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
Wednesday, June 30, 2010
Monday, May 24, 2010
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
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
Friday, April 30, 2010
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.
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.
Saturday, April 17, 2010
Back to the Basics
It was the great Benjamin Verdery who said (paraphrasing), "Never ever be afraid to go back to the basics of playing the guitar." I have been ruminating over this comment ever since I heard it last year during a master class at St. Thomas University. Recently, it has been sounding a particularly resonant chord within. Of course, at the time, Ben was referring to technical aspects of playing the guitar, i.e. slurs, scales, arpeggios exercises, you know, guitar heads, the basic technical work that we all go through to become proficient players. Even when you think you have things under control, mastered maybe, there is always something to be learned and refined by revisiting the fundamentals. This is applicable to technical as well as metaphysical aspects of the playing the guitar. For this article, I am focusing on the metaphysical. Technique will be addressed at a later time.
These past couple of weeks I have been reverting back to the basics of my playing by burying myself deep into some of the roots music that forms the relatively short, yet rich, history of American finger-style guitar. I think it is important to do this, to become aware of the history of what you do, to further deepen your relationship with the music you play and ultimately produce. I guess it is, essentially, looking back to move forward.
Blind Blake, Blind Boy Fuller, and Joseph Spence, are the artists that have been speaking to me as of late. Blake's (ragtime) hey day was in the late 20s to early 30s. Fuller (blues/ragtime) was active in the late 20s to the 40s. And Spence (gospel/Bahamian songs) was 'discovered' in the late 50s and remained an active player until he died in 1984. I always find myself circling back to these players when I need to ground myself musically, when I feel things are spinning way out beyond the stratosphere and everything sounds like trash. It happens.These dudes are another form of gravity.
Blake, Fuller, and Spence exhibit three common qualities that all players should hear, listen to, and absorb (of course there are more but these are the ones that are most striking at the moment). You don't need to play their pieces, or explore their respective genres of music, or even like them for that matter, but there are some true bedrock, foundational principles that endure and will help anyone further their abilities. All three are open to interpretation in the strict sense, but when you listen, you'll know what I mean:
1. A profound sense of rhythm (groove)
2. A profound sense of emotional expressiveness (soul)
3. A profound sense of freedom (sense of humor and spontaneity)
All of these qualities are adaptable to any kind of music that you play. It is so easy to get bogged down by the 'what' and the 'how' and forget the 'way'. These three giants (and many others of their time and beyond) were connected in such a 'way' that is infectious. People smiled when they heard them, hell, people danced! Never ever be afraid to go back to the basics.
These past couple of weeks I have been reverting back to the basics of my playing by burying myself deep into some of the roots music that forms the relatively short, yet rich, history of American finger-style guitar. I think it is important to do this, to become aware of the history of what you do, to further deepen your relationship with the music you play and ultimately produce. I guess it is, essentially, looking back to move forward.
Blind Blake, Blind Boy Fuller, and Joseph Spence, are the artists that have been speaking to me as of late. Blake's (ragtime) hey day was in the late 20s to early 30s. Fuller (blues/ragtime) was active in the late 20s to the 40s. And Spence (gospel/Bahamian songs) was 'discovered' in the late 50s and remained an active player until he died in 1984. I always find myself circling back to these players when I need to ground myself musically, when I feel things are spinning way out beyond the stratosphere and everything sounds like trash. It happens.These dudes are another form of gravity.
Blake, Fuller, and Spence exhibit three common qualities that all players should hear, listen to, and absorb (of course there are more but these are the ones that are most striking at the moment). You don't need to play their pieces, or explore their respective genres of music, or even like them for that matter, but there are some true bedrock, foundational principles that endure and will help anyone further their abilities. All three are open to interpretation in the strict sense, but when you listen, you'll know what I mean:
1. A profound sense of rhythm (groove)
2. A profound sense of emotional expressiveness (soul)
3. A profound sense of freedom (sense of humor and spontaneity)
All of these qualities are adaptable to any kind of music that you play. It is so easy to get bogged down by the 'what' and the 'how' and forget the 'way'. These three giants (and many others of their time and beyond) were connected in such a 'way' that is infectious. People smiled when they heard them, hell, people danced! Never ever be afraid to go back to the basics.
Saturday, April 3, 2010
Guitarists Are A Passionate People
Good morning! It is approximately 5:00AM as I write my latest blog entry. I have been on 'Spring Break' this week, so, alas, my productivity has been somewhat sluggish and nullified by family fun, and, I have fallen behind on everything. In quest of this week's topic, I have been reviewing some of my guitar history books and stumbled upon the hilarious image below. It is a lithograph created by Charles de Marescot, a French guitarist who was active in the mid-19th century; a time widely considered as the first 'golden age' of classical guitar. The image is entitled, Discussion between the Carullists and the Molinists; that would be Ferdinando Carulli and Francesco Molino, two well known players and pedagogues of the era. What the gentlemen in this illustration are fighting about, no one really knows. There are no historical records of any great rivalry between the two artists, so, Matanya Ophee has surmised that perhaps they were fighting over some aspect of each player's methodology. Mr. Ophee compared their respective teaching methods and boiled it down to one main difference between the player's technique: the use of the left hand thumb. His article can be found here. I hope that is what caused this riot. THAT would be hilarious.
Anyway, it just reminded me how passionate guitarists can be about their own craft and the players they love. I don't know of any all out guitar busting rumbles in recent history, but I have encountered some very opinionated musicians who, if crossed just the right way, just might take you down with their axe. So, I wonder, what could cause such a riot in this day and age? There are many, many, "schools" and "schools of thought" so to speak within the world of finger-style guitar and, as beautiful as this world is, conflicts regarding that which is 'good' and 'bad' do exist. Guitarists are a passionate people. What legendary players and their respective followers would stir such a violent passion today? Hedges vs. Kottke? Chet vs. Merle? Ackerman vs. DeGrassi? Bensusan vs. McLaughlin? Ross vs. Emmanuel? The possibilities are endless.
I jest, but I do think it is important to have, and stay true to, your own core principles as a player. Such clarity is essential. I have a pretty clear idea of my own but would never challenge another's approach or belief system. If you do come after me though, get ready for a fight, but please, let's leave the guitars in their cases!
Anyway, it just reminded me how passionate guitarists can be about their own craft and the players they love. I don't know of any all out guitar busting rumbles in recent history, but I have encountered some very opinionated musicians who, if crossed just the right way, just might take you down with their axe. So, I wonder, what could cause such a riot in this day and age? There are many, many, "schools" and "schools of thought" so to speak within the world of finger-style guitar and, as beautiful as this world is, conflicts regarding that which is 'good' and 'bad' do exist. Guitarists are a passionate people. What legendary players and their respective followers would stir such a violent passion today? Hedges vs. Kottke? Chet vs. Merle? Ackerman vs. DeGrassi? Bensusan vs. McLaughlin? Ross vs. Emmanuel? The possibilities are endless.
I jest, but I do think it is important to have, and stay true to, your own core principles as a player. Such clarity is essential. I have a pretty clear idea of my own but would never challenge another's approach or belief system. If you do come after me though, get ready for a fight, but please, let's leave the guitars in their cases!
Friday, March 26, 2010
Spring Cleaning
This week I offer a short and sweet post as I am on my way out the door for some Spring skiing/snowboarding. Yep, Spring is upon us and I am feeling reborn. The malaise that typically coincides with the completion of a relatively major project is gone, and now, I am ready to subject myself to much more; projects and malaise. Portrait of a tortured artist? Or an artist that loves torture? I hope I am not THAT cliche ridden.
The days are getting longer which gives me more time to retreat from the sun (I am a salamander), hide away in my bunker, and get to work. Right now, I am all about industriousness and full on output...with some quality control of course. I don't know, maybe I am falling victim to the latest rash of Home Depot commercials - turning up my "doing dial" - or something like that. But really, this is also about staying busy and staying positive in a down economy. It is no secret that gigs have been tough this year, all things are slow, so, I am working on controlling what I can while I can.
My wife often asks me what I do during the day when I am home working. In a nuttshell, in no particular order, and with variable attention and priority, here is what I am working on. ALL of which will be completed by year's end. Here it is in writing. It shall be done. If I could sign this blog, I would use twenty pens to do so.
My current work flow and projects in process:
Happy Spring Everyone!
The days are getting longer which gives me more time to retreat from the sun (I am a salamander), hide away in my bunker, and get to work. Right now, I am all about industriousness and full on output...with some quality control of course. I don't know, maybe I am falling victim to the latest rash of Home Depot commercials - turning up my "doing dial" - or something like that. But really, this is also about staying busy and staying positive in a down economy. It is no secret that gigs have been tough this year, all things are slow, so, I am working on controlling what I can while I can.
My wife often asks me what I do during the day when I am home working. In a nuttshell, in no particular order, and with variable attention and priority, here is what I am working on. ALL of which will be completed by year's end. Here it is in writing. It shall be done. If I could sign this blog, I would use twenty pens to do so.
My current work flow and projects in process:
- Spinning some solid ideas for new solo compositions.
- Completing work (at least back in the groove) on the next New Roots Duo CD. The tunes are getting close and recording should begin this Summer.
- I have outlined and have begun arranging the Christmas CD. Yep, I am going to do it.
- Getting closer to starting my etude project/teaching method.
- Finally transcribing my pieces and will have them available for sale on my site as I get them done.
- Setting up shows/gigs.
- Playing shows/gigs.
- Scheduling and keeping up with various rehearsals.
- Practicing, practicing, and practicing again.
- Always listening. Always.
- Researching new pieces and ideas for instruction.
- Teaching.
- Keeping up with business junk and general promotion.
- Blog.
Happy Spring Everyone!
Friday, March 19, 2010
The Great Christmas Album Dilemma
This week's events have sparked, or rather, reignited, the nagging internal debate that I have suffered through for years as a musical artist: Should I make a Christmas album? My wife thinks so. I was at Hoffman Guitars the other day, and, I was being encouraged to do so by the staff as well. I greatly respect all of these opinions.
As we all know, Christmas is BIG business. Some say it is evil business. And EVERYONE has made a Christmas album. To me, Christmas has always just been about a fun time filled with family, friends, warm memories, and...presents! A beacon of light in the the vast darkness of the Minnesota Winter season.
Many artists that I greatly admire have made Christmas albums. I remember when Billy McLaughlin took the turn sometime in '96. His words: "Ben, I sold my soul and finally made a Christmas record." Now, he is doing VERY well with his 'Simple Gifts' ensemble and has managed to make the experience into quality musical art...and big business.
Leo Kottke actually contributed a tune to a Christmas compilation album. His only criteria: he had to write his own Christmas tune; the exquisite 'Accordion Bells'. Of course, this idea is the most appealing to me.
Pete Mayer released a holiday album called, 'Midwinter' - a collection of original songs on various themes of the holiday season, some more strongly related to it than others." Another attractive idea but, I am no Pete Mayer.
And then, there is Lorie Line...we'll let that one go.
I guess I have always thought of these projects as 'selling out', or a way to jump start a sagging career, or a way to jump start ANY semblance of a career. I have not been able to put a positive spin on my own possible participation in such an endeavor. I am still desperately holding on to the idea of being 'the artist', the guy who does not compromise his principles, and, blah blah blah. So, how does one balance the business vs. art in this debate? I think it is an unwinnable war. I feel as though there is devil on one shoulder and an angel on the other both whispering in my ears. Is that a scene from 'Animal House'?!
So, I am starting to make plans and have begun to outline the project. This does not mean it is going to get done, it just means I am thinking more about the possibility.There has to be a snappy title; something other than "Holiday Guitar", "Christmas Music for the Soul", "Guitar and Tinsel", and so on....
Tune selection will be very important. I gotta incorporate the 'hits' but be sure to include some creative twists as well...maybe an original composition or two. Maybe some Elvis? Oh! I have an idea!
Cover art is key as well. See title comments. Avoid any and all cheese.
No flutes, no strings, no harp.
Keep it simple. Intimate. Do what you do best.
Red and green with a little blue.
100 percent solo guitar.
A lot of joy and additional warmth can be brought to a lot people with music; especially friends and family. What a wonderful gift.
Hmm...this could be good.
Stay tuned my friends. 7 months and counting. Have you started your shopping yet? Get ready! Ben Woolman's Christmas album, coming to a Walmart near you!
As we all know, Christmas is BIG business. Some say it is evil business. And EVERYONE has made a Christmas album. To me, Christmas has always just been about a fun time filled with family, friends, warm memories, and...presents! A beacon of light in the the vast darkness of the Minnesota Winter season.
Many artists that I greatly admire have made Christmas albums. I remember when Billy McLaughlin took the turn sometime in '96. His words: "Ben, I sold my soul and finally made a Christmas record." Now, he is doing VERY well with his 'Simple Gifts' ensemble and has managed to make the experience into quality musical art...and big business.
Leo Kottke actually contributed a tune to a Christmas compilation album. His only criteria: he had to write his own Christmas tune; the exquisite 'Accordion Bells'. Of course, this idea is the most appealing to me.
Pete Mayer released a holiday album called, 'Midwinter' - a collection of original songs on various themes of the holiday season, some more strongly related to it than others." Another attractive idea but, I am no Pete Mayer.
And then, there is Lorie Line...we'll let that one go.
I guess I have always thought of these projects as 'selling out', or a way to jump start a sagging career, or a way to jump start ANY semblance of a career. I have not been able to put a positive spin on my own possible participation in such an endeavor. I am still desperately holding on to the idea of being 'the artist', the guy who does not compromise his principles, and, blah blah blah. So, how does one balance the business vs. art in this debate? I think it is an unwinnable war. I feel as though there is devil on one shoulder and an angel on the other both whispering in my ears. Is that a scene from 'Animal House'?!
So, I am starting to make plans and have begun to outline the project. This does not mean it is going to get done, it just means I am thinking more about the possibility.There has to be a snappy title; something other than "Holiday Guitar", "Christmas Music for the Soul", "Guitar and Tinsel", and so on....
Tune selection will be very important. I gotta incorporate the 'hits' but be sure to include some creative twists as well...maybe an original composition or two. Maybe some Elvis? Oh! I have an idea!
Cover art is key as well. See title comments. Avoid any and all cheese.
No flutes, no strings, no harp.
Keep it simple. Intimate. Do what you do best.
Red and green with a little blue.
100 percent solo guitar.
A lot of joy and additional warmth can be brought to a lot people with music; especially friends and family. What a wonderful gift.
Hmm...this could be good.
Stay tuned my friends. 7 months and counting. Have you started your shopping yet? Get ready! Ben Woolman's Christmas album, coming to a Walmart near you!
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