The dates at the Kimmel Center are always first-rate — even though I’m a local artist in my hometown they treat you with respect and professionalism. Sound system and tech is top-notch and the audience is always a mix of people that respect and appreciate the art. I always increase my fan base and, more importantly, I enjoy the gig – the set was over and I still had three tunes to play. Lots of new material premiered. The PhillyHARP date gave me the chance to stretch my acoustic blues abilities, though it’s usually and electric gig. While it serves as a showcase for the members of the organization we do get some heavy-duty playing in. My monthly gigs with Howard Miller are always a blast — this time we were getting everything right on, including ‘Bemsha Swing’ and ‘Naima’ and quite a few other tunes. I do hope more listeners will come by (it’s the 4th Thursday evening of each month thru June).

Two solo dates in March at the Philadelphia International Airport came and went before I could even think about them — apparently some decision was made from ‘higher up’ to cancel the dates with the promise of a re-booking. These are a bit unusual to play as the environment is noisy and the audience transitory, though lay-overs offer enough steady listeners to gain  CD sales and new names on the sign-up sheet.

It’s time to get the phone working and use my MagicJack+ for all it’s worth. (By the way this new improved version is excellent and highly recommended by me.) Looking forward to increasing the number of dates so I can get the music out to the world (Yes, I AM serious) and earn some frequent flier miles in the process. I’ll include a photo courtesy of my son Matthew from the Kimmel date and get another posting in later this weekend.

Stay well and stay tuned.

Matt

Matt plays solo guitar at the Kimmel Center in Philadelphia 2/18/12

Of course, at some point you strike gold (at least a vein) — yesterday, within 30 minutes’ time, I received two wonderful gig calls. The Kimmel Center RPAC in Philly had Saturday 2/18 unbooked (!) and one of the booking agents called me regarding the re-established performances at Philadelphia International Airport. I was in the process of planning around a tentative jazz festival booking in late June when the first call came through.

Of course, the worst thing to do is sit back and get warm & fuzzy over the immediate result — I continued the email blitz that occurs weekly and perused my files for leads that had stagnated. It’s what I term ‘front office work’ and while I often wish someone would come along and relieve me of this burden (Prince Charming Syndrome?), I do prefer to know everything about what I am doing or need to do. I’d probably be looking over my manager’s shoulder every chance I had….

I am looking forward to playing the solo date at the Kimmel a week from tomorrow (2/18). I’ve been spending my evenings tweaking and twisting the balance and tones on the tracks that will most likely become the Official Bootleg CD release. I always appreciate the experience of recording the first two CDs with Otto Capobianco at Nebula Zone Studios — he led through a hands-on experience with Sound Forge and digital recording and production that would have taken years to gain on my own.

Of course, open mics in a restaurant/club setting pick up many things you never knew were there, especially talking. A constant wash of verbiage that gets accented intermittently with silverware clatters and bar-glass thumps. But the playing conquers all….. with almost three hours of music it was a luxury to have a choice of tracks and be able to nit-pick the playing (mostly my playing) and decide on the best. So, even with some ‘loose’ notes and rough spots here and there, it’s the ‘closest thing to being there’. I am reminded of the bootleg LPs of the 70s with their plain white covers and Xerox’d labels slipped behind the shrink wrap. Of course, YouTube is predominantly ‘bootleg’ recordings and has relegated the surreptitious excitement of those plain white covers to some idealized museum setting. So maybe it’s time to release an actual ‘bootleg’, a sound recording made with less-than-ideal conditions that will convey that ‘under the table’ sort of delight. Then again, maybe I’m just worked up about the music.

I should be practicing — I have new pieces to play next week.

Until the next time — and I’ll try to make it soon!

Matt

The biggest problem, for me, is to forgo the guilt I feel when I pick up the guitar during the day to actually improve my musical skills instead of promoting and pitching myself endlessly. It’s easy to let your connection to your musicianship erode and that’s not good – the very thing you’re marketing is your musical self. It better be great when you finally land the gig.

While I sit down with the first Ralph Towner guitar volume and concentrate on what is necessary I’ll share a rehearsal clip. Even though it’s on YouTube I’m posting it for anyone who hasn’t seen it yet. I had just received the LaPatrie guitar from Godin and decided to test my then-new Kodak video camera. The piece is Luis Bonfa’s Manha De Carnaval and, yes, since I hadn’t played a classical guitar in years I flub the harmonics near the end due to the shorter scale length. I think it turned out pretty well nevertheless.

Matt

I return to my old dilemma of steel sting guitar vs classical guitar. The advantages and disadvantages flow back and forth. What it ultimately comes down to is how I feel on a particular day. The classical inevitably offers more room on the fingerboard for tighter, more intricate voicings. A narrow fingerboard does not automatically mean a faster-playing guitar. It’s the neck shape, both front and back, and the string tension that makes or breaks the playability. The tone and texture of the sound is different, to be sure, but once I get into playing I seem to transcend the differences and take the music where it needs to go. There are steel-strings that have more generous fingerboards….

Hopefully, this is the worst of my midlife crises — I haven’t had the urge to test-drive a sports car or get botox injections. 

Bring on the guitars!

I am looking forward to an end to the holiday music being played incessantly in every retail store and coffee shop. Let’s face it, most Christmas music is overly-cute or very solemn and hearing a pop singer who is struggling to not only infuse aforementioned holiday classic with loudly-wrought notes of supposed emotion but to hit those notes in pitch (pitch correction only does so much) is enough to spike Cymbalta sales. Of course, before the holiday merriment Starbucks was promoting Jackson Five reissues non-stop which made even a short stopover become, well, short.

Today, one of my main concerns was my fingernails, specifically my right hand nails. Last year, I had taken the plunge and had acrylic nails applied prior to my trip to CA for the NAMM show. As previous readers know I am sorry to have waited so long and struggled for years with hardeners and fake nails and crazy glue. Sadly, the nail salon that proved so helpful and considerate was incinerated during a strip mall fire in the early Fall. After trying several other salons with mediocre results I have found a shop and a woman who actually has experience with guitarists and our ‘special needs’.

Getting more ideas about the instructional videos, hopefully doing a video later this week (once my son catches up on his algebra). With a range of short articles composed I should continue to pour my knowledge into an understandable form and publish it. (Then I can feel guilty about not calling bookers and venues.)

Well, I don’t want to go on – I need to post another entry tomorrow.

Thanks.

Matt

I have been posting occasional rants on FB and Twitter about the latest trend with live music venues:  the No Trio policy. Several booking people have expressed positive reactions to my group material but tell me they can’t book me unless I add a fourth member. This is the sort of thing that lounge acts will do for restaurants and hotels, usually with a vocalist fronting the band. Of course, these folks are quick to mention that budgets are tight – in other words, we pay you less to bring in a larger group to play.  I’m also wondering if there’s some irresponsible trio out there showing up late and drunk, playing out of tune and covering Lady G songs, making a bad name for ALL trios. (Probably not…..) It’s not just local gigs either, but venues which involve extended driving or flying. I’m trying to stay aloof for now…

Rather than drone on, I’m going to try to post each day this week and be shorter and to-the-point in these blog entries.

Until next time….

Matt

I know we’re taking a hit from the current economic situation and many arts organizations are finding their cash flow thinning to a trickle. In some cases I’ve had presenters tell me they’re cautious about signing a contract then finding out in six months that their funding isn’t going to come through. While I prefer to book both my solo and group gigs in a variety of venues and not just bars (or other over-21 establishments) it’s quite a challenge to get anyone to book with any sort of guaranteed fee. My days of cruising up and down I95 and sleeping in one-hour breaks in rest stops are far behind me (and dragging other people along on these treks is even further in the past!). So my new year looks, for right now, a bit on the slim side in terms of dates. That will change.

This week I’ll be getting the mass-email announcement for the holiday sale or the new CD As You Are. As I’ve mentioned before it’s a retrospective o recorded solo performances from the past four CD releases with several unreleased tracks included. I’m offering it for $12 s&h included(!) and will mail all orders within 24 hours of receipt (unless the order is placed on a Saturday night). This is available only through the website or in-person won’t go into the usual distribution sites. If you are stumped for a gift for your favorite acoustic guitar aficionado visit my website http://MattRichardsMusic.net and click on the photo of the CD cover. I know you’ll like it.

Wrapping up video editing from the multitude of dates with my friend pianist Howard Miller. I forgot how digital time works (when you’re working on either audio or video production on your computer and believe you’re spending two hours when, in reality it’s six). The results are worth it, nevertheless. There happens to be some footage that, due to someone bumping the camera or brushing against the setup, is focused only on me. Though I was disappointed that the band was left out of view, I realized these tracks could be part of ‘on-the-gig’ examples of playing tunes in a jazz group. I play the Hagstrom Viking and the Godin Glissentar so I’ll work with these a bit more and see how they turn out.

As the group gets more electric I’m renewing the old pedalboard setup for ease of cartage (and because it just looks really cool to have it on the floor — right?) After being one of the early champions of chorusing (Boss CE1), I’ve removed it from the setup after realizing it makes everyone sound the same while removing dynamics and character from the sound of any guitar. But now my old penchant for a rotating-speaker sound (remember New Light?) has me on the prowl for a pedal effect to bring that back to me. I have tried the new Leslie cabs made for guitar — aside from giving me another amp to carry they don’t have the feel that the old ones had. I recall hauling the old 825 up and down steps and through doorways and scraping my knuckles…. at my age I’ll need a case of Icy Hot as part of the deal. So far several pedals I’ve tried haven’t convinced me that I was hearing a Leslie. My quest will continue….

“It’s morning now and there’s lots to do” (Little Elephant’s Special Day). I’m preparing for the Howard Miller gig tomorrow night, a private solo date Monday and a blues gig Monday night so I’ll cover lots of musical ground, which I like to do. I hope to see everyone soon.

Talk with you soon.

Matt

Matt's 'Old Lady' Lowden

I did play a solo gig this past Friday without a speaking voice of any sort (aka Miles Davis) at MilkBoy, a local acoustic music cafe. Sadly, the audience apparently didn’t know that a guitar can be featured without vocals. People talked loudly over my performance, took cell calls and stood in front of the stage during my set. I was tempted to do a Keith Jarrett and chastise them (which I have never done before) but I had no voice, even with the mic. So I soldiered thru the set, played what I thought were some superb versions of my own pieces and interpretations of others then gave up the stage to Trey Overholt. To his credit Trey applauded after each piece even though no one else did (except for three people after I Shot The Sheriff) and kicked off his own vocal-oriented set splendidly. Of course, as soon as he sang his first note the crowd became silent.  With no bad feelings to Trey, it proves the sad fact that some listeners prefer the comfortable and the familiar.

I often think that I can make things better in my hometown if I just bring the music to the listeners and let them see/hear what it’s about. I always play at the highest level and realize I did my best and if one person got an inkling then it was worth it. But I won’t be playing this room again and stress that instrumental players look for gigs other than this.

On a brighter note, I’ll be announcing the new CD release this week. As You Are would have gotten pitched to the world this past week if not for the nasty germs that invaded me.

Then there’s the Group — I have been consciously attempting to book the group in venues where we can make actual money (where we don’t go in the

hole after paying for parking) and have a draw and the region is on the lite side. The group never plays background music (which is what many people feel jazz is) and needs to connect with the market that wants to hear serious playing. With the acceptance of players like Jeff Beck, Scott Henderson and Eric Johnson I know good playing has a following. I’ve allowed the group to get more electric and play with more abandon. Following our set at the Kimmel Center last year I ended up on some top 20 list of ‘Hot Guitarists of the Week’ (which I promptly lost track of) that also included the aforementioned gentlemen in no particular order. While I will be bringing the guys in for the Witherspoon Grill after T’giving, we can’t push things over the edge there (though we do push things pretty far for a restaurant gig).

I think I’ve been home a bit too much this week — Friday night didn’t count (see above). Once my life condition rebounds I’ll be pushing forward as usual.

Thanks for checking in — hope to see everyone soon.

Seriously, there is a lot going on and I know I need to keep plugging away as they all have or will have positive returns from my efforts.  And I’m the only one who can handle each piece and make it fit and work. So much for (almost) complaints.

First off, As You Are is now available — I’ve launched it quietly so far and it’s available only thru the website or in-person. I will be offering it at a reduced price, not only due to the current economic situation but owing to the fact it’s compilation (with some unreleased tracks included). With the Balance sessions on hold for now, I wanted to put something out in response to the inquiries I’ve received. I essentially put all of the recorded solo tracks from my four releases together on one CD for the listeners who prefer my solo playing. If you’re a real fan there are several unreleased pieces that were recorded during the Dayside sessions added for good measure. I am considering recording new versions of some of the older work (Hollow Victory comes to mind) but these are the originals.

I am reaching in to the local markets more and I’ve booked MilkBoy’s acoustic room in Bryn Mawr in November. I’m also chipping away for new venues for the group, mostly outside of the area. Sadly, the Philly market is not grand in the first place and it’s getting more worn lately, almost a social market instead of a gigging op. With parking fees escalating it’s possible to lose money on a slow night if you gig in center city. That sense of altruistic adventure is long-gone — remember New Light?

My son informs me it’s time to discuss Michio Kaku’s latest posting about terraforming Mars. I’ll post again soon!

Take care.

Matt gets the guitar ready before his performance at the Elkins Estate 9/27/11

My performance at the Elkins Estate house in Elkins Park this past Tuesday (9/27) was a success in terms of the quality but lackluster in terms of draw.

This was my first public performance with a classical guitar and I was very comfortable. Of course, spending a generous part of my evening in a turn-of-the-20th-century palace-like mansion had a positive impact on me.  I’ve always had an interest in early 20th century extravagant mansions and did, in fact, publish a series of feature articles on several local locations back in my journalist days.

The house is in impeccable condition (thankfully) and worth taking the time to tour on a Tuesday evening just before the live music. White Pines Productions produces the shows — in fact, Benjamin Lloyd is the production company and, being an artist himself, assures everything is just the way it needs to be.

As I was playing solo, we decided on the Music Room as the setting and I was not disappointed in the least. Comfortable and just a bit on the live side, I had a blast playing for the small but appreciative audience. Ben called it a perfectly intimate performance and I agree. I brought out old warhorses (A In Blues Major, Carnaval) and new pieces (Ronnie’s Theme, a re-cast Hollow Victory) and allowed spontaneity to guide my direction during the entire show.

My son did push the record buttons on both the Kodak video and Tascam audio recorders and I’ll be embarking on my usual sojourn into the digital realm to edit, EQ, tweak and go thru the labor pains I subject myself to during every self-produced studio experience.

In addition to these tracks I have a multitude of Group recordings from the last Witherspoon Grill date to excavate — in the case of these tracks I have to work extensively with the balance / EQ / sound to even determine if they’re suitable for mass-consumption. While I feel I’ve learned a lot over the years, I nevertheless feel guilty during the post-production phase as I keep thinking about the practice time going past me….

Preparing for a private event gig with flutist  Katherine Barbato as well as a sideman date with pianist Howard Miller is allowing me to stretch in all my directions. Now, I just need to get the Group some dates….

And for the players:  I ran the piezo pickup from the guitar thru a tube preamp and mic’d the guitar at the 12th fret, sending both feeds into my trusty Behringer mixer with a hint of reverb. Sounds pretty good from the non-EQ’d tracks. Small-diaphragm mics are my friends (for now)….

I think I’m playing much better now…. I just need to do more of it!