-solo-gig. No problem there then. :o)

Overall, it was a really enjoyable weekend. ‘Twas slightly odd being back in an environment that I’ve not really inhabited for a while – St Luke’s isn’t really a part of the mainstream church culture in the UK – not that it’s consciously excluded, just that the people there haven’t really bought into the language and sub-culture that Lee Abbey is a part of. But as well as being odd, it was rather fun being back in that space again – it’s not somewhere I’d want to live – horses for courses ‘n’ all that, but the people were lovely, and teaching the bassists (many of whom I knew anyway) was a joy, as was playing two gigs and a bit in the Sunday morning service. I’m looking forward to going back there – apart from anything else, I didn’t get out of the building, and it’s set in some of most beautiful countryside in the UK…

this week is a week of teaching and tidying – we’ve got house-guests next weekend, so I’ve got a lot of work to do to get the house ship-shape. TSP did a load over the weekend, so I need to pull my weight… and with that, I’m off to clean up the hallway…

Soundtrack – Iona, ‘Beyond These Shores’; Imogen Heap, ‘Speak For Yourself’.

© 2008 Steve Lawson and developed by Pretentia. | login

Top