Over the past few months, I’ve been working with Madison folk band The Sills on their debut full length album. After much toiling and sacrifice, it is finally here. This was my first glimpse at what it takes to independently produce an album. I learned many new things along the way.

I joined the band last year in September only one week after I landed in Wisconsin. They found me via my profile on Bandmix.com. I immediately took to their music. Partly because that musical world was so alien to me but also because of the sheer strength of the songs. The band had an eclectic mix of styles ranging from folk to rockabilly while having a coherent and recognisable sound. They were also driven enough to go to a studio to record an EP.

It had been a while since I had worked on an original project and I really wanted play new music I would have some creative input in. Being new in town, I didn’t want to start my own group just yet knowing it would take some time to put a group and material together from scratch. I really wanted to gig as soon as possible to get established on the scene. The Sills were the perfect band for me. They already had a ton of original material and were ready to gig but they also gave me the freedom to create my own bass parts. I slotted right in to the group and in a couple of weeks we were playing out.

They also had plans to record a studio album. Most original bands never even get to this point because it requires a real commitment. Not just time but also money. In my experience, it is very unusual to find a group of 6 people who get along, play well together and are committed enough to actually see a project through. Working with the Sills was so easy compared to some groups I’d worked with before.

After we had spent a couple of months doing shows and refining our arrangements, we were ready to record with Ken Koeppler at the Sound Garden Studio. We decided to record the band live (bass, drums and guitars isolated) with guide vocals to be redone later. We wanted a raw and honest sound and we play more sensitively when we can listen to each other. No click tracks were used. All 10 songs were recorded in one day with extra guitars, drums and vocals added over the next couple of months. Ken was very easy to work with and did a professional job for a very affordable price.

The artwork for the cover was designed by the guitarist James McKiernan and handprinted by the band. Each sleeve is unique because the plates would sometimes move a little and the amount of ink would vary. It was cheaper for us to do it ourselves but we also came away with a really cool product.

The album was finished and we were all very pleased with the result. Now, we had to begin promoting.

I was given the duties of maintaining the band’s online presence which is really the main form of promotion today. Simply gigging is not effective in building a fan base. It is much easier to promote online on sites such as ReverbNation, Facebook and Myspace. There are many avenues to sell original music. Some ask for money upfront, like Itunes while others don’t, like Bandcamp. They all have their pros and cons. The hardest thing is to get people to go and check it out in the first place.

In the end we decided to give the digital album away for free while allowing donations through Bandcamp and sell copies at gigs for $7. Piracy, for better or worse, has made music free. On one hand I think musicians should be paid for what they do as any other profession but on the other I would also rather have as many people as possible listening. We just want to cover our costs and get people to our shows more than anything. So far, more people have been paying than not, which restores my faith in humanity. The reality is that the world has changed and musicians now need to adapt to a new environment, which will no doubt breed exciting new ideas.

The album is available for free download from this website. If you like us but can’t afford to pay, please share the link with your friends! The next show is on May 16th at Segredo on University Ave as part of a Raw Artists showcase. Get more info on the gig here.

Everyone has reached a point in their playing when they just can’t seem to clear the next hurdle, becoming bogged down with frustration. There might be one thing you just can’t play or a whole new technique to master. Whatever it is, it can be very demoralizing and take the fun out of playing all together. That’s only if you let it get to you.

Good practice habits aid in more than just developing muscle memory and strong technical skills. A major benefit is psychological. With regular and structured practice you should develop confidence in your current ability but also in your ability to make progress.

State of mind is a very powerful thing. If you think you can’t do something, you’re probably right. If you think something is difficult, you’ll struggle with it. On the other hand if you think you can, you will. That is of course, easier said than done.

I discovered the double bass via the jazz musician route. I had been a bass guitarist before and a guitarist before that. I had no previous experience playing with a bow, only with plucking, so it was a totally new skill that I wanted to master. Controlling tone and sustaining sound was a frustrating struggle. It seemed like such a huge effort, I was getting nowhere and I just couldn’t enjoy it. It wasn’t until I had a lesson with Prof. Richard Davis that I started to realize the power of positive thinking.

I labored through an exercise I was dreading before I even played the first note though I had spent hours on it in practice. After I my performance, which was average at best Richard asked me to hold out my hand. I was so filled with frustration and nervousness I couldn’t keep it steady. He asked me to take a few deep breaths then simply had me bow long notes on one string. He got me to exaggerate the movement and sway wildly from side to side until I couldn’t help but smile. “Are you having fun?” he asked, and of course, I was. Not only that but my tone was more even and I felt totally relaxed.

Mastery is effortlessness and effortlessness is relaxation. Relaxation comes from joy. Sometimes it’s easy to get hung up on the technical side of music and forget it’s purpose of enjoyment for both listener and player. Whatever you play, make it musical, especially if you are simply playing scales and arpeggios. It should never feel like a chore. Play with a smile on your face and your playing will radiate happiness (you can smile on the inside too). It will also make you feel good, relax and progress faster. Of course, you still have to put in the hard yards to really become a master but why not have a great time along the way?

I never thought I’d get to perform with an 18 piece all girl big band welcoming home WWII veterans in an airport terminal. It may not have had the glamour of a scene from Some Like It Hot but was nevertheless an experience I will not forget.

The occasion was the Badger Honor Flight, where local veterans are flown to Washington to see the war memorials for free. The Ladies Must Swing and I were to play for their return.

I have never had such difficulty getting a workable sound at a gig before. The airport terminal was long and narrow with a very high ceiling and was covered in reflective surfaces. This meant some notes were very boomy while others just seemed to disappear. It was very hard to get a clear and even sound.

Double basses are a nightmare to amplify. Though I’m very happy with my Fishman Full Circle pickup and my Gallien-Krueger amp, it never compares to the sound of the bass acoustically. There’s always something missing, whether it be the percussive sound of the string striking the fingerboard or the fullness and depth of the resonating chamber. That’s less of an issue though, when you have uncontrollable feedback wailing out of your amp. This is usually the result of bass proximity to the amp. Really, you should be at least 10 feet away from your amp but that’s pretty hard to come by at most gigs.

I ended up having to take out almost all the bass EQ, the treble on full, the master all the way up and the gain just to the point of feedback. Some notes were still boomy so I just had to change the way I play and cut them short. This isn’t ideal when you are having to sight-read everything.

Despite all that, it was still a fun gig. The terminal was so full of cheering people you could barely even hear the band and I got to see the local mascots in action. Even Uncle Sam was there. When the veterans finally arrived, we played the armed forces medley at least ten times as they all passed by with much adoration from the crowd.

I also had the privilege of performing with the Black Music Ensemble, a group of UW students that studies with Prof. Richard Davis. The class is essentially a jazz improvisation class but covers various ensemble playing aspects as well. The format is very open with students preparing and performing their own repertoire with assistance and critique from Prof. Davis. The students had varying degrees of experience playing jazz, some were not even music majors but all were very talented players.

The concert had a very varied program, everything from Gershwin to Bill Evans with even some beat-boxing thrown in. I was amazed at some of the creative arrangements the students came up with.

Playing in this ensemble and studying with Richard Davis had really pushed my double bass playing to its limits in the last few weeks. I’m doing things I wouldn’t have dared to try before. Richard is a tough but patient teacher and has given me a lot of motivation to be the best player I can be. I am so grateful for such an opportunity.

The weather is gradually turning colder and I can see signs of the infamous Wisconsin winter unfold ahead. Fortunately, there is no shortage of things to keep me busy and warm in the near future. Wisconsin is also renowned for its blues scene so I finally had to go see and play some.

I went down to the Knuckle Down Saloon last weekend to check out a jam featuring all the local legends. It was a fundraiser for the venue itself to raise money for an outdoor music area. It’s a great venue with a big stage and cool wild west atmosphere.

First up was local guitar hero Paul Filipowicz. I loved his tone and attack on the note. Great band too. I was particularly impressed with the bass player David Davenport who was throwing motown and funk lines into blues as if they were obvious. I particularly admired the way he was able to transition between slap bass and fingerstyle so seamlessly with no change in volume or tone.

Next up was Charlie Brooks, a soul singer who’s shared the stage with the likes of The Temptations, Sly and The Family Stone and Ray Charles. I had seen his band The Way It Is, play the previous night. They were one of the tightest soul bands I’d ever heard live. The rhythm section had a fantastic groove and the horn players had amazing solo chops. Charlie invited me to play a couple of tunes and I sat in on some 12 bar blues songs. It was great to play with such experienced players.

A few days later I was invited down to Talula’s by Dan Schilling from the Shake Daddys for another jam. Another great live venue, regularly patronised by musicians and blues aficionados a like. Got to play again and really enjoyed it. Made some important contacts too.

(Photos courtesy of Dan Schilling)

I’d love to be part of the blues scene here. There certainly isn’t much of it NZ. I think it’s an underrated genre, especially by jazz players because it’s so simple harmonically and formulaic. There’s a lot of subtlety within the blues because of that and I think it’s therefore very hard to play well. There’s also a lot of room for expression when you don’t have to be so hung up on the changes.

In other news, I’m still studying with Richard Davis and I’m going to performing in a recital by the Black Music Ensemble later this week (Thursday 8:30pm at Morphy Hall 455 N. Park St). Had a good gig at the Froth House with the Sills recently too. Were going into the studio next month to record a second EP so we’ve been taking songs apart and working on arrangements. I also had a fun rehearsal with the Ladies Must Swing big band, in preparation for a couple of gigs I’ll be doing with them in next few weeks.

At least I’m not cold….

It’s been a month since I arrived in the land of the free and I am now well accustomed to the sound of the American twang and driving on the wrong side of the road. My first impressions are pretty good. People are nice and helpful and there seems to be a lot on as far as music is concerned. I’ve already found a few groups to play with. I put some adds up on Craigslist and other sites before I left and managed to get some contacts this way. I also just showed up to local jams and played. Even just noodling in the local music shop for a while got me some interest.

I’ve joined the Madison Community Orchestra to continue my new found interest in orchestral playing but also as an easy way to meet other musicians. Going to a local jazz jam got me a gig with an all female big band called the Ladies Must Swing, the Edgewood College Jazz band and a combo interested in playing some of my originals. I’ve also joined an alternative/bluegrass/folk band called the Sills. ALL of these gigs are on double bass, which is great because I would love to play it more but also a bit scary since I still feel so inexperienced. I hope to get some lessons from Richard Davis, the legendary bassist who has played with the likes of Miles Davis and Sarah Vaughan. He lives in Madison!

I also want to form another duo like I had in Auckland with 2′s A Crowd. It’s still the easiest and best way to make money performing as a musician. I first have to establish whether there is a market for it here and find a suitable singer.

I bought three guitars with me and 6 pedals but I had to buy all new amps and a double bass. I am now the proud owner of a Fender Blues Junior, a Gallien Krueger MB 500 and 210 Neo cab (which are AMAZINGLY light and sound awesome) and a Knilling Bucharest double bass. All of these are considerable upgrades on what I had in NZ and were very fairly priced too. Gear is definitely cheaper here.

So I’m ready to gig and I already have. The Sills already had a couple of shows booked as I joined and I had to learn their whole catalog in 2 weeks. I’ve played at the Frequency Bar downtown, an intimate show at a vegan cafe called Mother Fools and today I played my first outdoor festival the very rustic, grassroots Dockstock. Great chili.

Playing with this band has been the kind of experience I’ve been looking to get out of coming here. It’s definitely music I couldn’t have played in Auckland, complete with banjo and washboard! They are also dedicated and driven and have many connections with other musicians and venues. And most importantly I love the music, which is all original.

Finding employment as a teacher has proven tough so far and it may be best for me to go it alone and teach from home, which I think is much better in the long run anyway.

All in all, things are going well so far and I’m glad I made the leap of faith to come here.

For the last few weeks I’ve had the honor of rehearsing with the Auckland Symphony and Choir. I’ve never played with an orchestra before so it’s been an exciting but challenging experience.

I’m still fairly new to the double bass and have yet to master a lot of basic techniques, especially bowing. The pressure of an upcoming performance has helped motivate me and I’ve made a lot more progress than I would have just practicing on my own. Having a definite goal/deadline to achieve something will always yield better results.  It’s also been a test for my sight reading, which was definitely on the rusty side. I hate sight reading on a gig. I find I always play much better when I’ve committed the piece to memory but with over 30 pieces to learn and only two weeks to go, I will just have to read on the night. Thankfully, I’m not the only one playing the bass part. There are six other experienced bassists around me whom I can follow if I lose count of the bars of rest as I often do. As a jazz player, I’m used to playing all the time, not waiting around for my turn! Bah, excuses, I know… counting is hard.

I used to think jazz players had to watch each other and listen more than classical musicians who could just obliviously bury their heads in sheet music. It’s quite the opposite. I’ve never had to watch so many things at once before. First, I have to watch the music with many key changes and dynamics, then the conductor who leads the tempos and also the bassist to my left so I can follow his bowing. It was also quite hard to hear myself above the orchestra as most of the sound of the bass projects out front so I found myself resting my ear next to the fingerboard so I could pitch correctly.

Though I’ve played in large jazz ensembles with a conductor before, playing with an orchestral conductor was quite different. I had to pay a lot more attention. This is due to the nature of the music. There are a lot more tempo changes and pauses, which obviously have to be conducted.

The theme of the upcoming performance is ‘Last Night of the Proms’, which is based on the traditional British equivalent. The program includes many Proms classics such as Elgar’s Pomp and Circumstance, Wood’s Fantasia on British Sea Songs, Rule Britannia and Handel’s Zadok the Priest. Also featuring will be a selection of well known British TV and film scores like Lawrence of Arabia and the Fawlty Towers theme. There will also be some orchestral arrangements of UK and NZ pop songs such as Four Seasons in One Day by Crowded House, featuring vocal soloists.  We will also be playing Jupiter by Holst and excerpts from Bizet’s Carmen opera. A new original work by one of the orchestra members will also be performed.

There will be two performances at the Bruce Mason Centre (not the Town Hall as I mentioned in my last post). One on Saturday the 18th of June at 7:30pm and one on the following Sunday at 2:30pm. Get your tickets here. Hurry, they always sell out fast!