Chavela Vargas

For many of us the mere mention of Mexican music evokes some negative emotions. We're just trying to enjoy our sizzling fajitas and table-side guacamole in peace, yet an uninvited serenade of Mariachi gives us the heartburn we hoped to avoid. Thankfully Mexico has a rich musical catalog far beyond Mariachi. I would like to introduce you to whom I believe is the soul of Mexican music, singer Chavela Vargas.

The long life Vargas led reads like a great novel. She was born in Costa Rica in 1919, yet became the voice of Mexico. She often dressed as a man and smoked cigars. Traveled in artistic circles with the likes of artist Diego Rivera and singer Jose Jimenez. She claims to have had an affair with Rivera's wife, the great Frida Kahlo. She disappeared from performing in the late 70's due to her alcohol addiction, but then returned in the early 90's. She died at age 93 in 2012.

Much of her music focused on the Ranchera genre, which is a vocal accompanied by a guitar. Simple, but not simplistic. In the early years, her voice was smooth and sinful like a fine Bordeaux, but as life took it's toll it evolved into a bottom shelf Rusty Nail, (that's Scotch & Drambuie for you teetotalers). Her later work is incredibly haunting. When she sings a song at 88 she once performed at 30, it now carries all the baggage of an artists life. Even if you barely managed a C in your high school Spanish class, you'll understand the song's message. I chose to start and end the playlist with the tragic folk song La Llorona. Take note to the drastically different moods between the early and later performances.

So as Summer disappears I'll open a Corona, close my eyes, and let her music transport me to some small village in the Yucatan. I hope her music will transport you too.

Who Dat ???

I can not think of a city with a greater connection between its people and its musical heritage than New Orleans, Louisiana. Now this may seem odd coming from a New York musician. It's true that every New Yorker is required by the city charter to believe this city is above all others, and I often subscribe to that megalomanic foundation. Sure our city can lay claim to a long list of musical milestones, however music is not an integral part of every New Yorker's life. You can go about your day as a dry cleaner, a chef, or a Wall Street weasel, and not be touched by music. This musical ignorance is impossible in New Orleans, it's everywhere. The love of music seems to be a New Orleanian birthright that's embraced by every generation. I wish we had such a phenomenon in NYC. Frankly I'm jealous. This, among many other qualities, make New Orleans my favorite city in America. I could try and paint you a detailed portrait of what this unconditional relationship with music looks like, but someone has already done a more masterful job than I ever could. That man is David Simon, and the instructional vehicle is Treme.

David Simon is best known for creating what many believe to be the greatest television series ever, The Wire. In 2010 David's New Orleans centric drama Treme premiered to critical acclaim. Although the focus of this series is to highlight the incredible challenges faced by the people of New Orleans after Katrina, it shines as equally an intense light on the city's rich musical culture. You will be introduced to much of the city's great talent from the present and the past, plus many great neighborhoods not listed in your Fodor's guide. So if you think of New Orleans as nothing more than the bare breasts and regurgitating frat boys on Bourbon Street, you are about to have your eyes opened very wide.

Sadly, the show will end its run with a 4th and final season this Fall. I highly recommend finding a good recipe for red beans and rice, grab some Abita beer, and lose an entire weekend with some serious binge viewing. Until then, here is an amuse-busche of the musical buffet that's in store for you.

Friend or Foe ???

Today's topic has nothing to do with music, but could have a greater impact on your career than your talent will. Your attitude towards those that hire you might not make your reputation, but it can ruin it. Here is a rather important concept to keep in mind ......

Your client is not the enemy.

As a composer for TV, film, or advertising, you will be creating music for people that may have a very difficult time articulating what they want. Uneducated suggestions may be offered. Perhaps extensive hand holding must be provided. Much of your time could be spent creating examples of what you believe won't work, simply to prove to everyone what doesn't work. If this process has you researching ways to torture your clients, that negativity will create a wedge between you both. "Why won't they just listen to me??? I toured with Bowie, man!!!" .... no one cares. You've been hired as a partner in this project, not a condescending expert. You want to be remembered as the knowledgeable guide that helped navigate the jungle, not as the overgrown vegetation they had to hack through.

This same principle applies if you are an orchestrator. Perhaps the composer has never worked with an orchestra and is beyond nervous. You want to explain the process, not be dismissive of suggestions, and put them at ease. Instrumentalists face the same challenges. Every horn player I have ever worked with has stories about the session with some clueless guy asking him to do the impossible. You can be the cause of their musical PTSD, or be the hero that contributed to some great music. The trash heap of promising careers is overflowing with bad attitudes. Those with great success have embraced this reality, and strive to make the experience as positive as possible.

Cover to Cover

I have received some requests for another visit into the subject of cover songs. For this playlist I've selected examples in which the cover artist has imposed their sound onto the song in a significant way. If you find yourself fascinated by the world of covers and are thirsty for more, I recommend you check out the Coverville podcast. Coverville is the "go to" place if you want to immerse yourself in covers.

1. Crazy - Violent Femmes: To be honest, I could listen to the Gnarls Barkley original over and over and never tire of it. I think it's a perfect song, both harmonically and melodically. Gordon Gano's vocals give it a whole new feeling of mental instability.
2. I Will Survive - Cake: All Hipster irony aside, this rocks. I believe they are are being earnest about the subject matter. Who can't relate to a good break up song? 
3. Personal Jesus - Johnny Cash: This could have been a list of 25 Cash covers since he has recorded so many great ones. Cash captures what I always imagined Depeche Mode wanted the song to be, a dust bowl folk song dripping with spirituality. 
4. I Fought the Law - The Clash: This song was first recorded by The Crickets, and made popular by the Bobby Fuller Four. Neither performances feel as if they come from residents of our correctional facilities. The Clash's take on the other hand ...
5. Nothing Compares 2 U - Sinead O'Connor: This is a cover ?? Why yes it is. It was written by Prince, (the shorthand in the title is a dead giveaway), for a band named The Family in 1985. If this version doesn't give you goosebumps, you may wanna check yourself for a pulse. 
6. Higher Ground - RHCP: Out-funk Stevie Wonder ???  Well maybe not, but the Chili Pepper's do give this track an energy all their own. 
7. Everytime - Glen Hansard: Hansard has an amazing ability to hypnotize the listener. I hear him sing and everything else disappears. I was blissfully unaware of the Britney Spears original, and I'd like to think I've scored a few points with you for revealing that fact. 
8. The Passenger - Kid Loco: Hey, I couldn't sing a song in French so I'm not touching the "English as a second language" aspect of this. It doesn't replace Iggy, (no one can), but it has a charming groove for you to hitch a ride on.
9. Superstar - Sonic Youth: You may know the Carpenters version, but that wasn't the original either. It was co-written by Leon Russell, a man you may have read about in some groundbreaking blogs such as this one. It has been recorded by many others, however none sound like Sonic Youth. 
10. Hard to Handle - The Black Crowes: Is there an Otis Redding song that hasn't been covered ? This Memphis soul classic easily saunters into the realm of southern rock.
11. The Candy Man - Cibo Matto: Sammy Davis Jr. might roll over in his grave if he heard this. Sometimes you can get away with keeping very few aspects of the original song. This version threw out most everything except the lyrics. I can't say they are being faithful to the song's original intention, but it's a wonderfully dark and mysterious track.
12. Tained Love/Where Did our Love Go? - Soft Cell: Here's a 2 for 1 deal for ya! Tained Love  was originally a B-side by Gloria Jones that was listened to by no one. Where Did our Love Go? was a far more successful release by The Supremes. This synth pop medley is easily one of the better musical contributions from the 80's. 
13. Proud Mary - Ike and Tina Turner: I discovered this while digging though my mother's collection of 45's at the age of 7. They took a middle of the road Creedence Clearwater Revival song and turned it into a soul classic. I found the studio recording to be lacking the energy of this Soul Train performance. The recording quality is less than stellar, but I hope the mental image of Don Cornelius dancing makes up for that. 

The Creative Process

I must confess I am not a regular NPR listener. Not because I have no interest in the content, I just don't have a good environment to really enjoy it. My impression was everyone listened to NPR on the car radio, or on their iPhone while trying to avoid the middle seat on the commuter train. I don't own a car and the commute from the couch to my chair in the studio is about 24 feet, not nearly enough time for All Songs Considered. Oddly enough I like to get my informational content from visual sources such as The Charlie Rose show, The Colbert Report, or South Park. Thankfully some of the really great stuff finds its way into my consciousness via surfing the Internet. I'd like share one such gem with you.

The creative process is a complicated one. It's a daunting task to create something when you are starting with a blank piece of paper, a lens without a subject, or the sound of silence. Early in your career you will come up with countless ideas and just as many reasons why every one of those ideas are shit. It won't end there. These thoughts will have a return engagement deep into your career when you stretch creatively and try new things. Perhaps you have been writing kick-ass poetry for years but that novel you just started is at a "Paris Hilton" reading level. Your Cello sonata is masterful but there isn't a hit of ecstasy large enough to make that dance remix palatable. I hope what you are about to hear will put all that self doubt where it belongs, into perspective. It certainly did for me.

So without further ado, wisdom from the host of NPR's This American Life, Ira Glass.




The wonderful animation was done by filmmaker and designer David Shiyang Liu. 

You really can stick your Elbow in your ear .....

I was first introduced to the English band Elbow in 2008 by a friend and I've been in love with the band ever since. They produce an intelligent and thoughtful brand of epic Alt-Rock, (I hate labels too but we need some point of reference). The music is rarely overproduced and unlike many rock artists these days, they make use of dynamics, (both loud and soft). The band is like a blue collar version of Radiohead, dirtier with a lot less "art school" baggage. The band's vocalist Guy Garvey has a beautifully gruff voice that sounds as if he's pouring out his feelings after one too many pints at the pub. Now I have a proclivity for singers that don't fit the traditional picture of what a vocalist should be, and he fits perfectly in that list of misfit voices. Garvey is also one of the few English singers I can think of whose Anglo accent is apparent when singing, (no, that fake Green Day stuff doesn't count). 

They have released 5 studio albums plus one compilation of B-sides and such. The most successful and my favorite by far is The Seldom Seen Kid, released in 2008. In 2009 they released a live performance of this album with the BBC Orchestra that is really outstanding. Rock artists with orchestras are a very mixed bag, sometimes wonderful, sometimes not. I encourage you take some time and get to know this inspiring group via the playlist below. The video is one of the more interesting integrations off the live album. 

Faking It: Orchestration via Samples

Today's composers are often faced with budget constraints that make it impossible to have a large orchestra perform their score. Creating sample based versions instead is a reality for most writers. If you find yourself listening to what you have created, (or what you have paid someone to create) and are thinking "This just doesn't sound like an orchestra", I may have the reason for it. I believe a weak link for many composers is a lack of knowledge in writing and orchestrating for an orchestra. Of course we are all limited to the capability of any sample library. They can't do everything, however, they are extremely powerful and can create something very convincing. Think of it this way, it's very hard to successfully emulate a sound artificially if you don't have a real understanding of how that sound is created acoustically. I'm not implying there are rules, or a right way and a wrong way. I'm suggesting a deep understanding of the range and capabilities of instruments will result in a more convincing product. So, how do we improve?

Finding an orchestral piece that you really like, and purchasing the study score will go a long way in your education. Most of the major works are now in the public domain, so the scores are quite cheap (for example, The Rite of Spring at $9.95, is a steal). Once you have soaked in that score move on a different composer, or era. Keep in mind that the art of orchestration didn't really begin until the 1800's. Bach, Mozart, Vivaldi, etc, tend to be relatively simple examples of what those instruments are capable of, both in color and combination. From Beethoven, through the Romantic period, and into the 20th century there is a vast library of genius to get lost in.

Another must have is a good orchestration book. There are some great choices out there. If you really want to get knee-deep into it, I recommend The Study of Orchestration by Samuel Adler. It's pricey and you will need the CD-Rom companion set which doubles the price. A more affordable option that is geared towards a beginner would be The Technique of Orchestration by Kent Kennan. This package includes audio CD's with the hardcover for a bit more than the cost of the Adler textbook. If those excursions to Cochella or Bonnaroo have left your bank account balance looking like your shoe size, Rimski-Korsakov's Principles of Orchestration is your answer. It's under $15 and covers ranges of instruments, the tonal shades within those ranges, and colors of instrument combinations. This is an art that will take some time to master, but in the process you will grow as a composer and as an orchestrator.

For those of you that haven't listened to a lot of orchestral music and lack favorites, here are some recommendations for you:

• Music for Strings, Percussion, and Celesta: Bartok - An isolated example of the string section and all it can do, plus the eerie use of percussion. Not public domain yet, so the score won't be found for $20, but it's worth every penny. 
• Til Eulenspiegel, Zarathustra, and Ein Heldenleben: Tone Poems by Strauss - Excellent examples of brass writing. All three pieces available in one book.  
• Petrushka: Stravinsky - You can get familiar with the woodwind family with this score. I spent an entire semester in college studying just the woodwinds.
• Pictures at an Exhibition: Mussorgsky - Originally composed for piano, later orchestrated by Ravel. The Eulenburg edition of the study score has both the orchestra and the original piano part together. It's fantastic to view it this way and see the choices Ravel makes.