BENDOCKERY.COM

Update 2/28/2012

UPDATE 2/28/2012

 

I told myself I would never write something like this.  Writing about how long it’s been since I’ve written anything is super lame.  It’s been a few weeks, and I’m starting to get asked what’s going on with the site.  So, I feel like I owe people an explanation.  Plus, there are some cool things happening.

But first, the not so cool things…I’ve been revising the 240 page behemoth called my dissertation both day and night, sometimes sleepless ones, for the last several weeks.  I am dangerously close to wrapping up this whole DMA thing, but it’s been a real struggle.  I’m scheduled to defend my dissertation March 13^th, and I plan to write an article with all the juicy details after it’s all finished.  Stay tuned for that.  Currently the paper is with my proof reader and new best friend Sarah Larkin.  After posting my proof reading needs on facebook, she generously offered to read it pro bono.  How cool?  

There have been more pleasurable things going on recently.  Somehow, despite my self-imposed solitary confinement, I’ve been playing more gigs.  Vance Thompson of the KJO booked me for some small-group dates, the most recent of which was with tenor saxophonist Greg Tardy.  This was my first time playing with Greg, and I must say he sounds amazing.  Knoxville is very fortunate to have such an accomplished and versatile talent. 

Also, I played a fun gig in Chattanooga last weekend with guitarist Ben Friberg.  The band included bassist David Schwabb and drummer Jim Crumble.  The house party was a fun environment in which to play, and the Steinway there was an added bonus.  People were amazed that an out-of-towner could drive in and play the gig with guys I hadn’t worked with in a couple of years.  We tried to explain the common repertoire we share as well as the game aspect of music, i.e. we all understand the rules of the game.   Nevertheless, the experience reminded me how special this music really is.  Thanks Ben et al for a fun gig.

Lastly, I finally got the time and wherewithal to listen to my friend Frank Lamphere’s latest CD.  It’s entitled Frank Swings, and it features the vocalist’s five original compositions.  If you haven’t heard this Chicagoan crooner before, you’re in for a treat.  Unlike singers like Michael Buble who initially succeed in one genre but cross over into more popular styles, Frank demonstrates respect for the style he loves.  Without being a generic impersonator, Lamphere derives inspiration from the usual suspects, Sinatra and Dean Martin.  But I didn’t find myself comparing him to either.  Both his singing and original songs stand on their own merits.  His voice, now more than ever before, is a wonderful blend of masculine strength and smooth, rounded edges.  Rather than sounding like someone who is hesitant, Frank’s style embodies bridled strength.  It’s classy, it’s powerful, but it’s never rude or unkind.  It’s refreshing to hear a new offering with the kind of romantic, sincere sentimentality that is almost completely lost in modern music.  The fledgling composer succeeds with five originals with catchy lyrics, good production value, and top notch playing by some of Chicago’s finest musicians.  Two songs which really stand out are “Chicago is For Me”, a song I could easily hear on TV or in a movie, and “I Like Your Smell.”  The latter song’s provocative title lives up to expectations.  With tongue firmly in cheek, Frank brings together man’s two perennial loves, food and women.  If you have love for the Rat Pack, check out Frank Lamphere’s new CD.  If you are in the Chicagoland area, go hear him for yourself.  You can buy the CD, see videos, and more at www.franklamphere.com      

To all my musician buddies, if you have a new recording you’d like me to review, please send me an email at bendockery[at]hotmail.com.  The caveat is that I don’t waste time doing negative reviews.  So, if I’m not into the music, I just don’t review it.  Also, I get really busy sometimes.  So, I may not always get around to it.  That being said, the offer still stands.

Okay, one last thing.  I’m trying to finish an interview with accountant and drummer extraordinaire Martin Whitaker about music and taxes.  If anyone has specific questions just email me or PM me on facebook.  Thanks!                        

                      

How to Talk About Music: Turning Words Into Sound

photo by William P. Gottlieb

If you google "how to talk about music" you will find pages that are divisible into two main categories.  Some help you learn the musical lexicon or, like Rebecca Hutter's Are We Forgetting How to Talk About Music?, point toward the otherwise well-educated masses' inability to use anything more than metaphor to describe music.  The second category of articles treats music as a consumable product, to be discussed in terms of genre or fashion.  Ryan McKee's How To: Talk About Music Without Being a Snob is an enjoyable example of the latter. 

The resounding thought is that people have trouble talking about music, profound trouble.  I know what you are thinking.  "What else is new?"  I guess the real surprise is how much we musicians, including myself, stumble.  Both educated and self-taught players seem to get bogged down expressing just basic musical ideas.  This article attempts to point out some of the pitfalls of talking about music and ways to avoid them.

First, realize that you don't have to say much. 'If it ain't broken, don't fix it.'  Sometimes musicians meddle. We get in the habit of talking about every musical detail and expectation.  Very easily one can be misunderstood and unintentionally make matters worse.  This Hemingway-esque idea was promoted by the prophet of punk Henry Rollins.

My most memorable gigs are the ones where either I know the band so well or the chemistry is so good that no one says a word all night.  Sure there's joking around between sets, but on the band stand it's all music.   

Inevitably there are times when words become necessary.  One of the first things you have to do is size up who you are talking to.  Figure out the musical language someone speaks.  If you find out they are self-taught, then you may use different lingo than you do with someone walking out of Juliard.  That's not say you make judgement calls about their abilities or intelligence.  Some of the best and smartest musicians I know learned everything on the street.  A practical example happens when trying to describe an accent on the and-of-4 instead of beat 1.  College music students are taught to call this an "anticipation", whereas Nashville studio players call it a "push."  What gets tricky is when you have a mixed group with various kinds of training.  Use the term having the greatest acceptance.  During a rehearsal an hour before down-beat is no time to be high-browed.  Get the job done.

The last piece of advice is to use antecedances and avoid pronouns.  In case you've slept sense 6th grade grammar class, pronouns are words like it, that, and this.  Pronouns take the place of antecedants, the originally mentioned object or idea.  For example, be long winded and say,

"Mike, play a 2 bar fill at the end of the form before Jim's stop-time solo at the top of the form."

Avoiding pronouns works better even though it's easier to say,

"when we get here, you do that thing again, and then you start when we get there."   

I know the second example sounds ridiculous, but I've heard people say similar statements so many times.  If you want something specific, be specific.

These are some of the ideas I'm trying out in daily musical life.  How do you handle these situations?  Feel free to comment.