tag:chrisnole.com,2005:/blogs/blog-it-babyThe thoughts, opinions, pontifications, and notions of pianist Chris Nole. Conversation for the engaged musician. 2023-07-12T08:25:14-05:00chrisnole.comfalsetag:chrisnole.com,2005:Post/72390302023-07-12T08:25:14-05:002023-10-16T09:44:25-05:00Improvisation: The Spirit of Jamming<p><span style="color:#0E101A;">To the formally trained musician, "jamming" might sound a bit mysterious, undefined, or even intimidating.</span></p><p><span style="color:#0E101A;"><span data-preserver-spaces="true">Most schooled musicians study and practice reading and playing the notes that are placed in front of them. Ensembles, big bands, symphonies, and orchestras could only make music together (that sounds good) if each instrument's part is meticulously notated and performed as written. Could you imagine sixty musicians simultaneously making up their own parts?! No doubt, it'd be a sonic calamity.</span></span></p><p><span style="color:#0E101A;"><span data-preserver-spaces="true">There is a proper time and place for improvisation in some forms of music - also, with acting, artwork, and in life. We all do a little bit of this ad-libbing each day. When were you last asked, "How are you doing"? Your answer may contain a detailed, overly honest account of your state of being - or (like me) an edited, brief version of my current condition. Either way - you are spontaneously formulating an answer to the question. "I'm doing OK - how're you? </span></span></p><p><span style="color:#0E101A;"><span data-preserver-spaces="true">The words "jam-session" or "jamming" are more commonly used with Rock, Blues, Country, and Pop music players. In Jazz, words like improvisation, free-form, and even "blowing" are used. I began learning the art of the jam when I was a young teen. Some of us budding musicians from high school would gather at each other's houses to experiment with common chord progressions and rhythms. One jam tune that I remember revolved around an A minor chord. With very limited or no music theory, each of us, when our turn came, was required to perform as much instrumental improvisation as possible using only the notes A, C, D, E, and G - and sometimes flattening the fifth to Eb (this would form a basic blues scale). My brain and fingers were forced to explore as many different ways to use these notes as my abilities would allow. I could only imagine what my contribution on keys sounded like - but this was the beginning of my love for improvisation.</span></span><o:p></o:p><br><span style="color:#0E101A;"><span data-preserver-spaces="true"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/50909/c3fd6d655c3c449f0907472d0198fec8ede066c7/original/jam-buddies-performing-at-graduation-300dpi-resample.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" alt="Me and my jam buddies (Chris Sharp on bass, Mark Doty on drums) performing at our High School graduation ceremony." /></span></span><o:p></o:p></p><p><o:p></o:p></p><p style="text-align:center;"><span class="text-small"><i>Performing with my high school jam buddies at our graduation ceremony (Chris Sharp on bass, Mark Doty on drums).</i></span></p><p><span style="color:#0E101A;">A, C, D, Eb, E, and G may seem like just a few notes, but there are endless ways to use them in different combinations, timings, and accents. Improvising over more complex chord progressions (like in advanced jazz compositions) requires a higher skill with scales and harmonic knowledge than with simpler three or four-chord progressions. Try "jamming" over </span><i><span data-preserver-spaces="true">Waltz for Debbie - </span></i><span data-preserver-spaces="true">not easy for a musician who lives in the popular music world.</span><o:p></o:p></p><p><span style="color:#0E101A;"><span data-preserver-spaces="true">Session musicians routinely create signature lines, fills, and solos on the spot. Many of the intros, fills, and solos you hear on your favorite records were likely spontaneous performances captured in the recording studio. Of course, some were not. Most all string and horn lines are arranged and written out before a recording session. Solos, on the other hand - hopefully were improvised. I say </span></span><i><span data-preserver-spaces="true">hopefully</span></i><span data-preserver-spaces="true"> because, in my experience, the magic usually happens when an accomplished musician is free to stretch beyond any notation or strict instructions. I've seen this kind of freedom lead to a much better sounding and heartfelt track more times than not.</span><o:p></o:p><br><span data-preserver-spaces="true"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/50909/3f42317711a159bf6455b31d68f816c5d79d65ec/original/jamming-with-jim-chris-with-jim-horn-blues-tune-2009-rustiq-filter.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></span><o:p></o:p></p><p><o:p></o:p></p><p style="text-align:center;"><span class="text-small"><i>An impromptu G blues jam at soundcheck with session legend Jim Horn.</i></span></p><p><span style="color:#0E101A;">If you'd ask me, "When was the last time you were at a jam session?" - I would answer that I am kind of at one every day. Whether laying down tracks in the studio or performing on stage, I strive to take chances whenever possible. Sometimes it works - sometimes, it does not. And yes, sometimes a Take 2 or... a Take 5 is needed. It is the process that matters. The results can be amazing.</span><o:p></o:p></p><p><span style="color:#0E101A;"><span data-preserver-spaces="true">The next time someone in your band calls a song in A minor - try adding some B notes to the scale - maybe some Fs, F#s, and G#s too! Some experimentation may be required - but you will find new sounds, moods, and places to put your hands.</span></span><o:p></o:p></p><p><span style="color:#0E101A;"><span data-preserver-spaces="true">In my musical world, the spirit of jamming is one and the same as the spirit of expression, the spirit of creating - and the spirit of living.</span></span><o:p></o:p></p><p><span style="color:#0E101A;"><span data-preserver-spaces="true">Happy jamming my friends!</span></span><o:p></o:p><br><span style="color:#0E101A;"><span data-preserver-spaces="true"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/50909/a7ba9f64acd333ac96db9d618c732d860f2ef4f6/original/jamming-with-travis-tritt.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_center border_" /></span></span></p><p style="text-align:center;"><span class="text-small"><i> Jamming with Travis Tritt on the Burning Thunder tour.</i></span><br><span class="text-small"><i><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/50909/854a370e55f3883fde84e5a0939f39de212bdf43/original/key-notes-logo-1500-1200-px.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_s justify_center border_" /></i></span></p>chrisnole.comtag:chrisnole.com,2005:Post/71486462023-02-06T09:35:25-06:002023-07-09T11:52:09-05:00In Search of Perfection<p>Practice makes... you better. </p>
<p>Perfection is in the ear (or eye) of the beholder; I've been searching for it most of my life. In rare musical instances, I've felt like I've come close to it - but nope - it is elusive. For me, perfection has been impossible to find. </p>
<p>I've never considered any of my recording sessions or live shows to be perfect. Some, of course, have turned out better than others. There have been recording sessions that I've spent way too many hours on, and on others - one pass and done. The funny thing is, the more time you spend on a musical performance doesn't necessarily make it better. My experiences have taught me that you usually destroy a wonderfully spontaneous idea by beating it into the ground when chasing flawlessness.</p>
<p>Back in the nineties, I was in a band called the Swamp Honkys (yep, that was our name) that would meet once a week to write and rehearse our tunes. Being we were in a home studio, we would record these rehearsals. These musical gatherings were eventually dubbed 'The Martini Rehearsals' for obvious reasons. Perfection be damned! We found out over the months and years that our performances that we casually recorded at these martini rehearsals were usually always better than when we went into the high-end studio to officially and 'perfectly' record our songs for release. <br><img src="//d10j3mvrs1suex.cloudfront.net/u/50909/b7418efb0801faedbeddb3ae2cca89b4788bef37/original/swamp-honkys-promo-photo-crop-002-150dpi.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_none" alt="The infamous Swamp Honkys" />Now I'm not saying that having an abundant supply of martinis while recording is a good idea because it is not. You will waste precious time and money if working under the influence. But... for the first hour or two BEFORE any impairment kicked in, we were having so much fun that we created tracks and tracks of fine and funky music with seemingly little effort. These rehearsals were always loosey-goosey with lots of laughs and unstifled creativity. Regarding musical input - our rule was: try anything at any time - if you'd crash and burn, no harm done. The results of this atmosphere was pretty amazing. We found grooves and solos that were hard, if not impossible to recreate later. </p>
<p><em>Scene change </em></p>
<p>My days of performing with John Denver were eye-opening to me. </p>
<p>JD was very confident and at home on stage. His years of experience clearly showed with his folksy demeanor and upbeat interactions with the audience. One night we were in the middle of a show which featured a prominent symphony orchestra. Things were going well - John, the band, conductor, and symphony were all humming along in good form until... <br><img src="//d10j3mvrs1suex.cloudfront.net/u/50909/9354fe2608e321be4efb242d67826a9bafa41e37/original/jdimage001-resample.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_none" alt="John Denver | Photo Credit: Mary Ledford" />John had changed keys for certain songs over the years as his voice matured. Many vocalists, over time, lower song keys to make it easier for them to sing the hits they recorded years earlier. This particular song we were about to perform had a powerful entrance. We all would enter in at full volume starting on the first note. John and the band fired up in one key, the symphony in another. It sounded like a train crashing. I remember seeing the hair of the folks in the front row blow back for a second or two (maybe this did not happen, but it should have!). So obviously, the song screeched to a HARD STOP. The conductor looked a little pale and befuddled. And what did John do? He was quite hysterical - in a good way. John laughed himself teary-eyed. Then the band started laughing, the symphony cracked a few smiles, and the conductor began to laugh too. The crowd enjoyed the whole spectacle. John made the audience feel like we were all in this together. After conferring with the Maestro, we performed the song in the key that the orchestra's music was scored. The second take sounded lovely. I guarantee most, if not all, of the people in the venue still remember that major fail moment with a smile. I know I do. </p>
<p>It'd not be a good idea for you to plan or fake a train wreck in your show, but IF one happens - let it be a moment that doesn't ruin your night.</p>
<p>So take it from me, a recovering perfectionist: </p>
<p>Let your mind and music wander. Feel free to go up to or over the edge on occasion. Yes - absolutely practice, play, perform, create. Go a little easier on yourself - and remember to laugh, even when things are not turning out as you'd like. Maybe then, perfection will find you.</p>chrisnole.comtag:chrisnole.com,2005:Post/71287242023-01-12T09:30:14-06:002023-02-05T09:23:57-06:00Prep and Accept | Finding Success as a Musician in the Biz<p>Over the past 40 years, I’ve walked onto thousands of stages to perform music. </p>
<p>From bars and nightclubs to network TV late-night shows to just about every theater across America (and many others around the world), I worked as a support musician (in the band). I've also have done many shows as a featured performer. </p>
<p>When I started out in the music business, I would go onstage thinking that the whole world was waiting for me to make a mistake or perform poorly. And in my mind, I would usually supply the one note or song that would ding my confidence and dampen the experience. "We'll get 'em next time" or "I need to practice (fill in the blank) more." I'll be the first to point out that my self-critical habit motivated me to work harder. I was determined to show up ‘ready to rock’. Through a whole lot of practice and more years on stage, I slowly became a better musician and live performer. </p>
<p>It takes two sides to do a show (more if you count the promoter, venue, and techs). But let’s talk about the people on stage and the folks sitting out front in the house. </p>
<p>99% of the audience is there to have a good time; they are there to cheer the performers on – they are with you. They are supportive and forgiving. The audience makes the show possible – otherwise, you’d just be practicing at home. </p>
<p>Your show is not going to be 100% technically perfect. If it is, you are probably doing something wrong as a performer. “If you’re thinkin, you’re stinkin”. Your work on stage should be interactive and fun. (I prefer spontaneity and improvisation, but I realize some acts are more rehearsed and limit improvisation). Either way, a musician's job is to give the audience an honest performance. If you do this, you will feel good walking off the stage. </p>
<p>Over the years, I've become an expert at preparing for live shows. </p>
<p>From one-niters to national and international tours, I’ve learned material for countless acts. My success rate was (and hopefully still is) extremely high at delivering my parts on stage. I remember that with a few acts, I should have learned a signature lick or two better than I did, but overall, I nailed most of it. I’ve gotten better at the prep process over the years. I start with writing (or fixing) charts, marking tempos, and focusing on piano intros, fills, or solos. Listen, listen more, and then listen again. Oh, and also be prepared for at the rehearsal or the show - the arrangements could be completely different than what you’ve prepared for. This happens more than you’d think. The piano intro you worked on so diligently is now in another key, tempo, or a new approach altogether. Or maybe now it’s a guitar intro. Be prepared, and be ready to adapt. </p>
<p>I’ve been in bands that have been a little too uptight – focusing on the wrong things at the wrong times. The sound system may be awful, and the setlist may be different than at rehearsal – or a song is called that only half of the band knows. Again, not fun, but out of your control. Play on and do your best. Accept. </p>
<p>When it's show time, it's time to give the audience what you’ve got – and give it to them with confidence and a smile. The time to worry about your muffled instrument tone, an unclear arrangement, or a tricky harmony part has passed – it is now time to entertain. You are performing for the folks out front and also for your fellow performers. If you have a grumpy band member – disregard them. Do not let them tamp down your good attitude. I’ve worked with a drummer (not picking on drummers here) that destroyed ten of the fifteen song endings in one show. Not fun – but smile through it. Another time, I was doing a ‘plug-n-play’ (no time for a proper soundcheck) festival in Canada years ago with a talented singer out of Nashville. The first song of the show started with an organ pad (me) setting up an a cappella vocal chorus. 1-2-3-4… I laid into the organ chord – all of us singers started singing. Guess what? It was the wrong key. The act that was on before us had transposed down the keyboard. Perfect. Anyway, this stuff happens. We jumped to the proper key after the vocal intro. Luckily after the band smoothed things out, the Artist just turned around and smiled at me. Live music – who knew? </p>
<p>As for the friends, fans, and music lovers sitting out front, watching the show – remember that they may have planned the evening for weeks or months. They are excited to be there and to hear you and the rest of the folks on stage. They are on your side, giving you the benefit of the doubt, and they appreciate that you showed up to entertain them. Yes, I have seen people sleeping in the front row – but again, those are the exceptions.</p>
<p>Do your musical homework. Preparation is the key to confidence. And when you walk out on stage to do the show, do so with gratitude and camaraderie with your fellow performers and the audience. Make music with joy in your heart. Enjoy the moment. Everyone will hear that you are happy to be there.<br><img src="//d10j3mvrs1suex.cloudfront.net/u/50909/1693e8e62dbf545b936e7dba2442566615b75094/original/prep-and-accept-blog-002.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>chrisnole.com