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.

America's Only Original Art Form

As we approach the celebration of Independence Day, the nation will celebrate all that is truly American: General Motors, rampant Diabetes, Congressional gridlock.... Oddly, we won't spend much time celebrating the only true American art form, Jazz. Sure it's easy to ridicule Jazz... it can take itself too seriously, be way too intellectual or branch off into something akin to a sharp stick in the ear (I'm looking at you Kenny G). So for my part in rectifying this patriotic oversight, I would like to introduce you some great Jazz artists that aren't on the iTunes top Jazz downloads.

I started my journey to becoming a professional composer as a saxophonist, Tenor sax to be exact. I spent days upon days listening and studying the great players and grew to appreciate the wealth of talent that had come before me. For many that enjoy jazz on the edges, names like Coltrane, Rollins, Getz and Bird are quite familiar. I can tell you there have been some amazing saxophone talents over the years beyond those keystones of the art form. This list could be three times the size but I'm sticking to mostly classic Jazz artists that helped lay the foundation for the modern players of today.

On Tenor:

• Johnny Griffin - Incredible technique, notes at the speed of light yet not sterile at all. 
• Eddie "Lockjaw" Davis - I love the guttural nature of his tone, a soulful player that borders on early R&B. I desperately wanted to sound like him.
• Hank Mobley - The roundest sweetest tone, like Tenor sax 1.0 
• Jimmy Heath - "If you know Jimmy Heath, you know Be-Bop" ~ Dizzy Gillespie 
• Joe Henderson - Saw him live my first year in college and I was hooked. 
• James Moody - Multi-talented instrumentalist Tenor, Alto & Flute, everything he played had a smile on it. 

On Alto:

• Sonny Stitt - one word .... Swingin'!!! The epitome of the swing groove. 
• Art Pepper - Along with Chet Baker and Gerry Mulligan created the sound of West Coast Jazz.
• Cannonball Adderly - He played on Miles "Kind Of Blue", I think that says it all. 
• Jackie McLean - A bluesy version of Bird with a tone that cuts like a knife. 

The great Leon Russell

Leon Russell helped shape the sound of rock and roll piano as we know it. As a LA session player in the early 60's, he played on many iconic songs for a boatload of artists such as The Beach Boys, Aretha Franklin, The Crystals, Darlene Love and Frank Sinatra. He was the guy you wanted on your session. By the late 60's, he was writing arrangements for likes of The Stones and Glenn Campbell. He appeared at George Harrison's "Concert for Bangladesh" and was the bandleader for Joe Cocker's "Mad Dogs and Englishmen" tour. Russell is also a great singer/songwriter releasing over 30 albums of his own. His credits are endless ... and look at this guy, what a BAD ASS !!! The Keith Richards of piano (minus the heroin addiction). Sadly once the 80's arrived, the sounds of popular music had drastically changed, and the demand for his talents had disappeared. Thankfully there would be an opportunity for us to be reminded of his genius.

In 2009 Elton John was at a point in his career where he didn't know what his next project should be. While listening to Leon's Greatest hits inspiration was born. Elton called Leon and asked if he wanted to make a record. Elton had known Leon back in the 70's and wanted the world to see what an influence Leon was to him and to all of rock and roll. Leon said sure and in 2010 they recorded the "The Union". It received critical acclaim upon release and for my money it's well deserved. Produced by the omnipresent T-Bone Burnett, it's a great blend of blues and rock. Some outstanding guest musicians on this too - Booker T, Marc Ribot, and Jim Keltner just to name a few. Most impressive though is how well Elton and Leon compliment each other while both playing on the same song. Pianos take up a lot of space sonically yet these two never seem to  step on each other's musical thoughts.

I love learning more about the process that goes into creating an album. Luckily Cameron Crowe made a documentary about "The Union" for HBO. It's very engaging, although there is a bit too much Elton and not enough Leon for my tastes. Elton has had more than enough time in the spotlight and it would have been nice to hear more from Leon about his life and work. Having said that, I do recommend checking it out. Sadly HBO seem to be holding this hostage. It's not on Netflix or iTunes so if you are an HBO subscriber you can see it via HBO GO, if not find a friend that is.

Here's a teaser for the film and few of my favorite Leon creations:

Amy Beach

If you have been a fan of Classical music for any length of time, it can be difficult to discover something new. For most people, even musicians, Amy Beach is not a recognizable name. Considering she was the first female American composer of any stature back in the late 1800's, one would think her name would have made the rounds by now. It's quite surprising since she was well respected in a male-dominated field during her life, yet history has somewhat forgotten her.

Beach was a child prodigy as a pianist, and later composed a piano concerto, a violin sonata, chamber music and many pieces for solo piano ... all with minimal formal education. I will admit I do not know her entire catalogue well, but for me the one that stands out is her "Symphony in E Minor", also known as "The Gaelic Symphony". It's a wonderful piece with a wide range of moods, from pastoral to very intense. Like Dvorak and Stravinsky, Beach draws on folk music for her themes, in this case music from Ireland. Although the themes are Irish, her music doesn't come across as a Lucky Charms commercial.  It has something of an American sound and feel to it. Beach not only excels as a composer, but also as an orchestrator.  The string and woodwind writing are of particular note. She creates beautiful color combinations both within those sections, and with some interplay between them.    

It is a bit of a time investment, about 40 minutes, but I hope you will take the time to explore this piece and perhaps some of her other works. This slice of American musical history would be a great accompaniment to your Sunday morning coffee.

I'm afraid Youtube did not have any good options for listening, but I have included a Spotify playlist for you. This recording is also available at Amazon but not itunes. For those of you looking for a study score, can find it here.

The Argument For Vinyl

I am not a hipster. I don't have facial hair from the 1890's, I won't tell you how I discovered "that" years before you did, and I don't insist on artisanal mayonnaise. I do however, listen to records .....

Like most of you I ditched the pops and crackles of vinyl for the siren song of digital convenience long ago. I embraced CD's, then MP3's, and then streaming channels. I was content with this choice for quite some time. I never really loved MP3's, but having every piece of music I owned at my fingertips was hard to say no to, and Spotify..... Christ !! There was always something missing though, and I realized that my musical soul may have been sold in a Faustian bargain. I had lost the connection to my music.

There was no grand design in finding my way back to this ancient technology. My turntable had always been around and I still had a few select LP's from my youth. They never garnered much attention but they were here waiting for me to see the light. For a few years now I had been picking up some Record Store Day releases but that was it, just a once a year event to support a small business and hang with music geeks. Then last year it kinda stuck, the light bulb went on, I really missed this ....

No you can't drag your records to the gym or spin 'em in the car, but you can sit your ass down, pour your favorite adult beverage, and listen to some music. I mean REALLY listen. Now I'm not suggesting you torch that hard drive like Hendrix at Monterey. You wanna download that infectious Ke$ha tune or Spotify some one hit wonder, go right ahead. What I do suggest, is for those albums that you have a real connection to, the ones that helped you though that break-up, or demand your best "air guitar", or the ones you just plain love, deserve more. They deserve a place on the shelf and your undivided attention. Control your ADD tendencies, hide the smartphone, and experience a collective musical work in it's intended order instead of the random shuffle we have become all too comfortable with. Ogle that artwork, read those liner notes, let yourself drift into the bliss of a great album. Sure those records will require some care and upkeep, but you will have something you can hold, collect, and admire.

Article after article will tell you vinyl sounds better, the bass is tighter, it's analog man ..... I'm not going there. What I will tell you, is when the stylus rides that groove, it feels like I'm in the same room with the music .... It's alive, as if Jack and Meg White set up in my living room to entertain me and I'm a part of it. So if you have a turntable and can remember where you stashed it, dust it off and give it a spin. You may well be surprised by what you hear and feel.

Once you drag out those old records you may realize your collection isn't in the best shape and you want to pick some stuff up. As far as recommendations go, all that classic rock, funk, and jazz will be a great listening experience. In the event you would like some more recent titles that really sound great on vinyl, here are a few of my favorites from the last few years.

1. Blunderbuss ~ Jack White 
2. Brothers ~ The Black Keys
3. Ga Ga Ga Ga Ga ~ Spoon 
4. Bad as Me ~ Tom Waits 
5. Lungs ~ Florence and the Machine
6. ... Like Clockwork ~ Queens of the Stone Age 
7. Trouble Will Find Me ~ The National