Winfield Performance Review: An Interior Monologue

i am cool as a cucumber uncomfortably cool clammy is becoming me you can do this be the man japanese kids rule the day don't do the collapse am i in tune? smiling happy man confidence is fleeting that guy is playing a really long time number 34 there is a fan folks in kansas are very friendly 3 hours later don't talk feedback all i hear is my foot stomping stop steady steady steady breathe where's the sound? hey eric i enjoyed our chat you played very well bad note bad notes missing notes too much bad ending try again 2 chances to make it well this greek food is not sitting too well text messages what a clean horse barn pete huttlinger is watching me folks in Iowa are very friendly made some new guitar friends youtube faces come to life judges hear everything judges focusing on my weaknesses my weaknesses win pat kirtley played a fine set you against you brother and 39 other players caught off guard did i turn off my phone? i was ready relax release who am i? don't think feel you are the man a prepubescent guitarist where did i go? last tune better than the first but not good enough completely utterly deflated beautiful landscapes saved me i miss sadie sparse but attentive crowd I miss my wife folks in missouri are very friendly yesterday was a long day today was a long day tomorrow is going to be a really fucking long day objective sidecar walk off stage left bow look cool job undone that wasn't so bad nah it sucked don't think i will return next year perhaps i will.

Wax on. Wax off.

I got cocky this weekend. Or, rather, I should say, careless. New Roots Duo had two shows, one a.m. and one p.m., and I have no excuses for a poor showing in the morning. Okay, as usual, though not usually in a public forum, I am pretty hard on myself. I have spent much time on this blog expounding on the beauty of transcendent playing; the spiritual, existential, metaphysical, blah, blah, blah, experiential moments that occur in live performance. See my previous article here.

Now, I feel it is my duty to expound on the other extreme. I hadn't rehearsed, or even touched, the duo material since our last show together which was....I am not sure (still no excuse). When I opened my case, I had  to confirm that the baritone guitar still had six strings attached. This Summer, due to my familial and professional obligations, any rehearsal time that was allotted to me was spent on my solo gigs (still no excuse). See my previous article here.

But hey, no big deal right? Dan and I have tackled numerous gigs with zero run-throughs and always found a way to pull it off; often with exceptional results. I still believe in allowing time and space for the music to grow. Time away from the guitar can be very productive and valuable, but, not too much time. So, what's one more shot in the dark? A big miss. A fat zero. Fortunately, it was a very laid back show (a farmer's market), and the only people I was really letting down were myself, and worse, my musical compadre Dan. Sorry Dan.  (I would like to take a moment to ensure the readers that Dan played great at both events.)

From the moment we kicked off I was unfocused and really had very little idea what I was doing. I mean, a certain amount of muscle memory and a well trained autopilot can carry you through, but, that is just enough to get from the start to the finish; point A to point B without crashing. I did everything I could to get myself on track, listened, tried to concentrate, people watched, turned away and then toward the sun, tried to find amusement in toddler's dancing, engaging people who walk up and talk to you in the middle of a tune, "Hey, what tuning is that?!", a woman requesting her favorite tune from the CD, sitting down right in front of us to listen, then realizing it was the wrong tune, smelling the food, and, even watching my shadow for clues. That turned out to be the most useful device.

Dan was his usual easy going self, " Don't worry man, it's good to be on the edge. That is when magical things happen." I remarked, "Sure, that is true if you can ultimately pull it off." It can also be disastrous. Okay, I am being a little over dramatic. It was not that terrible. As I already mentioned, it was just a farmer's market. We often use such gigs as rehearsal (sorry music coordinators). But, still, a performance is a performance and I need to be there 100 percent and give it my full attention, my full effort, every time. That is what a professional does. It is not fair to Dan, in this sense, perhaps even more so, to myself, and even more so, to the music. Lesson learned. I guess I will never stop learning these so called lessons.

We (I) made it through and the morning was done. The great irony of it all was, we sold more CDs than we ever have at this particular farmer's market. It is a phenomenon I have experienced countless times over the course of my performing career; the worst shows always sell the most product. WTF? Just demonstrates how subjective this performing thing is, the internal perception anyway, and, I guess in all reality, I really have no clue.

Fortunately, the evening's gig was something else all together. My head was in the right space, still on edge, but magical things did happen. See my previous article on the topic here.

The rust was abated. Wax on. Wax off.

Time to get to work.

Goodbye August. Goodbye Summer.

It appears we have entered the long dénouement into Fall, then...fade to black. Yep, the Minnesota State Fair is in full swing which is the ultimate symbol of Summer's demise. So be it. I am ready for Fall but have really enjoyed the past few months...more so than I ever have. I actually was successful (sort of) in my efforts to embrace the sun, though, many evenings were comfortably spent in the basement recovering. I was lucky enough to enjoy several vacations, tons of quality family time, and now, it is time to reflect a bit and get ready to move forward. It's not quite over yet though! In fact, I started writing this in between grill check points.

Reflecting:

I played a few fun shows this Summer with two exceptional stand out performances: The annual Lake Harriet gig with New Roots Duo and my new favorite solo venue up at the old Historic Inn at Itasca State Park. Dan and I always find a way to rock the bandshell. Itasca was a serene setting with a relatively large and enthusiastic crowd AND all of that old historic inn wood just sounded amazing! It's so easy to play when you are surrounded by good vibrations. I am going to video this one next year.

The precious free work time I had was spent playing the guitar, of course, and I must emphasize the word playing. It was an absolute joy to sit down periodically for spontaneous practice sessions; short bursts of inspiration that yielded surprising results. I will expound on this experience in a later article. Anyway, it was a welcome relief to the usual overly focused intense 'gotta get something done!' sessions which dominated the previous year. I think I am on to something. And, I no longer wake up at 5:00AM to work.

Moving Forward:

I have been working up several new solo guitar arrangements of pop tunes from various eras. This is not a concept that has necessarily been planned and carried forth. It's just what has been showing up at my door. See my previous reference to playing and joy. Not sure if it will lead to another immediate project or not. If so, it will be an odd duck - perhaps 1/2 arrangements and 1/2 new compositions. Talk about a mixed up muse.

I am also very much looking forward to regrouping with New Roots Duo. We have some solid shows coming up, some new music, and are hoping to record a few singles later this Fall. I head to Milwaukee sometime in October to tape a session for a new instructional DVD that is being released by Hal Leonard Corporation. It is not exclusively my instructional DVD but rather I am one of the featured acoustic personalities in the series. More on this later as well. Needless to say, it is a fine opportunity.

I am hoping to play live more this coming year, maybe hit the road more often, beginning with a trip down to Winfield, Kansas later this month to compete in the International Fingerstyle Competition. Why I submit myself to such abuse I will never know. A born hedonist, I suppose I need a counterweight. Perhaps there are some masochistic tendencies hidden within. It will be interesting to see what goes down. My playing style isn't really designed to win competitions but this is an opportunity to showcase in front of a large and selective audience. Hopefully I will make some new, more far reaching, connections as a result. If I escape the experience with my ego still intact, I will count it as a victory.

Yes, another time of transition is upon us. A time to look back, a time to look forward, and time to stay present.

 See you later in September!

On Technique

What is technique? I like this Merriam-Webster definition the best:

A method of accomplishing a desired aim.

Developing and refining one's guitar technique is a lifelong evolution and absolutely essential to becoming a proficient player. Every day I am reminded of this while working with students or working through my own practice routine. There is always something to be changed, added, deleted, fingerings to manipulate, postures to adjust, flexibility and fluidity to be maximized, motion to be minimized, and, all in all, it is the necessary grind to facilitate the most glorious end: making powerful music.We, as players, particularly finger-style or classical guitarists, spend endless hours obsessing on and developing our technique as a means to communicate our music in the most effortless manner possible. We try to knock down all of the physical impediments so as to allow the metaphysical elements the requisite room to sing out.

I remember two specific instances quite early in my development as a guitarist when I first learned the importance of developing a strong, solid, technical base. Back in those days, the early 1980s to be sort of specific, experiencing music was still predominantly an aural experience. Some of the most profound musical developments for me occurred as I would lay on the ground, headphones on (and plugged into the turntable), eyes closed, listening deeply. What the players were doing at this time - or the method in which they were accomplishing their most awesome aim - was left up to my imagination. I would hear Leo Kottke play all of those notes, so fast, so loud, so soft, and thinking to myself, 'How is one human, with presumable only two hands and 10 fingers, able to produce so much sound'? I would hear Geddy Lee whipping off these crazy fills, and riffs, and again, inhuman feats. 'How in the Hell'!? These guys have got to be moving a mile a minute and there extremities HAVE to be running wild! Right? Wrong.

And then I saw each man perform. What a revelation! As I studied their hands I could not believe the economy of motion each exhibited, I mean, relative to the notes being produced, their hands were barely moving. I could hardly tell what they were doing as all motion was so extremely limited; extremely compact as they navigated the fretboard. Lesson learned. Efficiency of motion is so key to effective communication. I had my work cut out for me.

I am sure that these guys still practice. I believe any true virtuoso does. Not just for writing purposes, to produce new material, but I am willing to bet that each still obsesses over ways they can improve their respective abilities and still work things over and over again. Even at the highest levels of mastery, there is still something higher. However, the first steps require long disciplined practice and self-analysis. From the beginnings to the desired end, a strong, solid, technical base is absolutely fundamental and essential. If something is difficult to play, chances are, your technique is a bit unstable and just needs to be tweaked. Get used to it. Keep working. You are only getting better.

And always remember the desired aim: making powerful music.

Summer Fancy and Mindless Practice

Just before the Summer blast set in, I rediscovered a long forgotten technique for practicing my guitar; TV practice. Yep, that's right. You plop down on the couch, flip through the channels, find a bad program, and let the aimless wandering begin. I can't tell you how many compositional ideas I have stumbled on this way over the years. This sort of exercise facilitates mindless practice, an altered state if you will, where the subconscious rises to the top and assumes control. Now, I am in no way advocating this method as your PRIMARY practicing routine, it is just a way to shake up the grind and allow the whimsy a little space to groove.

For me, with the limited time that I have, the tendency is to get bogged down by the time crunch and fall into the required regimen of having to work on this piece or that in preparation for this concert or that recording. As a professional it is very easy to forget how to 'play' the guitar. Since I am in full time Dad mode for the Summer, my free (and work) time has been drastically depleted (all for the great), however, when I do have time to practice, it has become my freedom to explore, to alleviate the pressure, and to unwind. The usual persistent, disciplined practice has been temporarily put on hold, and the pure fun has returned. I tell you now, this expanded space has only benefited my playing. A little bit of letting go can go a long way. Try it.

TV practice can also turn the redundant repetition of working on a particularly difficult passage or technique into a very effective and efficient routine for improvement. When you pull away that intense, focused attention, things fall into place in the most unexpected ways. I often think of a classical guitarist I new in college. He went on to study at Juilliard and ultimately became a GFA (a very prestigious guitar competition) winner, and  he played the most flawless scales I ever heard. He was an occasional TV practicer. I would be willing to bet that there are many more top flight players out there who have employed this ancient technique.

Of course these days, you have a massive library of bad TV, reality shows, movies, and scattered media, at your fingertips by way of YouTube, Hulu, Netflix, and the like. The possibilities are endless and there is no excuse for not getting something done. So, take a break, and get down to some serious mindless practice.

I got a ton done late the other night watching this...

http://www.youtube.com/watch?v=C51ggwdkFeI

What's Happenin'

Back in Buffalo 
I was lucky enough to spend three (all too quick) days visiting an old friend back in Buffalo, NY last week. It is one of those friendships that are quite divided by time and distance but remains close nonetheless. I flew in, played a quick featured set at a local open stage, yes, I flew 1000 miles to play at an open stage, not really, but it was just a last minute thing at the last minute. And, I will say what a blast it was! The place was packed (I know of no other such rockin' acoustic joint on a TUESDAY night in the Cities) and had a total rock club ambiance. I took the stage with no time to think (or sound check) and played my ass off. Somehow, I turned the surrounding noise into silence (because the patrons were listening NOT because they all left) until the end. This was an electric feeling I haven't felt in a while - playing out of my mind with a complete sense of abandonment. Many lessons to be learned here and I will expound on them in a later article.

The next two days we spent recording at a new friend's studio - I played secondary guitar on my buddy's developing vocal project entitled, Distant Songs. Again, a quick hit, but we definitely rounded out some beautiful sounds that day, we just need more time to really dig in. Hey, I guess the Internet and home project studios will have to fill in the gaps. His project definitely has some new momentum and I look forward to working on more tracks to see it all to it's conclusion. Additionally, I now have a new favorite guitar that is owned by someone else: A Martin 0-45S Stephen Still Limited Edition Guitar. It almost found it's way into my flight case, but no, thou shall not covet another man's guitar...or something. 

And then, we attended a solo Neil Young concert at the Shea's Buffalo Theatre. The venue? Stunning. Neil? Mesmerizing. I won't even attempt to describe such an ethereal experience, it's impossible, but it definitely has left a permanent etching on the inspired zone of my brain, and heart. As an unforeseen bonus to the night, Bert Jansch, one of the godfathers of finger-style guitar opened the show. So thrilled to add one more great to the 'seen live' list.

The LOST Finale
 Well, it was what it was and is what it is. I, like many millions, have been anticipating this for months. I have also, like many millions, gave up on this show months ago. If you went into this final program with no expectations to get any answers on most everything, like I did, then, I believe it was a very emotionally satisfying conclusion to one of the best TV series of all time. The final scene, particularly the final few seconds, were very powerful and so beautifully shot, I got a 'Six Feet Under' vibe from the whole thing. A visual elegy of sorts, still can't get the last image out of my mind. In the face of many critics near and far, I will say that final shot was brilliant. So there.

Embracing Summer
Summer is here. It is hot. I am embracing the warmth though it flies in the face of my natural state. However, I'll check back with you on this topic in July. Enjoy it and hold close the ones you love.


 Back In Buffalo (Leo Kottke)

We got out of Buffalo
Locked inside the plane
And underneath the clouds below
The weather turned to rain
The weather turned to rain

Sunlight blinded passenger
Staring down at fright
We said don't we love misery
Maybe we were right
Maybe we were right

Far above Lake Erie
We got lost on wine
We said we know what we're doing
But we had lost our minds
We had lost our minds

Ten more years on marley floors
We left that job to go
Back where people loved us once
We're back in Buffalo
We're back in Buffalo

Why 'The Spirit of Radio' is My Favorite Song

Can you answer the question, "What is your favorite song"? I can. Yep, I have whittled it down to one and I have known it since I was 12 years old. This is my desert island song; my funeral song. I am talking about The Spirit of Radio by Rush. It played a very big role in what remains one of the most decisive musical experiences of my life; it was the opener of the Power Windows tour '85. If I close my eyes, and lean back, I can still feel the sheer impact of the lights going up and the bombastic opening riffs coming down. I must have heard this tune some 5000 times throughout my lifetime. 5000. Seriously, how can someone listen to a tune 5000 times and not get sick of it?

Yes indeed, how and why? I will attempt, to the best of my conscious abilities, answer those questions below. Most of the deeper intangibles escape the surface, but, the things I can describe, I will.

First, this tune always makes me happy. Always.

Second, this tune f'ing rocks. I mean, it seriously rocks. It is a prime example of virtuosic rock. It is one big fat timeless sprawling epic masterpiece of a tune exhibiting sophisticated jazz man chops yet is completely accessible to the masses. You can sing it, you can dance to it, you can air guitar to it, you can play your air drums to it, you can just listen, you can analyze it, and it always satisfies in every dimension.

Third, it is smart writing. The lyrics alone read with the smooth grace and perfect rhythm of a Longfellow poem.

Invisible airwaves crackle with life
Bright antenna bristle with the energy
Emotional feedback on a timeless wavelength
Bearing a gift beyond price, almost free

Fourth, the impeccable musicianship. The sum of the parts are certainly the strongest force, but, when broken down individually, they hold up on their own; almost like three, or four, solos playing in tandem. Remember, there are only 3 guys in this band. I love power trios and the amount of sound they project is astounding. Also, the bass tone is killer.

Fifth, the tune is very dynamic and takes the listener on a musical journey. Like a great novel, it is so easy to lose yourself in the experience. When you wake up you wonder, "What the hell just happened?" "Where was I?" "Whatever, man, that was awesome!"

Sixth, it is innovative and has withstood the test of time. It juxtaposes some seriously heavy rock guitar riffs with a perfectly pretty pop melody, and then, a reggae breakdown. What is THAT all about?

Lastly, and certainly not least, this tune always makes me happy. Always.