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Talk of the Town

starchamber
After Ned posted about baconworks over at starchamber.com a follow up discussion ensued that has been quite interesting. How does good music get discovered? How is the discovery process that takes place today different from what it was in the 60’s or in the 90’s? What do entities like American Idol do for the music world?

Incidentally, Ned blogs on a wide array of interesting topics such as The Age of Organic Knowledge, Cheap DNA Sequencing and The Origins of Alcohol. It is worth your time to check it out.

tunes-i-like

Castaway

Like many artists I tend to be protective of my work until it is complete. Picasso toiled for seasons and changed painting styles several times before unveiling the most grotesque masterpiece the world had seen in El Bordel, later renamed to Les Demoiselles d’Avignon.

avignon

Like Picasso, I’m aware that critics are part of the creative game and I generally have no interest in attracting them until the work is complete lest a novel idea be diluted with the thoughts of others. The question, then, is this; when is a piece of work complete? Some critics argued that Picasso’s mockery of modern art was, indeed, incomplete, which implies that maybe completeness is all about personal perception. How can a critic say that Picasso’s painting was incomplete when Picasso himself had packed up the paint and cleaned the brushes? It seems fair to say that, overall, Picasso’s work was not complete but he would not continue that work on the canvas of El Bordel.

Mozart’s Requiem, on the other hand, marked the end of the line for the great composer. His death made sure that there was to be no more work. And yet the world wonders, was it complete? It is common knowledge that Mozart’s friend and pupil Franz Xaver Süssmayr ‘filled in the holes’ for his dying friend. Had Mozart lived longer would we have a different masterpiece? Completion was a result of his death and not a desire of the composer to move on to new work.

While all this talk about ‘completeness’ is interesting to ponder, the fact remains that the world is a better place with great works like Requiem and Les Demoiselles d’Avignon. Their level of completeness doesn’t change what they are or the enjoyment they give us.

With my own work, in which I am certainly not intending to draw any parallels to the aforementioned geniuses, there are pieces in various states of completeness. In particular and as I mentioned in a previous post, I recorded a number of tracks over the course of a few months in early 2000 at a little place called Melville Park Studio. I have kept them hidden away from any real critics because they were incomplete. I have not changed a flawed note on these roughly-mixed recordings since 2000 so it is with great trepidation that I have decided to cast them away and move on. In my mind they are unfinished because they ultimately don’t sound as I intended them. For example, this track has some tuning issues that were to be reworked and I had hoped to add percussion. But they represent a time in my own musical development that I have hopefully passed and I think it would be a disservice to my own work to go back and change anything with the ideas I have today. Therefore, they are complete. Besides, what good will they serve if nobody ever has a chance to enjoy or criticize them?

So, here is the third track, not that they are in any particular order, to Castaway. The track is made up of two traditional tunes. The first is called Devany’s Goat and the second is called The Morning Star.

In keeping with the theme of incompleteness, I whipped up some cover art for this internet album.

castaway

I don’t really think the image has much to do with Castaway except for the fact that it was a picture that was taken of me a couple years prior to these recordings. The photographer’s name was Jessica Strauss.

In addition, some have asked if it is possible to buy this recording. It is not. It has never been printed and I don’t really expect it ever will be.

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Firehouse Photo Essay

My buddy Dan…
dan

… recently moved into an old one engine firehouse that, at one point, was converted into a dance club and now is his home.
firehouse

It has all sorts of character such as the stained glass that shines above his front door…
stained glass

…and this risqué firewoman painting he found under layers of drywall.
painting

It is a great place for The Ancient Mariners …
am

…to practice …
practice

… so that when we get onto the street we’re all walking, generally speaking, in the same direction.
drumline

Incidentally, if you have never seen The Ancient Mariners perform, we like to clear the parade route with a cannon…
cannon

and a mutinous prisoner…
prisoner

People ask me all the time, ‘Is the prisoner crazy?’ Yes, yes he is. Why else would he not be wearing a shirt and shoes on March 11th in New England? Still not convinced? You should see him during our Christmas parade!

Here are a few of the other characters from this years Saint Patrick’s Day parade in New Haven, Ct…
bobbyclintkevjoed & calbob

So, now that you’ve waded through a bunch of photos of people you don’t know, here is a recording of a tune we ran through at Dan’s firehouse over the weekend. The tune is called Katy Hill. It was originally a 2/4 but the Mariners decided to play it first as a 6/8 and the second time through as 2/4. This does not feel like any old 6/8 as you will hear. It really is rudimental drumming at its syncopated strangest, which is why I like it. I also like how you can hear people talking during the first half of the tune. Those aren’t bystanders you hear, it is the drummers debating.

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I am Niche

My friend Ned wrote a really nice article last week about the activity that is taking place on baconworks.com. In his blog he asserts that ‘there has never been a better time to be an amateur musician than now’. This got me thinking.

There have always been enormously talented musicians that fly under the radar. They don’t have the agents, the record deals or the good looks to be seen by the world. Thank goodness the record industry protects us from looking at ugly people, what a service. Agents, recordings and a perfect smile, however, have absolutely nothing to do with making real music, so it is a real shame that they get in the way.

Fortunately, three things are changing the music creation/distribution paradigm. First, there is a proliferation of low cost/high quality digital recording equipment. Second, it is ridiculously easy to distribute music digitally. No need to press expensive CD’s anymore. Third, and most fascinating, is the quickly evolving social nature of the internet. With relative ease you can now post your unrenowned mug on YouTube.com beat boxing to the Super Mario Brothers theme song if you like. If your music is indeed worth a listen, the world will let you know through ratings, comments and social sharing tools like ma.gnolia, Digg and del.icio.us. You no longer have to ask MTV or Capital Records.

Here is another way to think about it. Record companies focus on major markets because the hurdles of recording and the high cost of distribution made it impossible for them to produce music for niche markets. Instead, they intentionally dismiss the niche markets, otherwise known as the Long Tail. The Long Tail, depicted by the light brown color in the graph below is where I live. Ironically, it is where most people offering services or products live, and that is exciting. It is exciting because nobody really knows how long the tail is. Unlimited markets. A world where there is a market for everything and a distribution channel to supply those markets.

long tail

Think I’m crazy? Let’s do simple experiment. I surmise there is a market for ‘used socks’, surely an item Walmart does not carry. I searched on ebay.com for ‘used socks’. As of today there are 241 offerings in the ‘used socks’ category. Yeah, but ‘who is buying?’ you ask. Looking at all ‘Completed Listings’ it turns out that there have been 702 pairs of used socks sold. Incidentally, I ran the same experiment back in June, did some quick math and found that about, one pair of used socks have been sold a day on eBay since June. Here’s a pair that sold for $4.48.

socks

The consumer that bought this pair of socks is definitely at the very end of the ‘Long Tail’ but they do represent a market and they have money they are willing to part with.

Do I have a market? I do. A small one. Major record labels are not lining up at my door. But that is ok because the current state of technology allows me to serve my market without their help. Ultimately, with the price of admission being so low more musicians than ever are stepping onto the digital stage thus creating the greatest display of musical diversity ever witnessed in human history.

So, while I agree it is a great time to be an amateur musician, it is a really fantastic time to be a music lover and it is my goal to provide you enjoyable music from the Long Tail.

Now, if you are in the market for a pair of used socks, I have the inside scoop on where you can get ’em.

tunes-i-like

Music comes from the strangest places…

Diana Deutsch is a Professor of Psychology at the University of California, San Diego, who studies sound and how we perceive it. Specifically, she is interested in musical illusions and paradoxes. You could think of these paradoxes as being the auditory equivalent of an M.C. Escher drawing.

Relativity

Diana has performed a variety of interesting sound experiments over the years including a fascinating one where she demonstrates that pitch and tone may be stored by our brains in locations that are separate from where speech is stored. In other words, the sounds of someone talking is not stored in the same region of the brain as music regardless of the fact that they are both made from the same elements, pitch and tone.

I’m not a psychologist nor a neuroscientist but it seems logical to me that as we are perpetually bombarded with a cacophony of sounds, such as speech, our brains are probably most concerned with our basic well being and survival versus our enjoyment. For example, there are two very different ways to listen to an oncoming train: Hear it and get the hell out of the way; hear it and feel the grove. Feel the groove before establishing your safety and your likely to become track pizza. Conversely, it stands to reason that while basking in the glory of a Bach concerto the fight-or-flight department of our brains is at rest while the sit-back-and-relax department takes over. But once your safety has been secured what happens to the rattling of that train in your head? Can it morph into music?

Diana stumbled upon a compelling auditory phenomenon demonstrating that seemingly arbitrary sound can, in fact, morph into music without any changes being made to the sound itself. In a story she conveyed on NPR, she described how one evening she was working with tape loops of recorded speech. She started with the following recorded bit of speech:

The sounds as they appear to you are not only quite different from those that are really present, but they sometimes behave so strangely as to seem quite impossible.

She then created a tape loop consisting of the following fragment:

sometimes behave so strangely

At some point she got up to take a break from her work, maybe get a cup of coffee, and forgot about the running tape loop. A while later, she spontaneously started hearing the faint sounds of music and eventually realized that the audio loop playing in the background had transcended from mere speech into melody. Most strikingly she found that when listening to the snippet of speech, placed back into the context of the sentence from which it came, it still retained it’s melodic qualities, as though being sung, while the rest of the speech was heard as being normal.

What happened here? My humble guess is that at some point her brain stored a copy of the speech loop in the sit-back-and-relax department and, consequently, gave her noggin the opportunity to make music from it. To be clear, this music was made not by the speaker but by the perceiver!

Making that synaptic leap is the sort of thing composers do well, which may be part of the reason they are what they are in the first place. One of my favorite stories of spinning arbitrary sound into something beautiful was conveyed to me by the late great composer of fife music, mentor and friend Roy Watrous. For many years he worked in a machine shop where he would hear the repetitive sounds of the machines chugging away at their mechanical tasks. The sounds of these machines were seared into his brain and he eventually heard them as melodic in the same way we are fooled into believing that the looping speech in Diana’s experiment was sung. Those machines were Roy’s inspiration for a wonderful tune he entitled ‘Billy Budd’. The tune, and many other classics, can be found in The Watrous Book. Here is the notation to Billy Budd as written out by Roy:

Billy Budd

So, take a listen to Diana’s sounds that Behave so Strangely. Listen to it twice. I guarantee the second time you will hear it differently. After that, sit back and relax to Roy’s classic ‘Billy Budd’ as played by The Ancient Mariners on their American Fife & Drum Music album from 1981. Can you imagine the machines?

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Here comes the big day!

St. Patrick’s day is fast approaching and you know what that means? Green beer and shamrocks in your Guinness?

No Green Beer

No, not green beer. If I find out you’re changing the chemistry of a perfectly well crafted pint with food coloring you’re out of the will. And please, try to convince your bartender that the shamrock is really not necessary. Besides, when not drawn properly it runs the risk of looking phallic and you don’t want your friends laughing at you as you take your first sip. No, instead The Ancient Mariners have an annual tradition which involves libations at a popular Yale hangout called Rudy’s. Beforehand we throw eggs, bacon, taters and a bunch of meat on some grills in the parking lot. All this is in preparation for the New Haven St. Patrick’s day parade. Here’s a hazy old picture, back from the days of film, of the Mariners and the pre-parade festivities in the back room at Rudy’s playing some tunes. If anything noteworthy happens, which is why a go to begin with, I’ll report back on Monday.
rudy’s

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The nÓg is Closing…

I was just informed of some sad news by old band mate and fiddler extraordinaire Damon Leibert. Evidently the Tír na nÓg in Sommerville, MA is closing at the end of this month.

nog

Many a session I played in that alley-sized-smokey-joint back in the 90’s. I seem to recall one gig where Damon jumped up on the bar with his fiddle, wirelessly hooked into the PA and lit the place up. Good times.

As a last hurrah the nÓg is bringing back the Johnny Come Latelies, a house favorite featuring Damon’s fiddle playing, for a couple of shows (3-8-07 & 3-15-07). I’m sure it will be a fitting farewell.

tunes-i-like

The Call and the Answer

hammered dulcimer

Have you ever heard a song for the first time an yet it felt like you’ve known it forever? I guess you might call it ‘love at first listen’. Well, the hammered dulcimer player at John Stone’s, whom I’ll refrain from naming in this post, sang a song a couple months back that fits that bill. I was able to convince her to sing it again at last night’s session. Man, what a beautiful song. Once she finished singing it I asked her to sing it again. She ignored my second request, and rightfully so. Who really wants to sing a song twice in a row? But I would have listened. And today, it’s all I could do to get the melody out of my head. Or at least my fading recollection of what the melody was.

So, here is the deal. I spent a couple hours recording a melody that is probably not at all what the melody actually is but instead how I remember it. I can get away with this because, after all, it is folk music. Besides, that is how these things evolve. What I recorded is really just a sketch, a placeholder, impromptu harmony and all, until I can convince our hammered dulcimer player to show me how to really play it and record it with me, which I also requested.

The name of the song is ‘The Call and the Answer’. What I have dug up on the song is that it seems to have been written by Phil Colclough, whom I honestly know nothing about. It was recorded by De Dannan on an album called A Jacket of Batteries, which I don’t own and have never heard. So, I suppose I can not truly endorse that album, although I do generally respect De Dannan as very talented so I’m sure it is probably quite good. In any case, here are the lyrics for the chorus. Take a listen to my interpretation of what I heard and I hope to have a guest recording sometime in the near future by our hammered dulcimer player.

You are the call, I am the answer
You are the wish and I am the way
You’re the music, I the dancer
You are the night and I am the day
You are the night and I am the day

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The Hazards of Hatteras

Stinson Davis

My great, great uncle Stinson Davis, pictured above, was a sailor. He wasn’t just your average day sailor. He was the real deal. In fact, he was the last real deal.

A captain of three, four and five masted schooner ships during the waning age of sail, he spent years of his life carrying whale oil from the West Indies, coal from Portugal and hauling lumber out of Africa.

schooner

Stinson was one of those witty Yankee Mainers with enough salt and grit to live four years past the centenarian mark in spite of the fact that he was cast adrift twice after loosing his vessels at sea. He had two lives worth of stories and if I accumulate half the stories of one of those lives I’d have twice as many as anyone I know.

When I was fourteen I attended his hundredth birthday party. You think it is hard buying a gift for your dad’s birthday? What do you get someone turning one hundred? My father was wise and convinced me to do some research and draw him a big map of all his sailing routes. I spent weeks with colored markers and piece poster board charting his journeys. On the day of his birthday party, in some Grange hall near Five Islands, Maine I nervously presented my gift. He quietly looked it over. After a few moments, instead of a ‘thank you’, he began pointing out the routes I had missed, like the one that lead him a thousand miles up the Congo River. He began to tell me stories of his voyages, bouts of malaria, brothers lost at sea, The Maude Palmer, Cape Horn and the hazards of Cape Hatteras. I suppose I thought I was giving an old man a map to remind him of the places he’d been. Truth is, he didn’t need it.

Reflecting back to that day I think it is safe to say that my real gift to him was the wide eyed curiosity of a young boy. And in a way it was he who gave me the map. I pull out that map on days when life is hard and I ask myself this: Have I really been everywhere I want to go? If the answer is ‘no’ then it is time to start charting a course for my West Indies, even if it means that I will have to face the Hazards of Hatteras.

The following tune is the first one I wrote that I was every happy with. It is also the first of many that have titles that serve as my own reminders of my ancestry. I have included two mp3’s in which you will find three stylistic variations of the same tune.
live album
The first recording was done by The Ancient Mariners and comes from a live album I co-produced with good friend Roger Hunnewell. Incidentally, that is me with outstretched arms at the top of the disc and no, I was not responsible for the artwork. The graphic work was a surprise to me! The second is from an unreleased recording that I did back in 2000. I was interested in combining both fifing style with Irish flute style onto one track. Lastly, here is the chart for this trio.

tunes-i-like

Banks of the Bann

This track exemplifies everything I love about the fife. I learned this traditional tune from a John Renbourn album called Traveller’s Prayer, which is a lovely album. I added a couple of voices and recorded this back in 2000 at a studio called Melville Park just prior to my first child being born.

Here is a link to the chart:
Bann 1

This and other recordings from that time period were my second failed attempt at recording a solo album. I believe I am now starting my third attempt. Anyhow, I’ve decided to publish music from those recording sessions under the internet album title of ‘Castaway’. The title feels appropriate to me since these recordings have essentially been cast away, never to be finished and now they will be Podcasted away. Anyhow, enough, here is Banks of the Bann:
Banks Of The Bann by baconworks