Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

25 April 2015

Requiem for Compassion




A Translation from a beautiful Brahms Motet entitled  
Warum ist Licht gegeben (Why Is Light Given):

Why has light been given to the weary of soul,
And life to the troubled hearts? Why?
They who wait for death, and it doesn’t come;
They who dig for it even out of secret places;
Those who almost rejoice and are happy
That they achieve the grave. Why?
And to the man whose way is hidden,
And from whom God himself has been concealed?
Why?
Let us lift up our hearts, together with our hands, to God in heaven.
Behold, we value them as blessed who have endured.
You have heard of the patience of Job,
And the Lord’s conclusion you have seen:
For the Lord is merciful and has compassion!

About two months ago I went to San Francisco. During the visit, I got to see my mom, which was an enormously cathartic experience. I also got to hear an incredible concert put on by the San Francisco Symphony. The program began with some of Brahms' organ preludes and concluded with his requiem. In the middle of the preludes and requiem was his Motet Op. 74, No. 1. I sat there in Davies Symphony Hall feeling instantly alone as the choir first uttered the German word for Why (Warum). I felt cold and held back tears obsessing over the sound of that one word.

Why?

It has been more than a year since my last blog entry. In that time, I have finished grad school, returned to Michigan, begun teaching music and performing it. I'm living the dream that I set into action many years ago. My everyday life, I'm grateful to say, is one where I wake up with freedom to do what I please, enlighten young minds, and make beautiful music. I live.

While I live with the most clarity I've ever had in my life, the world surrounding me devolves into a blurrier place each day.

Warum?

When I hear the first line of Brahm's motet, I think of this country. Our country. It's the iteration of why over and over again that really grips me. At first, and deceptively, Warum sounds bright and promising and wonderful and of great dreams to come. I think of the American Dream. My dream. I think of the life I live everyday. All that is good and possible. But always, the chords that sound afterwords fill me with a deep grief, as Brahms asks, Why again. Perhaps it's the bad that I choose to see where it concerns our country.

Still, I cannot stop asking why to the things I see happening.

Where it concerns race, many Americans are at odds with one another. No doubt it is because of our shared difficulties to navigate our differences. Yet what I continue to wonder is why we rush to judgment and point fingers rather than asking productive questions and extending understanding. If everyone is standing on moral high grounds, are we not again staring each other in the face as equals?

No one is listening.


Why?


There are severe problems in moving forward as a country when laypeople and political pundits alike respond to black deaths by police officers with "what about black on black crime?" I've been asked this questions by countless friends and peers initially wanting to respond, "What about it?" Usually I am more constructive and today I'll stick with that avenue of responding.

Most murders of White Americans (83% of them in 2013) are committed by other White Americans. Black on Black murders surpass our White counterparts' crimes by 7%. To me, I see that murder is an issue, and narrowly a racial one. Equating the deaths committed amongst a category of civilians to deaths between law enforcements and civilians is wrong and disingenuous. Police officers are charged with the responsibility of making split second decisions in order to protect people. It is a hard responsibility, yes. But it is not a handicap. It is simple: for those who have the honor of upholding the law, the standard is higher, as it should be.

I want to be completely open. Mistrust, in my experience, is a legitimate feeling; myself, my family members, friends, and mentors have all experienced varying degrees of foolishness that have caused us to mistrust agents of the law.

Still, us Black Americans are no less responsible for removing productive element of understanding from what could otherwise be a meaningful dialogue. 

There are severe problems in moving forward as a country when Black communities rely on their own versions of rules and regulations to govern themselves. The silence on crime that is rampant in Black communities across this nation is a deafening one. Where has our blindness, deafness, and willful ignorance gotten us? Our children's bodies lie still in premature graves. We fear the places we should feel the safest as we live in the de facto prisons of our homes and neighborhoods. Our silence, and in many cases misplaced priorities, have afforded us nothing but destruction. And moreover, we have been insulated at times from the compassion and protection that the law is meant to show us, as a result of what our culture typifies to others, whether fairly or not.



Let us lift up our hearts together...

 
Can we all acknowledge our ignorance (willful or unintended) and release our collective pride? Let us lift up our hearts together, rather not to ask why but to ask how. How can we heal together and understand one another? We do not have to be seduced into extreme narratives concerning each other and our differences in vocation, in class, nor in race.


For we have here no continuing city,
but we seek the future.


I don't speak German. Were it not for the translations, the text in Brahms' motet were words I would not have otherwise truly understood. It was the sound and spirit of those words, however, to which I was initially listening. That human utterance gave meaning to a word that apart from that performance would have been vague and possibly meaningless. But I listened. I listened first even though I did not understand.

Are you listening?

31 January 2014

The Met Man, Vans, and Tuba

Got to play with Dr. Denson Paul Pollard (Bass/Tenor Trombonist of The Metropolitan Opera) last week. It was pretty bad ass. My new Vans look pretty good too. Love those shoes. 

30 October 2013

Girl from The Sun

It started with "Summertime Sadness." I didn't know it was a remix but I didn't care. Those lyrics and that voice; I was hooked. Lana del Rey is bringing originality to mainstream music. I love my repetitive, dirty, stupid pop music. But that stuff is like the process food of mainstream music.

Born to Die, del Rey's latest album, is good from beginning to end. Her words are like well-balanced IPA beer. It's got a hoppy bite;  raw, fresh, and a taste you can't easily get out of your mouth - nor would you want to. It is description, storytelling, and straight up wordsmithing the hell out of the English language:

My old man is a tough man. 
But he got a soul as sweet as blood red jam
And he shows me he knows me, every inch of my tar black soul 

Sweet lord, yes.

Her lyrics also remind me of some of rap's better artists. The expletives and seedy situations that feel essential rather than glib and authentic rather than contrived. Musically, she has a mix of classic rap too. Think dirty trash can drum sounds like Beastie Boys and Run DMC. And then there is an unmistakeable sound of The Western Frontier. The music of Aaron Copland would have you imagining Montana and the Dakotas... Expansive skies, rolling plains, mountains. Born to Die is deserted and reverberant. It emotes loneliness, deep, rusty colors, and long shadows of shanty towns at dusk. It's beautiful.

Lana del Rey's voice is my favorite aspect of her music. And, even though it is unique, it is reminiscent of one of my favorite singers of all time: Karen Carpenter. Lana has a chest voice that, when I close my eyes, sounds just like Carpenter. The way they slide to different notes, the way they pronounce words, the timbre too. The semblance is at times chilling. Just listen to the first five words of the album's first song also called "Born to Die." If you can't hear it, you might be crazy. Also listen to "Off to the Races" and "Video Games."

Besides her ghostly offerings, she invokes many other vocal styles: Gwen Stefani, wiry-voiced cabaret singers. And there's even something secretive and devious in a voice del Rey uses often on the album that reminds me of Marilyn Monroe singing "I Wanna Be Loved By You."

The girl has pipes and she's got the style to know how to use them.

Listen. Now.


17 July 2013

Drive Baby, Drive

Doing a classic Michigander thing: Going Up North. Can't wait to get on a jet ski and relax away the next five days. Stuck on Brahms, Dionne Warwick, and Stars (coincidentally their album named North). Weird mix but it's doin it for me. 

02 July 2013

Against the Grain

I have a new Dallas Green cover (of City and Colour) on my website. The music is an original arrangement written and played by me; all vocals performed by myself as well. I'm not the best audio mixer... You might want some headphones or computer speakers.

Looking to record some music with tuba soon. Any pianists in town for some baroque fun?

Against the Grain Cover

Dallas Green has an awesome voice, sick writing skills too. Wish I could see him in concert but haven't had the chance yet. The original song:




25 June 2013

Buddy Holly, A Torah, and Four Vampires Walk Into a Room...

On the recommendation of one of my very best friends (Brandon Murray), I listened to Vampire
Weekend for the first time in my life. Their new album, Modern Vampires of the City, is an aural collage so awesomely constructed of old things from many parts of the world. It is a masterpiece. It uses  music and religious concepts to create an entirely unique sound, vibe, and experience for the listener. To be clear, it is not a religious work, for those of you who are not familiar with Vampire Weekend. I've separated all these different sounds into separate talking points on this blog. But the truth is that these concepts all appear in endlessly exciting combinations throughout the album. It's almost overstimulating to listen to.

Some of the song titles are reference the Torah (Old Testament) with names like Don't Lie and Ya Hey (a play on the Hebrew title for God, Yahweh), while others have more subtle religious allusions (e.g. Everlasting Arms, Unbelievers, and Worship You). Given that the lead singer Ezra Koenig identifies strongly with the Jewish faith, it is not so surprising.

What I found more surprising was the musical and textual content of the album. In songs like Obvious Bicycle and Young Lion there are some strong similarities between the vocals and chant associated with ascetic ritual of some religions. In these songs the vocal lines stretch out syllables in slow melismatic contours. Combined with a lot of reverb and (sometimes) subtle choral accompaniment, suddenly you feel like you're in a great cathedral, temple, or synagogue. It's beautiful. Textually, Ya Hey is full of religious allusion, "Zion doesn't love you... Babylon don't love you." "I am that I am" is repeated in the chorus numerous times; this is a verse from Exodus 3:14 that Moses spoke to God. In the second verse, Ezra addresses God directly (is he supposed to be Moses?):

Oh, good God
The faithless they don't love you
The zealous hearts don't love you
And that's not gonna change

There's more stuff like like this all throughout the album. Clearly I find it fascinating but I won't go on being a geek. 

Well except for this: A blatant Baroque aesthetic shows up on the third track entitled Step. Pachelbel's famous Canon in D sequence serves as the harmonic foundation of the song even though Step transposes the sequence so that it is in B flat Major. The song is accompanied by choral voices (as are many in the album) and a harpsichord. There are also several songs heavily coated in the 50s rock tradition. Elements that put you in the mind of Buddy Holly and the Crickets (Peggy Sue). And of course, I mean the sound is more similar instrumentally than it is in vocal style. Diane Young and Finger Back are great examples of Vampire Weekend's eloquent stylistic quotations. There are some cool jazzy bass lines that you can find hidden in Hudson. And there are some songs hinting at drinking song/Gaelic folk, reggae, and something that just reminds me of Michael Jackson (like PYT Michael, not Thriller Michael).

Super cool.

This is a supreme example of artistry to me. Now, I've gotta go back to see what I've missed from these guys' past projects.

17 June 2013

The Savvy Musician

I feel like I'm about a century behind everyone. But in case you're even more behind the times than I am, check out this website. For any musician with big dreams, Savvy Musician is helpful, encouraging, and forward looking. Thanks to a friend, I've seen the light. I'm into it. Thanks, Kiki.


11 June 2013

Doin' It Right


This album is what I need. For one, its release gives me hope that Daft Punk will come back to The United States at some point. When I discovered them about 6 years ago (late, I know), they were doing their final appearance in The States. Of course, with me being in a freshman in college in Michigan and the concert happening in Las Vegas, I did not go. Now, there is a sliver of hope that they will be back. I do hope it happens.

In the 60s I wasn't a thought. In the 70s and early 80s, I was a hope and dream, maybe. This new Daft Punk album is taking me back in time to groovy days and phone parties. Or at least, that's what I imagine was the case back then.

The music on this project is a fun reminder of the past, hence "Random Access Memories." It does not forsake today's connotations of "dance music," as there are plenty of electronic manipulations of instruments, voices, and effects. It does however possess a decided mood of what dance music was circa the 60s and 70s. It's smooth, organic, and beautiful. You can dance, take a ride, lay out on a beach somewhere... It makes so much sense.

The whole album is my favorite. But here is one called Touch and their latest single Get Lucky.

Get it now.

Touch feat Paul Williams

Get Lucky feat. Pharell Williams*

*He's producing the soundtrack to the sequel of Despicable Me 2. Can't wait to hear it. If you haven't seen the first movie or heard the soundtrack to it, it's worth it. 

04 June 2013

40 Yard Fake and Acid Dreams

Summertime is (almost) officially here. For me, it's been here since May 11.

THANK GOD.

Lots of driving, hanging out with friends, catching up with sports (moment of silence for The Red Wings), drinking, eating... It's been great.

Of particular note was the trip Seth and I took to Paris. We flew to London first, staying long enough to eat a little something, taxi through the city, and then hastily catch the next train to Paris. We went through "The Chunnel," which I slept almost the whole way through. I assume it was pretty boring, given the whole dark tunnel part.

Once we woke up, Paris was in our midst. It was graffiti-laden and beautiful. Also very dangerous. If people feel like they'll die in New York City traffic, then go to Paris once and you'll appreciate your life in an instant. The driving there is CRAZY. Like I saw three accidents crazy. And I was only there for a week. Besides constantly dodging death, we had a swell time. The city is like a living museum. Everywhere you go is old. Even convenience stores and bars are edifices with hundreds of years of history.

My favorite part of Paris: The Food (and drink).

Breakfast: Paul's. It's a chain but it's fresh and delicious. The ham in the omelet I had was incredible.
Lunch: Just about anywhere is great. You can grab a sidewalk spot, some coffee, and people watch for hours. I will say, ketchup is really different over there. Should you get french fries, be warned.
Dinner: Chez Fernand. Great wine list. Many options. Fresh vegetables. Very kind. My favorite place above all places.

Least favorite part of Paris: The Eifel Tower.

It's a 40 yard fake: Good from far. Far from good.

Don't misunderstand me. The view from it is incredible. And again, looking at it from afar is very nice, especially at nighttime. But up close it is brown. Like dirty brown. And apparently, Parisians feel the same way. Got some great pictures from up top. And since Seth is terrified of heights, we didn't stay long. Sorry, not sorry.

All I ever heard about France and Americans was that they don't like us.  I think that as long as you make an effort to indulge the French culture, they'll meet you part of the way. Either we were really lucky or my French was so bad to the point of charm. Regardless of the reason, our experience was enjoyable and without any major complications (besides getting lost a lot, which I happen to enjoy).

-----------------------------------

Two days ago, Seth and I got back from Las Vegas for his cousin Corey's bachelor party (also for his soon-to-be cousin's bachelorette party). This was my second stint in Vegas. Four days of Hangover worthy fun in the sun, dancing in the dark, and a lot of stuff in between.

The highlight of this trip was Kaskade. He is an electronic music phenom.

Getting there was long.
Once we got inside it was hot.
We waited for two hours.
My feet hurt.
Then it started and it all made sense.



WHAT A SHOW! There were lasers, ballerinas, whacky colors on an enormous screen, flashing lights, disco balls, cold steam guns... I felt like I had been transported to a time when LSD was flowing and free love was the law. The music, of course, was awesome. Kaskade does this things where he starts new loops on up beats and using the craziest subdivisions. It's jarring and exciting and fascinating. It's improv taken to a new level that I've never heard, at least not in person. So cool.



That night/morning, I didn't sleep for nearly 24 hours. A plane ride back to Michigan at 6 in the morning makes sleeping useless when you're done carousing at 4AM with packing left to do.
It's been a great three weeks of summer so far. Now I've got to be productive. Looking for the motivation...



18 April 2013

Super Ma to the Rescue

ART and LIFE are inseparable, both needing nourishment for a functional, thriving society. Yo-Yo Ma is a real life superman trying to change the world for the better, by advocating for the place of the arts in our country.




08 April 2013

Adventures in Louisiana

So it's about three weeks after my recital. Naturally, I'm wondering, "What's next?" I've always had trouble keeping a high level of motivation for long term endeavors. Well, SCRTEC ('Sir-Tech) came around at just the right time.

For those of you who don't know, SCRTEC stands for South Central Regional Tuba Euphonium Conference. It's kind of like the auto show for tuba players... Well actually the regional auto show for tuba players. Every two years ITEC (International Tuba Euphonium Conference) is hosted some where in the world. And in between those years, regional conferences are held all over the USA. It's rumored that next year's ITEC will be back in Bloomington, Indiana on the Indiana University campus.

So anyway, SCRTEC. It was a cool experience; my first tuba conference. There were some great performers who gave inspiring performances. Some of the usual big names were there: Demondrae Thurman, Ben Pierce, and Adam Frey among them. But what inspired me most were some of the people who are not always included in that constant adoration of tuba-euph performance. The first of which was Justin Benavidez. He played a program of Piazzola (Etude No. 3), Tibault (3 Danses), and Romanyhi (Parallels). My favorite was the Romanyhi. It was full of musicality and effortless phrasing. It left me breathless at one point; the second movement I think it was. It was just really good music playing.


Another mesmerizing performance was that of Kevin Wass. He's the Tuba-Euph Prof. at  Texas Tech. He premiered a piece by Carson Cooman called Shadowbook (Three Songs in the Night) written for tuba, clarinet, and piano. It had me on the edge of my seat from the beginning to the end. The music itself is really interesting. But what made the performance excellent was the intensity of the players. They took on the character of the movements without crossing a line into the overly dramatic. Dr. Wass really showed off  with his abilities to play with so many colors in rapid succession. It was a demanding piece and it didn't seem so hard for Wass.

By far my two favorite performances. 

I wasn't a big fan of the lectures I attended. Between speakers that were too awkward in front of a group of people and straight up boring presentation, I did not leave most sessions with a lot on my mind besides how I could've gotten a beer instead. There was one discussion, however, that really caught my attention and kept it. Joe Skillen, LSU tuba/euph professor, gave a presentation on entrepreneurship in art music. It was enlightening and informative as well as affirming. He's direct but also easy-going; the kind of guy who loves sharing new ideas but also likes putting them into motion. Skillen has a lot of it figured out and I have a lot to learn from him.


One word: Crawfish. 

LSU SCRTEC hosts Brian Gallion and Joe Skillen had a crawfish boil for the attendees and guest artists. First time I've ever eaten crawfish and it definitely won't be the last. It was a lot of work but it was delicious.


Had some gator for the first time at The Chimes, a Louisiana staple. It was really good. Chimes was great for its beer too. It's got a ton of beer on tap (a lot like Ashley's in Ann Arbor but way bigger). Juke Joint IPA was my favorite local beer. It's hoppy but just a little bit sweet, unlike the sharp citrus tastes that IPAs often have. So, it's something a bit different as far as IPAs are concerned but very enjoyable.


Also got to meet Mike the Tiger, official mascot of LSU. 




15 March 2013

DONE!



Thank you to everyone who came to my recital and to those who encouraged me along the way. I had some fun (and some disappointments). But mostly I learned a lot and am most certainly happy it's over. Spring Break is here! Thanks for being apart of a growing experience with me. -SJB

12 February 2013

An Interesting Read



I referenced J Dilla before, on my blog last month. An NPR music blog, A Blog Supreme, published an article a few days ago echoing the enthusiasm for the late talent of Dilla. But besides that, the article tells of his musical and life history.  It also explains the significance of his music and how it continues to reach, change, and influence several music scenes, especially jazz. It's a good read.



Also, Happy Belated Dilla Day (February 9).


Why J Dilla May Be Jazz's Latest Great Innovator



J Dilla in the studio of fellow producer Madlib.

22 January 2013

New Music for the New Year

Just listened to this guy on NPR while driving home from Sam's Club. 2013 just keeps getting better! He has remnants of D'Angelo and Bilal mixed with something new and interesting. Love his voice. His name is José James. He has two albums out from 2008 and 2010; his Junior album is titled No Beginning No End. Preorder on iTunes and Amazon available now. I'm excited.

www.josejames.com

The NPR Story from today available online.

16 January 2013

When You Hate Music

That whole saying that goes, "I'll try anything twice," really resonates with me. But it's not really true in any aspect of my life with the exception of music; well maybe beer.

I love all kinds of music. And I'm not lame like many people when they say, "I like everything except country and rap." For one, there are new music styles being created all the time. It would be a feat to listen to all of them and then be able to say you "like everything except for country and rap." What most people mean by that statement is that they like most popular music except for country and rap. I still think it's a stupid answer. But I also know a lot of stupid people, myself included.

I truly enjoy a huge variety of music. If I don't enjoy it the first time, I'll try again; maybe a different album from the same artist or when I'm in a different time in life (while in school vs. while on vacation). If you looked through my iTunes you'd find people and songs played multiple times-country, electronic (a personal favorite), Harry Connick Jr.,  a slew of "indie" artists, 'classical,' gospel, Chicago, heavy metal... For me, I generally have to find the right situation for the kind of music it is. Some is danceable or is for working out. Other music is for road trips, contemplating, or venting. But there is some music that just doesn't fit my life.

Some music I just plain don't like.

Who makes this sad list?

The Beatles.

They are my own personal--and boring--hell. I've tried so many times to like them, to hear them, to love them. I respect them, no doubt. But it's nothing I enjoy. I especially couldn't stand it when two high school marching bands I was teaching in the same summer had "MUSIC OF THE BEATLES" as their shows.

Not when sharing a beer
Not when I'm sad.
Not when I'm happy.
Not when I'm mad.
Not even with green eggs and ham.
I don't like The Beatles, Sam I am.

Enough of my rambling. I just read an article in NPR Music about this very idea. The article (Stephen Thompson) is posted below:



13 January 2013

Stories in Music

I've always been a terrible storyteller. I couldn't tell a believable lie if my life depended on it. And I can only captivate an audience if I'm in the middle of humiliating myself. There is something about keeping details and sequences in my head that eludes my presentation. I suppose it has made me honest by default and a pretty strange person to have a conversation with.

In spite of my poor storytelling skills, I almost solely depend on original narratives when performing music. It is a healthy distraction from the neurotic preoccupations that I sometimes fall into. For instance, a long period of rest can be time to listen and understand how to fit into the soundscape around you. For me, I figure out 1,000 ways to piff my starting pitch or count the rests with an astounding inaccuracy. The story keeps me mentally engaged. It's the old "Song and Wind" philosophy. Hear the sound, direct the wind, let you body do what it needs to produce. Sounds like magic and nonsense. And though Arnold Jacobs was indeed magical, he was a genius. There is nothing nonsensical about his pedagogy. It works.

What I find interesting about stories in music is how it works with what we now define as "absolute music." The phrase itself has changed meanings dramatically over time. Today it's thought of most commonly as musical "purists," in the sense that music truly speaks for itself. It is a concept that I neither agree with nor understand. I think it is humanly impossible to hear music or perform it without an allusion, reminder, or out right symbolism attached to something extramusical. Therefore, I think musical purity is malarkey. People have told stories forever. From cavemen to Renaissance poets to country artists. It's apart of our nature.

So, the point?

I think a story is integral to sustaining the art music scene. Sure Power Points and videos did not exist during most of the classical greats' time. But as I've said before in a previous entry, I believe that art music needs to meet people where they are. Again, I don't advocate the abandonment of traditional performance. But if art music is virtually suffering for lack of public interest, then by God CREATE SOME! People like to see things. A simple image shown for every movement of a symphony, a silent short film for a tone poem. Case and point: a lot of John Cage's music sounds ridiculous by itself. And not in a good way. But when paired with his partner's choreography (Merce Cunningham), it makes a lot of sense. Unfortunately what I am suggesting is extreme, despite the fact that art has always been on the edge of cultural normalcy. But something more "realistic" that could be attractive to intimidated people is comprehensive program notes.


I hate nothing more than going to a concert and starting to read what I think will be information about the music I hear. Instead, I mostly get a detailed pedigree of the composer (don't care), how long the piece took to compose (don't care), info about the composer's family (don't care). And if I don't care about this stuff, what are the chances that someone who is already questioning the experience cares?


I know some conducting professors who think the idea of a "listening map" style program note is a silly thing to produce for a concert. I am of the mind, however, that if people in need of a listening map constitute your patronage, then give it to them. At the very least, give them a choice at the concert; two styles of concert programs. There needs to be incentive to come back again, an assurance that someone is looking out for the layperson. The layperson used to be the one at the concert. Now the layperson watches reality television and on demand movies. While all of it isn't "high brow," it's entertaining. The intimidation factor is removed by the comfort of knowing what to expect on some level.  Art music settings on the other hand are 100% mystery to laypeople which is equivalent to 100% terrifying. Who wants to subject themselves to that kind of feeling, especially when no one is around to help a person out of it?


11 January 2013

Scales

It doesn't matter if they're in triplets, sixteenth notes, quarters or good ol' solo and ensemble style. I hate scales. I'm nearly 24 years old and have only recently understood how they are valuable to me. Ostensibly, they seem useless to a tuba player. Most band and orchestra music for tuba players is moderately challenging at best; that is, in terms of fast passages (with the possible exception of circus marches). "Hard" music in large ensemble settings is often playing the range of the instrument in a short amount of time (Berlioz loves this), masking breaths, playing lower and louder. Knowing this, scales seem like stretching your legs for exercise even though you're confined to a wheel chair. It may seem extreme, but you get the idea.

But something has changed my mind. It's solo music. While a lot of tuba music is hardly tonal or scalar, it can be fast, scatter brained, and precise. Playing scales provides a deftness to fingers that is otherwise not demanded of me in the ensemble music that I play. Still, what I struggle with is legitimizing it to students, especially beginners. Ultimately it will help them should they continue to play music long into their future. But what if they really don't care? And often enough, this is the case. Or even more often a student thinks that a scale means Bb to Bb and back. Changing that mindset is both annoying and makes me wonder what some music teachers are actually doing in their classrooms. As much as I find value in them, it still isn't that much fun. It's tedious, sometimes soul-destroying work. Or at least that's what it feels like to me most of the time. But my reward is what I get when playing tuba rep. What's the reward for an 11 or 12 year old?


10 January 2013

Tiny Desk Concerts

Never been into podcasts until now. And excuse my tardiness, but this is awesome. It's free and it's totally diverse in the artists. I mean, what else would you expect from NPR? If you don't know, now you know.

05 January 2013

Reinventing Hip Hop

James "Dilla" Yancey, was a hip-hop genius. While he has passed on, his music continues to inspire people all over the country, Miguel Atwood-Ferguson included.

Miguel is brilliant in his own right. I love his orchestral settings of J. Dilla's music, his raw passion, and his intellect. The guy is really in love with music and good at spreading that love. People should know who both of these guys are. Below is an example of their musical paths crossing. I would love if I could be apart of something like this.



01 January 2013

Pop Culture and Why I Like It Lately

Lately, I've been more and more interested in pop culture, which is weird because I'm a bit of an old soul when it comes to how I view things. But on second thought it's not weird because pop culture has been gradually moving backwards in time. I don't know which came first, but it's happening in mainstream fashion too. I'm saying all this to say, I LOVE IT.

Take this guy for example:


Nerlens Noelle. He was born in 1994. In 1994, I was 5 years old and I was sporting this exact same haircut, the high-top fade. It wasn't as high and I didn't have tattoos. But the idea was there. When I look at this, I get nostalgic. I don't know if nostalgia is the case for the popularity of this kind of stuff but I wouldn't be surprised. I mean, things are totally upside down in our country. Perhaps the past is a comforting thing to think about and be reminded of. Nerlens isn't the only one nodding to fads that were popular decades ago. Rhianna's last SNL performance was a blast from the past. So is Kesha's latest video for her single Die Young. And sorry University of Arkansas girls, the leggings, side pony tails, and oversized shirts you took from your dads' closets were around long before your parents even thought of having you.

None of this is really my main point. What I've enjoyed most about pop culture's obsession with resurrecting the past is the change of music sounds and practices. Pop artists from about the mid 70s on to today have been decidedly futuristic, pushing the limits of synthesizers, sound engineering, and live performance production. The last 10 years have been shifting back to something my "old soul" really values.

Music.

I think the technological advances for the sake of music hat have been made over the decades are great. But the robotic precision and auto tuning of popular artists supposedly "expressing themselves" left a lot to be desired for me. Today, the fallibility and rawness of human nature is coming back to music. Adele is a wonderful example of this. Her music is beautiful but simplistic. It allows your ears to hone in on the words and appreciate the emotions in her voice. Who cares that it isn't immaculately tuned from beginning to end. I don't. It sounds good. It sounds real. I feel connected.

Another aspect of reviving the past that I love is the sound that is infiltrating popular music. Beyonce's most recent album, 4, is overflowing with aesthetics of Prince, Whitney Houston, and old R&B girl groups. The music on the album reaches beyond simple influence and has turned into a full on reincarnation. Party is one of her more successful singles from the album and it sounds like something right off of an SWV album. And if you've seen the video, it looks like it was filmed about 20 years ago.  It's incredible. What I like most about the song is that the music backs up Beyonce's voice much in the way that Adele's music backs up hers. The beat does not constitute the most important part of the song. The singer does.

On Beyonce's single Schoolin Life,  you can hear the rhythm, guitar, and keyboard of Prince and vocals that sound like it was written for Whitney Houston herself. While I wasn't really around when either of these people were at their heights, the music takes me back to the sounds that my mom enjoyed while riding with her in the car. It sounds good. I feel connected.

One of the last things I really enjoy about this music trend is the instruments. More and more artists are utilizing the talents of real musicians. Less famous, more independent artists have done this for years. But it's been a while for pop artists to have bands with live brass or orchestras with live strings. Beyonce comes to mind because of her all female band Suga Mamas. But rappers are on this wagon. Kanye did a performance with ballerinas and orchestra about a year ago on SNL of his song Runaway. I think highly visible people like this are putting instrumentalists back on the map. They are making it possible for the revival of second line style brass bands to be successful. Opening up the door for kids to ask what that cool thing the dude is blowing on behind Jay Z. It makes kids demand that they be just like the genius sax player (Clarence Clemons) in Lady Gaga's song. Pop music is reaching to the past to transform itself.

Meanwhile, us "art musicians" are starving for work and playing for quarter full concert houses.

Pop artists are opening doors for art music, the music I love, to become relevant again. This is why I really love pop culture today. It is a sort of connecting vehicle between the present and past. It gives a reason for young folks like myself and those even younger to talk about things that would have otherwise been boring, out of date, and uncool. Face it, art music is the ultimate resurrection act. 200 year old music played for audiences who can remember FDR's Fireside Chats.

One of my strongest beliefs in education is meeting students where they are. If we "high art" musicians don't meet potential audiences  where they are, we won't be dying anymore. We'll be dead. No more morbid resurrections. Just gone.

I think people might like what we do musically a lot more if we showed an interest in what they do musically. It doesn't mean that we play "pop classical" music on every concert we program. But it might mean that we perform something with more contemporary influences and sounds, which doesn't mean a-tonal, tone row inspired crap (not that it's all crap). Rather, commission composers that are writing in traditional forms but use hip hop sonorities. Try programmatic music that sounds more like being on a mission in Call of Duty than it does the city sounds of Chicago. Meet the people where they are.

The Detroit Symphony Orchestra has done recent work with some famous DJs, video game music, and Kid Rock. And while they are not the prime financial planning example, they appear to be an orchestra for the people. After all, what is music without an audience?

Is our music so great and our egos so mammoth that we will resign to kill ourselves slowly rather than"taint" our empty sanctuaries sounding of Bach, Hindemith, and John Cage?