Category Archives: Jazz

How to practice effectively [video]

This is a short video from TED Talk on how to practice more effectively. It includes some useful tips & really interesting information based on what we know about the brain & how we learn tasks.

This ties-in with my previous blogs on rehearsal & my own (admittedly rather limited) research on music and the human brain [see previous posts]. Let me know what you think!

If the above video doesn’t work, here’s a link so you can access the short TED Talk video on YouTube.

Enjoy! xx

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R.I.P. Chuck Berry (1926-2017)

R.I.P. Charles Edward Anderson, AKA ‘Chuck’ Berry (1926-2017).

To say that Chuck’s guitar playing was an influence on mine would be to do him quite a large injustice – he influenced everyone!

Building on the foundations of the early blues and jazz single-line players (such as T-Bone Walker, for one), and making great use of double-stops (two notes played at once throughout a phrase) to emulate the horn sections of larger bands, Chuck Berry created rock’n’roll as well know it today.

I could have picked any number of Berry’s songs to share here, but opted for ‘You Never Can Tell’. Best known from it’s inclusion in Pulp Fiction, I sang this tune with Switch as a first dance request for one of our wedding gigs last year. Great fun & a guaranteed floor-filler whenever we’ve played it since…

https://youtu.be/qK5N2LavUZQ

The live version by Berry & band in the video above below features some pretty cool soloing by the big man (not featured on the original 45rpm recording). Enjoy! x

New Year’s resolutions for guitar players

As a general rule, I don’t believe in New Year’s resolutions. My philosophy is that changes can be made at any time, so why wait until January?

However, there is something about the end of a year which causes us all to reflect on the previous twelve months and start focusing on our plans for the next twelve. For us working musicians, many of us have recently reached the end of one of our peak times, the ‘Christmas Party Season’.

Like many bands who find most of their work comes from weddings & function work, 2016 ended for me with a NYE gig. In January, things start to feel a little quieter by comparison, which gives us time to ponder on the gigs we’ve enjoyed, what we didn’t enjoy, and what we hope to change for the new year.

So, with that in mind, here are a few of my suggestions for guitar-related resolutions for musicians looking to grow as better musicians in 2017:

  • Learn a new style.

Always wanted to start learning those jazz chord voicings? Perhaps you keep meaning to work on your reggae & ska rhythm playing? Or your country picking? Blues slide? The list goes on…

Take the time to work on these new genres & styles of playing. We are very fortunate to live in a time where we can access a world of free tutorials on the Internet, or videos in YouTube. However, don’t rule out the possibility of taking lessons to focus on specific areas – working one to one with an experienced guitar tutor does wonders for improving your playing! 

  • Mix things up.

Learning a style doesn’t mean you have to abandon all you know & travel the world playing strictly Django/gypsy jazz for the rest of your life (though I imagine there are plenty of worse ways to live)!

Have you found that the majority if your playing has been on acoustic guitar? Trying swapping to electric more often (or vice versa). Do you always practise at the same time of day? If possible, can you change to a different time? Your brain operates differently throughout the day – you may well find yourself going down very different musical avenues simply by switching from a morning to an afternoon practice session.

Sometimes learning to play a song you are very familiar with in a new style works brilliantly in helping your playing. Not only do you freshen up material which might be getting a bit stale, but you’ll have a safer means of exploring new options in your guitar playing.

One area of guitar playing I can’t recommend highly enough is solo performance. By this, I don’t mean the lead guitar solo in a song, but playing the melody, harmony, rhythms, etc on one unaccompanied guitar. It’s something a piano player wouldn’t think twice about, but I’m frequently amazed at how many guitarists simply haven’t tried it properly! If you’re unsure about how to start doing this, there are several books, online tutorials (like this blog!), and of course YouTube videos to help inspire you. Which brings us nicely in to…

  • Widen your horizons.

Music is a language. Even when playing on your own, you are creating sounds for yourself to hear, effectively taking to yourself. But there’s only so long you can do that before you end up going round in circles, or going crazy!

Set yourself the following challenge for the year: discover a new artist each month of 2017. Learn from what you hear. Take examples of their playing & try to incorporate it into your own. It can only make you a better guitarist! The beauty of this is that you don’t have to focus on other guitar players. In fact, it might be better not to! Many of the jazz & Blues guitarists I admire take inspiration for their improvisational playing from horn players, translating their melodies & ideas into their own instrument. Try it!

It also helps to get out amongst other musicians, jam, join or start a new band, particularly in a new style. It also goes further than this – always wanted to sing while playing? Start! Learning a new instrument? Do it! The best way out of a rut is to climb upwards!

  • Get your music ‘out there’.

…And if you’re meeting new musicians & launching new projects, you’re already doing this. Go to more live gigs, gig more yourself, especially new and original music. I know all too well how easy it is to get stuck in one ‘world’ (in my case playing in a covers band), and finding it hard to do other things, but I promise it’s worth the effort.

Remember to have fun while you’re out there expanding your guitar playing horizons!

Best of luck and wishing you all a very happy new year! Let’s make 2017 – like every year – a great year for music, for the guitar, and for you!

Tim xx

Please do get in touch to tell me what your own guitar/music new year resolutions are, and stay in touch to let me know how you’re getting on with them! Don’t forget I’m here to help if you need it! xx

Seven Nation Army (cover)

My previous blog mentioned a recent recording date with function band Switch. We recorded about three or four tracks for the band’s website, two of which we filmed videos for.

The first video, for ‘Mercy’, you can watch here.

Our cover of ‘Seven Nation Army’ was the second video we recorded that day. As you can tell from the video, we had a bit of fun with this one. It still has quite a few nice shots of my Gold Epiphone Les Paul though…

Guitar wise, this is the LP from the video, using the neck pickup, coil-tapped. The slide is solid brass & it’s going through one of the studio’s Marshall amps (not the Orange stack you see in the video, though that does sound pretty cool).

Thanks to Loft Music Studios for the recording & production of the track, Nemix Studios for the video location and Artifact Media for shooting it! 

Enjoy!

A song for Black Friday: Mercy (cover)

Is it Black Friday? Have mercy…

Tenuous enough of s link for you? Good.

Earlier this year I hit the studio with function band Switch, and this cover of ‘Mercy’ (made famous by Duffy) was one of the tracks we recorded.

The guitar I used was the same one you can see in the video: Fender Modern Player Stratocaster going through one of the in-house Marshall combos at the Loft Studios.

Thanks to Loft Studios, Newcastle upon Tyne, for the recording session & production. Also many thanks to Nemix studios (also Newcastle), which was our location for the video, and to Artifact Media for the film production!

Enjoy!

Gear Talk (2)

It’s been almost two years since the last post running through all of my gear (which you can read here), and a lot has changed since then! Time for an update…

What’s the same?

First off, my blue/purple Strat is still my main weapon of choice (pictured, below).

My main Strat, with modded pickups. Seen here with my fave stomp boxes.

Known as the Standard Stratocaster HSS, this Mexican made beauty has been with me for sixteen years now. A few years ago, I upgraded the pickups to:

  • Fender Vintage Noiseless (neck)
  • Seymour Duncan Cool Rails (middle)
  • Seymour Duncan ’59 humbucker (bridge)

I love the combination of these pickups, not to mention their individual tones. I’m buying a new ‘fat Strat’ soon (expect a review to follow) and should I find the standard pickups somewhat lacking in quality, I’ll be replacing them with the same choices mentioned above.

What else has remained the same?

My acoustics – the Taylor 314ce, Admira classical and Tanglewood electro acoustic – are the same as before. My ukulele is a standard concert model by Kauai.

Most of my pedals have remained the same but here’s a quick rundown of my main stompboxes:

  • Joyo Vintage Overdrive (highly recommended!)
  • HotOne Boost
  • Boss OD3 (overdrive) & DS1 (distortion)
  • Marshall Bluesbreaker overdrive
  • Snarling Dogs Wah
  • Joyo Digital Delay

I have a pedal board to house all of these. However, I often simply take two or three pedals out to a gig without the board. This changes from gig to gig, but looking back through the pics on my Twitter account, I find the Joyo Vintage OD (a top quality tubescreamer clone for a fraction of the price) usually makes an appearance.

So what’s new?

ELECTRICS

My current second Strat is a Chinese made Modern Player Stratocaster. Interestingly, it is short scale (24 inches instead of the usual 25.5). Apart from being a feet shorter on the neck (only twenty) you barely notice when playing, though the body is a little smaller. In terms of sound, the pickups on this are classic Strat and I love the Guild humbucker in the bridge – the chrome looks really cool against the scratch plate (see pic below, sun best guitar on the left)!

Modern Player short scale Strat, sunburst (left); Mexican HSS Strat, midnight blue (right); Fender Stage 100 solid state amp (rear).

Finally, I also own an Epiphone Les Paul plus top PRO. The main difference between this and the standard Epi LP is that both the top quality pickups are coil-tapped. They’re also uncovered, which looks very funky against the gold finish (see pic, below).

Epiphone Les Paul plus top PRO, gold with those beautiful uncovered ‘zebra’ humbuckers.

When I bought this guitar, I thought I’d be using it with bands in the heavier end of the rock spectrum. However, I’ve found myself using it more & more for blues & jazz gigs. It was my main guitar for my blues workshops at the Sage Gateshead this summer, and provided those early blues times perfectly.

AMPS

I’ve finally bowed to the inevitable and invested in a digital amp. I’m glad I waited, because evidently Fender did too. The first wave of modelling amps were full of lags & bugs. By waiting, Fender’s first foray into the genre ensured they got it right first time. Even then, they were minor bugs, quickly improved in the line of amps released when I started looking – and now I’m a very happy owner of a Mustang III version 2 (pictured below).

Fender Mustang III v.2 digital amp, pictured here with my gold Epi LP.

This has every amp option you can think of, as well as every effect you’ll ever need. I prefer to keep my overdrive stompboxes, which frees up the amp to add modulation effects (such as phaser or their wonderful chorus choices). There’s room for a hundred saved channels, which is more than I need but useful to have. Also, their pitch-shift effect allows me to down tune the entire guitar without the need to, well, actually down tune the guitar! Very cool!

What else?

Well… I’ve just today ordered a Fender HSH Strat, so expect a review when that arrives. I’m also quite keen to look at a few more pedals from Joyo. Watch this space.

Until next time… 

New Music update (minimalism)

Those who have been reading my more recent blogs will have no doubt seen recent updates on my in-progress minimalist work. If you have, then you’ve most likely heard (and hopefully enjoyed) the trailers and demos for two of the pieces four movements. The most recent article on the wider work can be read here.

Now, these four movements all have final names. The overall pice itself also now has a working title: Urban Sequencing (a city distilled).

This working title reflects the mental images which occur to me when writing these movements. Urban landscapes and the movement of people/transportation is a recurring theme.

I’ve often thought of cities as living organisms, for good or bad. Seen from a distance, they can look like bright, smoke-beltching monsters fed and cleaned out by ant-armies of people. Most psychological and sociological studies on the matter will tell you that we also behave differently in a crowd. With that in mind, I wished to explore different aspects of the modern urban environment through minimalist music. Using simple, repeated phrases overlapping one another, in conjunction with the mathematic movement titles, I am attempting to recreate the nature of living in the city.

The piece’s four movements can be represented as follows:

#6×5 (allegro)

train1train2

(Pics by Beijing Cream & rediff.com)

This opening movement implies images of rapid moving transport, much like the above pictures of asian railway stations implies. But it could equally represent crowds of people, or indeed, the frantic state of mind that city life and cause in some individuals.

You can hear a short trailer for #6×5, as well as read a little bit more about this movement, in this article.

#5×4 (adagio)

Though this piece was initially concede as a reflection on the life of a dear family member who had passed away, this adagio movement also serves to highlight reflection in modern life. Even in urban environments, it is possible to find time to pause and reflect. But even in this act, we are still in the presence of a sequence, so in keeping with the theme, the city never leaves us in this work.

You can read more about #5×4 and hear a demo recording of the full movement (as it is right now) via this article.

#6×3 (animato)

roundabout

Pic by Tony Burns.

The third movement, #6×3, is a dance. A dance of sequences in triple time. Lively and animated (hence the subtitle ‘animato’), this short jig is also the scherzo of the work.

In #6×3, I hope to reflect how beauty can be found in random patterns, from the movement of pedestrians as they avoid each other, to traffic in roundabouts (like in the beautiful picture of a roundabout in Shanghai from National Geographic, above).

I am still putting the final few touches to this movement, but i hope to upload a demo for you guys to listen to very soon.

#5×2 (allegretto)

Squares by Adam Magyar

Pic by Adam Magyar (via Rupert Cook).

Finally, #5×2 brings us back to the frantic, hurried feeling from the first movement. This time round, however, there is more order. Unlike #6×5, this final movement is made up of five phrases of just two notes each, unlike the five note patterns from the earlier piece.

The resulting music, to my ears, implies that the city has played a part in shaping you, in organising it’s components to more effective use. Oiling the cogs, if you will. however, if you feel ending this piece feeling like a small cog in an uncaring machine, perhaps there is another way of viewing this. Going though all four movements in sequence, we start frantic and chaotic, before slowing down to reflect. We then enjoy the ‘joke’ of the piece, the dance, before ending in a more organised manner – and therefore with a less stressed attitude (at least, that’s one theory!).

As with the third movement, this piece still requires a little more ‘tweeking’ before I’m ready to release it into the world, even in demo form. However, I don’t think it’ll be too long before you get to hear it and let me know what you think.

Final thoughts

Overall, this entire piece should last just under fifteen minutes. Though my demos have so far been showcased on piano, I originally intended for this music to be recorded by an ensemble of tuned percussion, and hope to record a version in that style this year. I may decide to experiment further with alternative instrumentation – any suggestions?

I’d also be interested to know what you think of my concept overall. As always, you can comment or contact me through my social media channels to discuss, if you so wish.

Until next time, stay happy, and keep playing!