Category: Music

Compromise and Challenge (Plus a Bonus)

5/24/2012

Recently, I've had been fortunate to spend a lot of time dancing to several live bands. Dan and I did a one-week tour with Solomon Douglas, and were able to teach the beginner lessons before the dances. Normally, I think we tend to have people dance about 110-125bpm for most of the lesson, pushing them to 130-135 on the high end. Teaching right before a live band, though, we felt compelled to push the tempos a bit faster; we started them closer to 125 and tried to spend the bulk of the class dancing above 130, to give them a fighting chance at feeling comfortable during the dance.

Swing musicians (and blues musicians) spend a lot of time (most of their time) playing well above that 125bpm beginner mark... often, their mode is much, much faster. In fact, it's fairly common knowledge (at least according to the internet) that if you hire a band, you need to coach them on a few things- namely, keep the songs short, and the tempos lower. Most bands are pretty darned accommodating. I noticed that Solomon even changed his tempo profile from scene to scene throughout the week. As a dance community, we value bands that are "used to playing for dancers." That's a pretty intriguing thought... the idea is that bands need to change what they do to be fun for us dancers. So here's the question- how do we meet them in the middle? How do we push our scene to be fun for bands?

I think there are several things we can do to make musicians want to have us around, as much as we (hopefully) want them around:

1. Teach your dancers to clap for the bands. I know- you want to dip your partner, tell them how awesome they are, and maybe even talk about how great the song/band was. Guess what? The band can't hear you! Their language is applause, and they need some love back from you to have a good time playing. I've been at events where the dancers were having a great time, and failing to applaud (young scene)... let me tell you that the backstage chatter did not reflect the audience's feeling. The band felt unloved. So hug your partner- right after you've given a rowdy round of applause.

2. If/when a jam breaks out, let the musicians see! Clear a space so the band can have a clear look at the performers. Why? Because not only can you dance to the music... they band can play to you. That's the advantage for you (the dancers). The advantage for the band is that they're included, instead of shut out. Ever been at a huge event, and walked in to see a ring of butts watching something awesome? Not awesome for you, right? Let's make it common knowledge that the band is a crucial part of the jam.

3. Let's tailor our scenes to the bands. Let's teach our dancers to dance well at super fast, super slow, and super medium (?) speeds. Most scenes have a pretty strong comfort zone. Sometimes, it's unofficial (certain scenes are classically fast and charleston oriented, some really dig the slower, more chilled out feeling). Sometimes, it's even imposed by organizers (a whole other topic of debate, I'm sure). But let's make it a point to have a wide range of tempos where we can play. Sure, you might not have the resources to be a master from 60-320bpm, but try to encourage your dancers to step outside the 120-160 range (or the 180-220, or the 110-140, etc). Let's be able to dance well(ish) at any tempo.

This is a challenge to dancers, organizers, teachers, djs, and me. My dream is that at some hypothetical future date, I can say to a band, "I'm hiring you because you're rad. Do what you do best, and what you feel good about- my dancers can hang."

Much love,
-Mike

Bonus! - if you're looking for an incredible opportunity to get into the heads of musicians (and practice hearing/making/dancing to live music for a week), I can't say enough good things about the Augusta Heritage Festival, in Elkins, WV.
Why you should go:
1. This year, swing week is offering a whole class on playing for dancers and dancing for players (you could have skipped reading that blog!).
2. There are classes on how to make music- whether you already play an instrument or not.
3. There are jams happening all over campus all day and night, concerts, hangouts, and more merrymaking than I can fit in one paragraph.
4. The advantage of this over a music festival is the direct dialogue with the musicians- as in, everyone there is either a musician or a dancer, so we talk at lunch, in class, at dinner, walking around the mountain...
5. Constant exposure/conversation/practice of music will make you a dramatically better dancer. Dan and I have taught there for several years, and every year we come away much better dancers.
6. Ice cream with lunch.
7. Vacation in the mountains.
8. A week! Did I mention it's a week long?
9. Solomon Douglas will be there (as will Dan and I).
10. Learn to speak musician! This makes hiring a band much easier. Also, music structure (macromusicality) will make more sense.
11. This will make more sense:
http://gallery.me.com/edmalloy#100328 12. I will teach you why you need a spoon to properly eat a chocolate chip cookie.13. Did I mention that the music is kick-ass and constant?

There is a week for blues (which unfortunately has no partner-dance classes this year) and a week for swing (that's where Solomon, Dan and I will be!).

Details:
Augusta Heritage Center
Elkins, WV
Swing Week: July 29th-August 3rd
Website: https://augustaheritagecenter.org/swing/

4 Comments

Intro to Big Band (a flirtation with Chick Webb)

11/12/2010

8 Comments

Let's suppose for a moment that you take a random look at my music collection- we'll look at my "all jazz" playlist, to avoid too much dance-style bias. Suppose, then, that you search for songs with a trombone and a clarinet in them, and then sort by playcount (what? I don't know why you'd do it, but suppose.). If you look at the top 17 most-played tracks, you will find 17 that are new-orleans style jazz. Messy, polymelodic, hard-swinging. You will find exactly 0 neatly-arranged, larger-than-life big band tunes. At a quick glance, I'd estimate about 8 songs in the top 50... and several of those are choreographies (which bumps the playcount up).

There was a time in my life (the first few years of swing dancing, in fact), when I liked swing dancing despite the music. Before you gasp aloud, let me remind you that this was a mix of neo-swing, non-swing, and- most insidious of all- "Top Hits of the Big Band" type music. Oh yes- "In the Mood," "Sing Sing Sing," "Begin the Beguine"... songs that, as far as I'm concerned, suck. Now, in case you weren't at the Eastern Balboa Championships, or you were, but you missed Kyle Smith's fantastic lecture, let it be known that there may be non-sucking recorded versions of these so called sucky-songs. But these were not those versions.

Now, whether my distaste for big band music comes from early swinghood trauma, or from the fact that I grew up listening to the music of New Orleans, or from a natural inclination to move in ways that are stretchy and gushy and imprecise, I never learned to love the big band stuff, only the dance. But in 2005, my dance life changed forever, when I went to Herrang (giant month-long dance camp in Sweden)- because that's where I met Sidney Bechet, and his version of "Blues My Naughty Sweetie Gives to Me." That song, for many of us, is magic. That was the first legitimately jazz song to make me feel desperate to dance IN
the music, instead of just dancing during the music.

My love of New Orleans jazz, and the many, many bands who make me swoon, is a story for another day, but this past weekend, I really appreciated the aural aesthetic of the classic big band sound. Not the sucky recordings mentioned above, but the good stuff. So what changed? My movement, for the most part. Many, many people disagree with me on this (that's the joy of personal preference), but songs like Jubilee Swing don't make me want to swing out. They do, however, inspire me to balboa. In fact, they inspire me enough that today, I went looking for big band music, which brings me to today's gem. Before I tell you the title of the album, you have to promise not to write it off before you listen (or read on.)

No really, promise me...

Ok. The album is by Chick Webb, and it's called (yes, really) Strictly Jive. For me, at least, this brings two images to mind:
-There Are No New Steps! [Strictly Ballroom]
- Jive: This dance.

But wait! The album is neither of those things. Remember Jubilee Swing, above? That tune is on there. In fact, there are 26 tracks on the album, and at least 12 made me want to do bal. (After hearing 12 songs I wanted, I went ahead and bought the album. Chances are good there are many more than 12).

Obviously, if you're looking to build a library of awesome bal songs, and someday aspire towards DJing bal, you need to read Kyle's blog, go to a bunch of bal events, and do your research. But if you're looking for one album to be a good starting place, this is a great one to pick up.

And, because I adore Emusic, I have to point out that on Emusic, you can get the 26 tracks for 12 credits... which is pretty darned cheap. [If you don't use emusic yet, you should send me an email, and I'll send you a referral email. I highly encourage everyone you to use them- they're cheap, but still legal.]

If you want to take a look and and a listen, you can preview the album on allmusic.com: Strictly Jive by Chick Webb.

Much love and many toss-outs,
-Mike

ps- yes, I wasted a lot of time looking for Strictly Ballroom and Jive clips. And yes, I enjoyed it.

pps- for those of you who aren't into balboa yet, and you want to see a good clip, check out the battle between Jeremy and Laura and Adam and Nelle- epic goodness.

8 Comments

Hey, Mr. DJ! (Pay for and) Play My Song! (Or, Because I love music)

6/30/2010

8 Comments

--Before I start this note, I need to own up to something. I am a hypocrite. I am weak- I'm inclined to steal. I watch pirated TV/movies on the internet. I feel bad about it, but I do it. I'm cutting back, because I recognize that it's outside of my moral code. I am, of course, quitting.--

I've long had a problem DJs who trade libraries. It's a common thing- new DJs are starting out, they're looking to build a library. Another DJ "helps out" by giving them their hard-drive full of music. DJs who admire each others music will swap gigs of music at a time. Even I used to accept a mixed-CD as a gift, and not re-download the music.

The longer I've been aware of it, though, the more uncomfortable I've become with this practice. There are several blatant problems with it. First off, you're stealing. What if the artist is dead? Well, the record company isn't, and if it's remastered, those guys probably aren't. And then off course there's the possibility of an estate of the deceased, possibly doing something nice for the world of music. Additionally, when you pay for blues and jazz, you create an economic statement of "Blues and Jazz will sell! Support them!" Second off, you're stealing- and selling those stolen goods for money or admission to a dance. You're asking to get paid to play stolen music. Even from a DJ-quality point of view, will you really get familiar with a 20gig library that they got over a 2-week period? I know a lot of DJs who don't have good notes, bpms, etc, because they're overwhelmed by their massive libraries. There's nothing like the joy of nurturing your library- getting an album or two at a time, and making notes, learning the songs, and then adding more. Yes, it takes time, work, and money. Life is hard. Try bing a composer/arranger/studiomusician/remasteringtechnician/etc.

But at least it's honest work- both building a real collection, and being an artist.

I came across a composer's blog recently (link below- read it!), and while I've said this privately in the past, I'm saying it publicly now: I'm not ok with pirate DJs. I'm totally ok with helping out new DJs- rather than copies of the music, give them lists of musicians/songs/albums to look up! Teach a DJ training class! I'm calling on DJs to re-acquire paid-for versions of their songs, and quit wholesale swapping of music. Think of this as an opportunity to build a collection from scratch, and manage your library as you go, instead of getting overwhelmed. And I'm calling on organizers to support DJs who care about their music, and the music industry, and shy away from pirate DJs.

Here's the link, in case you want to read a better argument:
http://www.jasonrobertbrown.com/weblog/2010/06/fighting_with_teenagers_a_copy.php

Because music, musicians, jazz, and blues matter,
-m.

8 Comments

Ain't Ain't So Green Anymore

4/3/2009

1 Comment

I grew up in a house full of music. My dad was a choir director/music director/composer/arranger; my mom sings in his choirs; family gatherings and social parties always wound up around the piano, with Carly Simon or Billy Joel being channeled through 15 questionably sober choir members. I know a lot about how the politics of churches work, the dangers of working in a school system, and the fun and drama of choir tours. However, staying with Carsie and Jon the last few weeks has given me a lot of insight into how the other side of music works- the singer/songwriter/recording artist side.

In case you're not familiar with Carsie's music, you simply must check her out. No, really- she hasn't bribed me to put this up. She's one of my favorite artists. I can't possibly top this review, and I agree with all of it, so I'm going to share what David Wannop says: "She has the cleverness of a thousand magic nymphs, word play that skips and jumps through meaning and a sunny disposition that isn't too wistful, thus allowing her to still make the occasional serious comment. Always engaging, her folk and blues mixture conveys a sense of adventure, led by the smart girl one grade ahead of us in school." Normally I'd try to be witty, but he says it better. Go, now! Listen to her stuff! Then come back for the rest of the blog.

Carsie Blanton's Website
Carsie Blanton's Myspace

Glad you came back! Now that you know how clever and charming she is, you'll be thrilled to realize that she's working on a new album. But, aside from the grueling process of actually making a record, she's struggling with another process: naming the record. So, here's where you (and I) come in. Listen to her songs (again, because I know you already did), and envision yourself walking into a CD store. You go to the section labeled "Awesome", and find Carsie's section. You see a host of CD's before you:

Buoy
Brighter than a Buoy
Gutsy and Smart
The World is Just Grand
Love is the Antidote

Which one would you be most likely to buy?

Poll Time!

So, now that I've scratched your back, with exposure to one of the world's wittiest lyricists, and you've scratched my back, by chiming in and helping out Carsie, we can all sign off, itch free.

That was sort of gross, wasn't it?

-m.

1 Comment

Augusta Heritage Festival

3/25/2009

6 Comments

This year, come July, you won't find me at Folketshouse. You won't find me in the Laundry Pit, or even at the Kugen. In '05 and '07, that's where I'd be, and since this is an odd year (aren't they all, though?), I'd originally planned to try and make Herrang happen. But this year, something has come up. Something wonderful.

This year, from July 12-17, I'll be teaching blues dance at the Augusta Heritage Center. Located in Elkins, WV, Augusta Heritage is home to a 5-week long music camp, each week offering a different theme. You can probably guess which week is blues. So what makes this so exciting? Partly, there's still the thrill of going to camp, in a way. Partly, there's the fact that everyone at that camp is there because they love blues music in the same way that I love dancing. And partly, there's a chance to be surrounded by some of the most talented blues musicians on the planet.

Not to brag, but here's a sample:
Fiona Boyes: About Fiona Boyes
She's the first Australian to win the Blues Foundation's International Blues Challenge. She's also the first woman to win it.

Phil Wiggins: Wiggins's music
W.C. Handy Ward for Blues Entertainers of the Year and Best Traditional Blues Album of the Year

Saffire- the Uppity Blues Women: Saffire's Songs

Louisiana Red: Louisiana Red's Songs
He's played with some ok guys... like John Lee Hooker.

Courses offered during blues week include: Fiddle/Mandolin and Vocal Repertoire, Guitar, Harmonica, History of the Blues, Mandolin, Piano, Songwriting, Teen Band, and Vocals. Since my class is a mini-course at night, it doesn't conflict with any of these courses... guess where I'll be spending my day.

Aside from the obvious, there's something else here. There's opportunity. If we could get together this many blues musicians, and a bunch of blues dancers, in an environment where everyone's working and learning and generally hanging out... I feel like good things, great things, are bound to happen.

So, if you're interested in learning blues music and/or dance, and want to be part of something, but don't have the cash to fly to Sweden, think about dropping by West Virginia. Fiona and Iverson are doing it....

For more information: Augusta Heritage Blues Festival

See you on the dance floor,
-Mike

6 Comments

Compromise and Challenge (Plus a Bonus)

Intro to Big Band (a flirtation with Chick Webb)

Hey, Mr. DJ! (Pay for and) Play My Song! (Or, Because I love music)

Ain't Ain't So Green Anymore

Augusta Heritage Festival

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Mike Legett

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