Inspiration is Everywhere
There is so much in the world that inpires and motivates me. Below are some thoughts on a few of these inspirational bands, events, and experiences.
THRICE is an ever evolving, always amazing, and massively inspiring group that hails from O.C. California (I think). I caught their show at the Showbox SODO during this last tour supporting their new releases from the Alchemy Index: Fire and Water. What makes this band so special to me is that each and every member has influenced some aspect of my life. Drummers: you must give this band an extended listening. The way Riley Breckenridge effortlessly navigates between time signatures is so smooth, you almost don't realize it just happened. It is not uncommon for the song to move between 5/4, 6/8, and 4/4 with flawless continuity. The Alchemy index even has a great tune in 11/8! Riley's bro, Eddie, is a true bass master. His layering adds such depth to the song and his melodic, textured, and pensive bass lines add a distinctive voice to each song. I certainly admire his highly creative and challenging parts. His style even inspired my band mate, Sean Fairchild to create an idea that led to Discordia's "Unemployable Elite". Not only that, but he is the most physically involved member as he gyrates and gets knee-dropping, back-bending into it! Love it. Guitarists Teppei Teranashi (not sure on the spelling, sorry Teppei) and Dustin Kensrue are hard rocking and equally artful. Suffice it to say that the complex interaction is simultaneously classical, speed metal, pensive, gorgeous, airy, driving, bewildering, and truly genius. Check em out.
RODRIGO Y GABRIELLA recently blew my mind at the beautiful Paramount theater. For those of you who don't know about this mexican super-duo, beware! They seem innocent with only their two classical nylon string acoustic guitars, but don't be fooled. They are fully capable of extreme rockage, classical hyperspeed, and percussive mayhem. Actually, this dou was as inspiring in a percussive sense as any other band or famous drummer I've seen. I ain't foolin'. Gabriella (who is cuter the closer you get to the stage, really!) has an extremely well developed percussive technique. She actually uses a combination of wrist gyrations coupled with finger picking and strumming AND percussive slapping on the guitar body that effectively makes her a master guitarist, harpist, and tabla player. Just think about it. Rodrigo is a master soloist and speed demon. They not only played their original masterpeices, but aslo rocked on Metallica's Master of Puppets, One, Fade to Black, and Zepplin's Stairway to Heaven. It ruled. I will note however that because Rod y Gab's music appeals to a diverse age group, there were some seriously jaded old fogies at the show. We had general admission tickets and we all know how it goes: you make your way up, saying "excuse me", trying not to step on toes, get a good spot, and inevitably someone taller than you ends up blocking your view. So you move and there you go. At this show however, the older folks on the GA floor were giving some serious static! I'm short, so I can stand in front of you with ruining your experience. But my friends were literally being snickered at, ganged up on, elbowed, and blocked from moving! I was dumb founded. Old folks: I don't know how long it's been since your last concert experience, but the floor is a place where people move about, jockey for good views which rarely last longer than one or two songs, and generally connect with their sweaty neighbors. Just be cool about it and let's all enjoy el ritmo!
STEVE SMITH and VITAL INFORMATION were at Jazz Alley this fall, and they never disappoint. I have a special connection with this band because of my experience at Drum Fantasy Camp in New Jersey this last summer. Steve was one of the master clinicians there and I spent a lot of time with him. Check out my photos page for proof! I even got to sit in with his band for a rendition of Marvin Gaye's "Let's get it on". The band features bass bad ass Baron Browne and uber cool jazzy guitarist "young" Vinne Valentino, and legendary keyboard player Tom Coster.
The show was fantastic. I got to hear blazing hot fusion, songs in the time signature of "7 and a half" (15/8), crazy konokol vocal scat (indian counting system), and just plain jaw dropping drums. Steve's fluidity, creativity, speed, and showmanship are mind boggling. He's got the twirls, cross overs, and chops bound to entertain any music fan. He even did his now classic hi-hat solo. Drummers: if you haven't seen this hat solo, you've got to check out the web or get Steve's video, History of the US Beat. It's a crazy example of the infinite possibilities you can create with just one voice of the drumset. That's all for now, salud!
BELIEVING IN YOURSELF: AUDITIONS
I'm not exactly a super seasoned veteran of the music industry quite yet, but I wanted to share my audition experiences with you. In 2007, I had my first major audition: I tried out for the SEATTLE SEAHAWKS BLUE THUNDER DRUMLINE. What an experience! As I walked into the reception room, I found myself surrounded by so many crazy good players warming up and sounding amazing. They were twirling, dancing, and busting out crazy rudiments. I thought "whoa, I've got nothing on these guys". It was hard not to be made timid by all the talent I was "up against". But that's just it, I realized I wasn't really fighting the other players. I thought, "this is a great time to meet some other musicians and learn from them". So I started making friends with whomever I could. It turned out that some of those people were veterans of the Thunder. I just tried to be friendly, be honest about my enthusiasm (and nervousness!) and generally be pleasant to those I encountered at the reception. Eventually, my name was called and I began the long walk to the audition area, escorted by a veteran player who made me feel comfortable and tried to loosen me up. I descended the stairs to meet a panel of about 12 people and about 5 veterans off to the side! "Well hi, I'm Isaac". I proceeded to play a solo on the snare (never played a kevlar head like that and it was really weird!), do some sight reading and participate in an interview with all the panelists.
At that point all I could do was smile and try to show my energy. I went home feeling great that I had given it my best. Unfortunately, I didn't get the call that night. So what? I had learned a great deal and had done something brave.
FAST FORWARD TO 2008
I saw the ads for the Thunder again and I thought "you know, I'm so busy, I think I'll not try out this year. I don't need it." Ha! It doesn't take a rocket scientist to realize I was talking myself out of trying something extraordinary. I realized that life is about opportunity, so screw fear, I'm trying out again! Here's where it gets juicy. My previous experience auditioning had taught me something. The first time you audition for a gig it's like "oh, that's what you wanted". This time I could see how my friendliness and positivity last time had paved the way for the next time: As I walked in, several of the veterans playing "receptionist" actually remembered me from last year--by name! Okay! So I just started talking to them, befriending those warming up, and just going into positivity mode. When I was called, I wasn't scared anymore, just filled with energy. That's the key I learned: try not to be nervous and psyched out, just try to turn it into a bustling energy for what you're doing. Take those butterflies and put them into a huge smile! The audition went great. I focused on smiling, energy, dancing and moving like I was having fun because I was doing something crazy and different. During the interview I just tried to be honest, energetic, and communicate my passion for playing and connecting with others. I tried not communicate an ego or desire to stand out from the team, but rather fit into the group and make it better with my personality and skills. I smiled big the whole time and made sure to address each panelist with eye contact. I left feeling great about myself again because I had given it my all. I realized that focusing on energy and positivity during my audition had filled me with happiness and a sense of accomplishment which was reward enough. It turned out that Keith, the Blue Thunder's Director, called me that weekend to welcome me onto the team. He said my energy, positivity, and desire to grow as a musician and person had earned me a spot.
So I guess the moral of the story is that though it's not easy, try to turn your nervousness into a positive energy that everyone can feel a mile away. Smile even if you want to puke. Make friends with the other participants and especially anyone who's returning or on the staff. How? Ask them for tips, what their experience has been like, what they are passionate about, and note how they are composing themselves. There is always something to learn from these types of interactions. Take advantage and make a friend or two if possible. You never know how the interactions of today will affect the opportunities of tomorrow. I hope you've found this article interesting and helpful. Good luck with your auditions and remember to smile, breath, and have fun....it shows!
LUIS CONTE: WORDS OF WISDOM FROM 2010 CLINIC
I recently enjoyed the opportunity to meet and learn from a fantastic percussionist, Luis Conte. His music, attitude, and humor were a real inspiration to me and clearly, to everyone in the room. Luis is originally from Cuba (as is my family) and he had real deal Afro-Cuban skills. He rocked it on congas, bongos, bata drums, timbales, bells, cajon, and he has some quirky singing skills too!
There were two main messages that I took away from Luis's clinic. In the words of the master himself: "know your history". Luis had an incredible knowledge of the history of every drum he played. He not only explained their geographical origins, but more importantly, their cultural origins. That makes all the difference, and not because it makes you sound smart. It's important to know how the drums evolved in their uses, roles, application, and cultural significance. This knowledge allows a player to understand the drum and to help it do what it was meant to do: sing, sing, sing. Similarly, knowledge of the drum/instrument's history enables the player to know how to use that drum in an ensemble (and generally the other musicians in that ensemble will expect you to possess some of that knowledge). So...do your homework, track down the early players and groups associated with the styles you are interested in. Your audience will definately be able to hear your authenticity.
Secondly again in the words of Conte: "make it feel good". Sounds simple doesn't it? I agree. But in practice, it's harder that it seems. Luis Conte said explicitly that 99% of the time he is performing he is "playing time", in other words, he is playing simple and repetive patterns designed to make the music feel good. No fancy riffs, no big solos. Just makin' it feel good. This bit of knowledge comes from a multiple-time Grammy winner. I think we should all take note. I don't want to sound like I'm on a high horse. To be honest, I feel like I could really work on this too. All my life long. It's about making sure you can play those basic patterns, beats, and songs with such conviction that it sounds like gold. Conte's words reminded me that I need to focus on my ability to groove, not my chops all the time. It reminded me that my 8th notes on the hats are more important than my sextups on the fill, ya know what I'm saying? Keep it real, and make it feel good. And then, when your solo comes up, let 'er rip. Hard.
THRICE is an ever evolving, always amazing, and massively inspiring group that hails from O.C. California (I think). I caught their show at the Showbox SODO during this last tour supporting their new releases from the Alchemy Index: Fire and Water. What makes this band so special to me is that each and every member has influenced some aspect of my life. Drummers: you must give this band an extended listening. The way Riley Breckenridge effortlessly navigates between time signatures is so smooth, you almost don't realize it just happened. It is not uncommon for the song to move between 5/4, 6/8, and 4/4 with flawless continuity. The Alchemy index even has a great tune in 11/8! Riley's bro, Eddie, is a true bass master. His layering adds such depth to the song and his melodic, textured, and pensive bass lines add a distinctive voice to each song. I certainly admire his highly creative and challenging parts. His style even inspired my band mate, Sean Fairchild to create an idea that led to Discordia's "Unemployable Elite". Not only that, but he is the most physically involved member as he gyrates and gets knee-dropping, back-bending into it! Love it. Guitarists Teppei Teranashi (not sure on the spelling, sorry Teppei) and Dustin Kensrue are hard rocking and equally artful. Suffice it to say that the complex interaction is simultaneously classical, speed metal, pensive, gorgeous, airy, driving, bewildering, and truly genius. Check em out.
RODRIGO Y GABRIELLA recently blew my mind at the beautiful Paramount theater. For those of you who don't know about this mexican super-duo, beware! They seem innocent with only their two classical nylon string acoustic guitars, but don't be fooled. They are fully capable of extreme rockage, classical hyperspeed, and percussive mayhem. Actually, this dou was as inspiring in a percussive sense as any other band or famous drummer I've seen. I ain't foolin'. Gabriella (who is cuter the closer you get to the stage, really!) has an extremely well developed percussive technique. She actually uses a combination of wrist gyrations coupled with finger picking and strumming AND percussive slapping on the guitar body that effectively makes her a master guitarist, harpist, and tabla player. Just think about it. Rodrigo is a master soloist and speed demon. They not only played their original masterpeices, but aslo rocked on Metallica's Master of Puppets, One, Fade to Black, and Zepplin's Stairway to Heaven. It ruled. I will note however that because Rod y Gab's music appeals to a diverse age group, there were some seriously jaded old fogies at the show. We had general admission tickets and we all know how it goes: you make your way up, saying "excuse me", trying not to step on toes, get a good spot, and inevitably someone taller than you ends up blocking your view. So you move and there you go. At this show however, the older folks on the GA floor were giving some serious static! I'm short, so I can stand in front of you with ruining your experience. But my friends were literally being snickered at, ganged up on, elbowed, and blocked from moving! I was dumb founded. Old folks: I don't know how long it's been since your last concert experience, but the floor is a place where people move about, jockey for good views which rarely last longer than one or two songs, and generally connect with their sweaty neighbors. Just be cool about it and let's all enjoy el ritmo!
STEVE SMITH and VITAL INFORMATION were at Jazz Alley this fall, and they never disappoint. I have a special connection with this band because of my experience at Drum Fantasy Camp in New Jersey this last summer. Steve was one of the master clinicians there and I spent a lot of time with him. Check out my photos page for proof! I even got to sit in with his band for a rendition of Marvin Gaye's "Let's get it on". The band features bass bad ass Baron Browne and uber cool jazzy guitarist "young" Vinne Valentino, and legendary keyboard player Tom Coster.
The show was fantastic. I got to hear blazing hot fusion, songs in the time signature of "7 and a half" (15/8), crazy konokol vocal scat (indian counting system), and just plain jaw dropping drums. Steve's fluidity, creativity, speed, and showmanship are mind boggling. He's got the twirls, cross overs, and chops bound to entertain any music fan. He even did his now classic hi-hat solo. Drummers: if you haven't seen this hat solo, you've got to check out the web or get Steve's video, History of the US Beat. It's a crazy example of the infinite possibilities you can create with just one voice of the drumset. That's all for now, salud!
BELIEVING IN YOURSELF: AUDITIONS
I'm not exactly a super seasoned veteran of the music industry quite yet, but I wanted to share my audition experiences with you. In 2007, I had my first major audition: I tried out for the SEATTLE SEAHAWKS BLUE THUNDER DRUMLINE. What an experience! As I walked into the reception room, I found myself surrounded by so many crazy good players warming up and sounding amazing. They were twirling, dancing, and busting out crazy rudiments. I thought "whoa, I've got nothing on these guys". It was hard not to be made timid by all the talent I was "up against". But that's just it, I realized I wasn't really fighting the other players. I thought, "this is a great time to meet some other musicians and learn from them". So I started making friends with whomever I could. It turned out that some of those people were veterans of the Thunder. I just tried to be friendly, be honest about my enthusiasm (and nervousness!) and generally be pleasant to those I encountered at the reception. Eventually, my name was called and I began the long walk to the audition area, escorted by a veteran player who made me feel comfortable and tried to loosen me up. I descended the stairs to meet a panel of about 12 people and about 5 veterans off to the side! "Well hi, I'm Isaac". I proceeded to play a solo on the snare (never played a kevlar head like that and it was really weird!), do some sight reading and participate in an interview with all the panelists.
At that point all I could do was smile and try to show my energy. I went home feeling great that I had given it my best. Unfortunately, I didn't get the call that night. So what? I had learned a great deal and had done something brave.
FAST FORWARD TO 2008
I saw the ads for the Thunder again and I thought "you know, I'm so busy, I think I'll not try out this year. I don't need it." Ha! It doesn't take a rocket scientist to realize I was talking myself out of trying something extraordinary. I realized that life is about opportunity, so screw fear, I'm trying out again! Here's where it gets juicy. My previous experience auditioning had taught me something. The first time you audition for a gig it's like "oh, that's what you wanted". This time I could see how my friendliness and positivity last time had paved the way for the next time: As I walked in, several of the veterans playing "receptionist" actually remembered me from last year--by name! Okay! So I just started talking to them, befriending those warming up, and just going into positivity mode. When I was called, I wasn't scared anymore, just filled with energy. That's the key I learned: try not to be nervous and psyched out, just try to turn it into a bustling energy for what you're doing. Take those butterflies and put them into a huge smile! The audition went great. I focused on smiling, energy, dancing and moving like I was having fun because I was doing something crazy and different. During the interview I just tried to be honest, energetic, and communicate my passion for playing and connecting with others. I tried not communicate an ego or desire to stand out from the team, but rather fit into the group and make it better with my personality and skills. I smiled big the whole time and made sure to address each panelist with eye contact. I left feeling great about myself again because I had given it my all. I realized that focusing on energy and positivity during my audition had filled me with happiness and a sense of accomplishment which was reward enough. It turned out that Keith, the Blue Thunder's Director, called me that weekend to welcome me onto the team. He said my energy, positivity, and desire to grow as a musician and person had earned me a spot.
So I guess the moral of the story is that though it's not easy, try to turn your nervousness into a positive energy that everyone can feel a mile away. Smile even if you want to puke. Make friends with the other participants and especially anyone who's returning or on the staff. How? Ask them for tips, what their experience has been like, what they are passionate about, and note how they are composing themselves. There is always something to learn from these types of interactions. Take advantage and make a friend or two if possible. You never know how the interactions of today will affect the opportunities of tomorrow. I hope you've found this article interesting and helpful. Good luck with your auditions and remember to smile, breath, and have fun....it shows!
LUIS CONTE: WORDS OF WISDOM FROM 2010 CLINIC
I recently enjoyed the opportunity to meet and learn from a fantastic percussionist, Luis Conte. His music, attitude, and humor were a real inspiration to me and clearly, to everyone in the room. Luis is originally from Cuba (as is my family) and he had real deal Afro-Cuban skills. He rocked it on congas, bongos, bata drums, timbales, bells, cajon, and he has some quirky singing skills too!
There were two main messages that I took away from Luis's clinic. In the words of the master himself: "know your history". Luis had an incredible knowledge of the history of every drum he played. He not only explained their geographical origins, but more importantly, their cultural origins. That makes all the difference, and not because it makes you sound smart. It's important to know how the drums evolved in their uses, roles, application, and cultural significance. This knowledge allows a player to understand the drum and to help it do what it was meant to do: sing, sing, sing. Similarly, knowledge of the drum/instrument's history enables the player to know how to use that drum in an ensemble (and generally the other musicians in that ensemble will expect you to possess some of that knowledge). So...do your homework, track down the early players and groups associated with the styles you are interested in. Your audience will definately be able to hear your authenticity.
Secondly again in the words of Conte: "make it feel good". Sounds simple doesn't it? I agree. But in practice, it's harder that it seems. Luis Conte said explicitly that 99% of the time he is performing he is "playing time", in other words, he is playing simple and repetive patterns designed to make the music feel good. No fancy riffs, no big solos. Just makin' it feel good. This bit of knowledge comes from a multiple-time Grammy winner. I think we should all take note. I don't want to sound like I'm on a high horse. To be honest, I feel like I could really work on this too. All my life long. It's about making sure you can play those basic patterns, beats, and songs with such conviction that it sounds like gold. Conte's words reminded me that I need to focus on my ability to groove, not my chops all the time. It reminded me that my 8th notes on the hats are more important than my sextups on the fill, ya know what I'm saying? Keep it real, and make it feel good. And then, when your solo comes up, let 'er rip. Hard.