… would seem like a no-brainer, but that’s too easy.
Actually, I did lay low over the holiday season, only checking FaceBook, Twitter, etc. once a day and mostly just hitting LIKE for others’ posts. I felt some sort of burnout taking hold and needed to reset myself – some intensely determined Buddhist chanting has pushed me back into action. While I am steadily getting back on track I must admit I do feel more focused. It’s usually not a problem being a one-person operation and handling everything every day – but repetition both in my own actions and the responses (or consistent lack thereof) I receive from bookers and promoters eventually wears thin.
I am getting some revamping done, mostly with my website (gradual tweaks and mods which may go unnoticed) and also with my playing (!). I’m actually reviewing the published exercises from John McLaughlin‘s This Is How I Do It DVD educational release from a few years ago. He does work up to his signature approach rather carefully, with simple patterns across scales and builds logically into full-fledged improvisations over chord vamps. The charts do provide a good deal on their own. I’ve also glimpsed some excerpts on YouTube. The DVD set costs at least $75.00 online, though actual retail is much higher. I admit to being hesitant about purchasing the package given the price tag (though I have paid more than that for one lesson). Last year, Larry Coryell had suggested I study the music/playing style of Tal Farlow – of course, when Larry recommends something I’ve learned to take his advice… which I did, obtaining the one technique book on Tal along with a four-album CD collection. While I’ve not only listened to Tal during my lifetime I also became acquainted with him and attended a few performances in intimate club settings. Tal was always somewhat modest about his abilities and admitted that he couldn’t always explain in detail the music he had just made. While musical comrade were busy transcribing and parroting solos I tended to listen closely and let the ideas slowly sink in – these would ultimately surface days/weeks/months later during a gig and cascade out of my fingers onto the strings and into the air as music.
My great pursuit, for the time being, is digging deeper into the music to find ways playing through changes. While I’m always looking to expand my single-line improvising, I’m sincerely attempting to apply the same approach to solo guitar with chord forms and variations. As I’m recording my CD project Balance I’m discovering new chordal ideas/harmonies/lines are taking shape as I play. More importantly, I’m hearing things differently, finding new ways to work through progressions that may seem ‘outside’ on paper but sound better and better each time. I’ve always believed you develop and mature in your ability to apply extended harmonic ideas and make them musically appropriate rather than a ‘high-wire circus act’ (Ralph Towner’s words) of calculated virtuosity. A great example is Wayne Shorter (my Buddhist grandfather, by the way) who seems to be capable of playing any note / phrase and make it work in anything. Obviously, I’m over-simplifying that fact – he is an improvisor of the highest order whose ideas and skills have developed over a lifetime.
So I am digging into the technical and theoretical side of music to do some homework and ignite new ideas and possibilities. While I, like most musicians, listen to/experience music on several levels (artistic/technical/theoretical), I try to come away with a grasp of the spirit that went into the performance – the learning issues get ingrained and permit the artist to express his life easily with a high degree of musicality. It’s that life-force that drives it all and tapping into it makes every bit of effort worthwhile.
See you next time.