This is my third performance as the regular keyboard player for JOSE at Musika. Here’s part 1:
Just yesterday evening, I have started occupying the keyboardist chair for indie band JOSE at Musika, fronted by singer/songwriter Jose de los Reyes. Hours before that, I was on the radio station, playing live with, again, with JOSE at Musika, and then experienced my first radio interview as well. So, as you would see, I’m now JOSE at Musika’s keyboard player.
I got the gig when my friend, Archie Padolina (drummer for Basilica and my teenhood band Jacob’s Ladder), said that there JOSE at Musika was looking for a keyboard player. I auditioned for it and got the part. Short story, huh?
Anyway, here’s JOSE at Musika’s set (featuring yours truly on the keys) for a charity event called Vanilla Volume 2 by Matchbox Sessions (a nonprofit charity) at Triple Well, Makati:
My band’s drummer left a few weeks ago. Such a shame, really. Other than being an excellent drummer, he had good composition ideas that he generates by writing his grooves and vocalizing the riffs he hears in his head. Because of many personal problems he had to address, he had to vacate his place.
It’s rather difficult to look for a really good drummer who can play the sort of stuff I hear in my head. I do hope I find one soon so that we can pick up where we left off a month ago. The problem is that my band’s not your usual alternative rock or pop band, so finding a drummer that can play our kind of music takes extra patience. I am probably being too ambitious in this regard, taking on a sort of Frank-Zappa-like attitude, but what the hey! I gotta dream big.
So, to the 10 (or less) of you Metro Manila residents out there who are crazy enough to read my blog, I would like to ask for your help so that my band can find a new drummer. Here are our preferences:
1. Can play in any genre or style, especially metal, jazz, and prog.
2. Willing to jam with us in Makati City, preferably every Friday afternoon to evening.
3. Willing to learn, no attitude problem i.e. no rockstar mentality
4. Ability to read standard notation is a plus but not required.
So there you have it, folks. Drummers are such elusive, rare creatures that we require assistance to find one who’s willing to jam with us.
Lunchtime around this period of my life consists of a single cup of homemade Greek yogurt mixed in with honey and some sugar-free strawberry preserves. As I was eating my lunch and reviewing my GuitarZoom transcription work, I get this friend request from Michael Shawn Turner. After accepting it, he suddenly tells via a private message something like, “Hey are you the guy who wrote this? ” And then I realized I was talking to one of my heroes: Battery’s Mike Turner!
I was very much surprised. I never would have thought one of my heroes would start to speak to me, let alone read my blog! Anyway, to cut the somewhat long story short, it was a very pleasant exchange. He even wished me well in my search for a new drummer. Afterwards, he explained the reason why Battery ceased to exist: he flew to Los Angeles. It was as simple as that!
I remember saying in my blog that I regret not purchasing any of Battery’s albums back in the day. Mike Turner revealed to me that all of Battery’s songs are available via his Reverbnation page: http://www.reverbnation.com/michaelshawnturner/songs. Now I know that I can enjoy Battery’s music via the web.
I cannot thank Mike Turner enough for being an inspiration and for giving me a fragment of his time.
Before I end this piece, I’d like to share with you folks Mike’s latest project called booRADLEY. They started an Indiegogo campaign, so please visit the page and offer your support. I’m very sure that it’s a decision worth taking into consideration:
Since going for anything musical full time in a professional capacity, I decided to form my very own jazz-prog-rock band with two guys from graduate school, namely Diamond Manuel on trombone and Jeffrey Abanto on guitar, bassist RJ Sy (Karl Roy Band, Kastigo, etc.), and drumming virtuoso and chef KC Puerto. Together, we’re Hi-5! Nah, just kidding. We’re an unnamed jazz-prog-rock fusion band that is currently in its infancy. The video above is an excerpt from our two-hour first rehearsal session together where we had the audacity to take a crack at Alan Pasqua’s “Proto Cosmos” (popularized by the Tony Williams’ Lifetime band and Allan Holdsworth). I am quite pleased with our first session together as we were able to go through a somewhat tricky piece and survive it, hahaha! Other than this piece, we also had loads of fun with a free improvisation session. Hopefully, we’ll start working on original music as well as a couple of covers to spice things up.
The spark of it, all, however, was this free improv session with Diamond:
People who ask whether bassists matter or not are just plain ignorant.
Again, I will repeat this: people who ask whether bassists matter or not are plain ignorant.
Every time you take out all the bass frequencies in any piece of music, it will sound bare. It’s as if you took out a person’s spine.
Some people try to further ponder upon the question, :Do bassists matter?” by examining isolated bass tracks. That is probably one of the most idiotic things I’ve ever seen on the Internet.
Here’s a better challenge to those who question whether or not bassists matter: Try to listen to tracks of any of these artists without the bass tracks:
- Iron Maiden
- Return to Forever
- Bela Fleck and the Flecktones
Any person who would say that bassists don’t matter at all after hearing bass-less tracks of these artists are idiots.
It’s been established that most of Devin Townsend’s work does not feature guitar solos. Case in point is that in the Strapping Young Lad album “Alien”, only one song gets a guitar solo. As you can see in the video above, Devin Townsend can shred (or, in his own terms, wanky wank wank), although the point of this video is sort of a mockery or a parody of the guitar hero phenomenon. In fact, in one of D’Addario’s videos featuring Mr. Townsend, he goes on to say that, “Anybody and his dog can play wanky guitar,” which I would think means that anyone can go on and play a gazillion notes without any semblance of meaning other than to impress people. So the question now is the title of this entry: To Shred or Not to Shred?
If Mr. Townsend would perform what can be called meaningful shred, it would be something like this:
It’s a medley of Devin Townsend songs with a title that let’s people know what his opinion is about shred guitar in general.
I remember reading that Mr. Townsend always puts the song in mind and that more often than not, wanky guitar doesn’t work well in a song (in his songs at least) and it does not add anything to it. It sort of echoes Claude Debussy who once said “The attraction of the virtuoso for the public is very like that of the circus for the crowd. There is always the hope that something dangerous may happen.” So, if we are only trying to communicate “danger” through shred, is that all there is to it?
Perhaps a sort of balance must be always kept in mind. You can shred as long as it will add something to a song or musically make a point, making shredding inevitable to the music. It would certainly be the case in other kinds of musical work. In other cases, we have to accept that shred will not work well. For example, in Dream Theater (a band known for shredding prowess) songs like “Lifting Shadows of a Dream” or “Disappear”, shredding on a guitar would be a worthless exercises because it will not add anything to the song. Clearly this shows that John Petrucci knows when to say “pass” to shredding even if it is one of his strongest points.
So, if we can forego shredding in music, then why even attempt how to do it in the first place. One reason is that there are occasions where it will work and it will add wonderful things to a song. I can’t imagine a song like “Highway Star” or Mr. Big’s “Addidicted to that Rush” without all that shreddy guitar work. Second, learning how to shred improves motor skills and reaction time in music. Steve Stine usually says in his instructional videos that the point of learning how to shred or play difficult stuff is not the goal itself. But rather practicing such things builds skills and confidence that will enable you to do things easier and more effectively. If you can play difficult material then lower level material would be easier to play. It builds skill that will enable any musician to accurately reflect what should be expressed. It’s kind of like functional musical gymnastics.
I remember my piano teacher, Prof. Richelle Rivera, saying something to effect like, “Playing fast is not the goal. We already know you can play fast. Producing a good tone is.” I am of course paraphrasing my piano teacher’s words but in essence meaningful expression is always more paramount than superficial flash. I remember getting a bit impatient about myself playing slowly on pieces by Bartok and Beethoven and so I decided to speed up a bit (especially on the Bartok Bagatelle I was assigned to work on), only to be reprimanded by my teacher who insisted that I play the piece at an almost dragging pace. In such a manner, I was again reminded that playing slow is actually more difficult than playing fast. Articulating the notes in a way that accurately represents what you want to communicate to an audience is harder than impressing an audience with a gazillion notes per second. To this day, despite no longer being a piano major, I still work on my piano skills as my teacher had instilled upon me.
So, to shred or not to shred? To shred, as long as it is done meaningfully and appropriately, the opposite of shredding as a means of self-indulgence.