Los Angeles: Alive and Vibrant Music Scene or Dead?

Recently I took a trip to Los Angeles to have a look around the music scene, catch up with friends and generally soak up some musical inspiration. I spend two weeks in LA with a few days in San Francisco. I often hear people say there are few gigs in LA these days. While I am not familiar with the LA scene of the past what I experienced was a healthy scene with lots of great music, much of which was free or a reasonable price (usually $20 at the most).

During my time in LA I heard the Oz Noy Trio at Catalina's (feat. James Genus and Dave Weckl for $20!), Bruce Forman's group Cowbop at Viva Cantina and at the Santa Clarita Cowboy Festival, Ben Shepherd's group upstairs at Vitello's, the Pete Myers Big Band at Jazz at the Cap, Katisse at the Baked Potato, the Kenny Burrell Big Band at UCLA, Poncho Sanchez at Spaghettini's and Tech Support at the Blue Whale. In addition to these performances I attended jam nights at The Falls in Downtown LA, the Cafe Cordial Pro Jam Session and the Baked Potato Monday Night Jam.

I was very fortunate as my friend Jon Papenbrook, who I stayed with for the first week, plays in lots of groups and I was invited to come listen to these groups rehearse. The two groups I heard were at the Burbank Music Academy and the Steve Sleagle (spelling?) Big Band rehearsing at the union building. The Burbank group I subbed for the guitar player who was away on tour with Natalie Cole. Both bands played well and were made up of well known players, with the Jon playing lead trumpet on the both bands. On the Burbank band the second trumpet player is in Earth, Wind and Fire and the trombone player played with MJ; so lots of very good players in these bands.

One highlight of this trip in addition to the music / hang was meeting guitarist Lee Ritenour at Vitello's. I have listened to Lee extensively and he is definitely one the big time Los Angeles studio players. He was super nice to me and we chatted about music mostly and New Zealand a little.

Also, a highlight was jamming with my friend Ben Shepherd and his flatmate Eric Valentine at their place. Eric is a well known drummer in LA, and he informed me that he had been to NZ to play with Steve Luthather and Steve Vai on the G3 tour!! It was awesome to play with these great musicians partly because after hearing all this great music I was hanging out to play, but also because I felt these guys played so well together and we would make a great trio if we did some gigs round LA.

I had always wanted to drive the coast from San Francisco to LA via the pacific coast highway so on this trip I decided to make the most of this opportunity. I drove up to San Francisco via the freeways then returned to LA via the pacific coast highway. This coast is some of the most beautiful scenery in the world. I absolutely loved Big Sur. Stunning, to say the least. I hope to go back there soon to have a holiday. It's a long drive (it took me 11 hours but was worth it). It was a little foggy the day the I did this trip but that added to the excitement!

In San Francisco I heard the Tommy Igoe Big Band at Yoshi's (what a terrific venue!), and the Jose Simione Blues Band at the Saloon (not so terrific venue, but cool gig nonetheless) and an unknown band at the Tonga Room. All of which were high quality and only a 6 hours drive from LA to San Francisco (via the freeways). I have to say, San Francisco is a beautiful city. Busy, scenic and exciting.

I couldn't fit in Vegas on this trip but that is even closer to LA than San Francisco is.

All in all, I would say LA is alive and vibrant as a music city. There are some amazing musicians (as good or better than you will hear anywhere). I have many friends in this town who are awesome people. I hope to make it back there soon and I plan to book some gigs.

(many thanks to Bruce Forman and Jon Papenbrook for accommodating me and taking me to gigs)

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What skills are required to be a professional musician today

I have been thinking about this a great deal lately. The music industry has changed since I first started as a professional musician twenty years ago. Imagine what things will be like in twenty years time from now. I am optimistic.

When I started out the key skills were ability on an instrument, teaching skills, people skills and that was largely it. Thinking about what is required of me these days, I came up with this list (in no particular order):

1. playing the guitar
2. understanding a high level of music theory
3. strong sight-reading skill
4. extensive knowledge of many musical styles
5. ability to teach
6. video and audio production skills
7. knowledge of the latest equipment
8. writing skills
9. understanding of social media and openness to the constant changes in this area
10. ability to promote events
11. negotiation skills
12. learning to live with minimal sleep
13. events management
14. knowing how to play a second instrument (piano for me)
15. people skills (this is by no means last in terms of priority)

We can see that this list is substantial and in some ways overwhelming to think of what is required. However, many of these can be combined into manageable groups. That list would look something like (in no particular order):

1. promotion
2. musical skills
3. technology skills
4. people skills

Computers make learning most of these skills less challenging. If I need to know something I google it... or I visit YouTube to find a tutorial. This sharing of information makes life easier and more complicated in some ways. Still, I would not want to go back to the way things were. My first cellphone was a brick and hardly did anything useful compared to my iPhone.

If you have these skills that does not necessarily mean you will have a career in music. There are many more factors that combine to make a career but if you have these skills then you are in a very good position to do well in music. Good luck.

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The music books that had the most significance influence on my musical development

1. The Advancing Guitarist - By Mick Goodrick. This book is a gem. Mick Goodrick has taught many great players including Pat Metheny, John Scofield and Mike Stern and continues to teach at the Berklee School of Music. This book is not a method book, rather designed to inspire practise and potentially change the way musicians think about practise and music. Yes, it is a guitar book but I would recommend it to any instrumentalist as a considerable amount of the information is universal. 

2. Effortless Mastery - By Kenny Werner. This book was an eye opener for me. This book is a documentation of Kenny's approaches to learning and music. I have owned three copies of this book over the years and each have been loaned to people who did not returned it. I guess that speaks volumes about how great this book is. A must for all serious musicians. 

3. Total Guitar Magazine - multiple contributors. Thats right,  not one book but a magazine. For a while I subscribed to this magazine and would religiously learn to play everything contained in the magazines. This meant I learnt a broad range of musical styles and approaches as often the contributors to these magazines are a cross section of musicians. Also, I learnt a lot about the equipment used by the professionals via this magazine. Now days I really like Premier Guitar Magazine among others and try to learn as many things as I can from this - both lessons and about gear etc. 

4. The Encyclopaedia of Reading Rhythms - By Gary Hess. Many years ago during my studies at music school I was introduced to a book of etudes designed for drummers by Joel Rothman. It was designed to teach you rhythm via snare drum playing (I clapped) of rhythms and learning to read. I found this book useful. I was discussing this book with Lance Philip (excellent Wellington drummer & educator) as I had lost my copy and he mentioned the Encyclopaedia of Reading Rhythms book as a similar resource. I checked it out and found this to be exactly what I wanted and quite frankly a better book than the one I had. I worked on this book extensively, and continue to when I get the time. It is well organised and I really like the check lists. 

5. 14 Jazz and Funk Etudes - By Bob Mintzer. This book is a collection of tunes with solos and a play-along by saxophonist Bob Mintzer. It is available for most instruments. The thing I love about this book is the solos contain a lot of jazz vocabulary and the playalong CD is of a very high standard - featuring jazz greats. Many of the tunes are jazz standards or classic styles (such as blues, funk etc) so are useful for practising anything else that you might be working on in addition to the material presented in the book. Much of the material in this book is difficult but there are easier editions that are similar to this book. 

6. A Modern Method for Guitar - By William Leavitt. I have found this book invaluable for teaching. Many times when students come for a masterclass lesson I ask them what they work on. Often they mention this book as a good on to work on their reading. This is only part of what this book is good for. It has lots of scale, arpeggios, rhythm guitar stuff and more and is laid out in a logical way. 

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Is your attitude up to the required level for gigging?

It never ceases to amaze me how some musicians work really hard on their playing only to lose gigs or are not asked to do gigs due to their attitude. Do not get me wrong, I am not for saying for one second I am perfect - I have learnt many lessons the hard way.

Lets look at what is involved in doing a gig:

For a local gig in one's home town the band might typically play two sets of forty-five to fifty minutes each. That is around two hours total (give or take) of playing. In order to do the gig the band must know the material which means rehearsal etc. Once at the gig there is setup time; lets say thirty minutes or more. Then the break in the middle of the gig is usually twenty minutes (despite saying we will be back in ten minutes! ha.). Then there is the pack down and maybe a beer after the gig to wind down and talk about the gig. If we consider all of this we can see there are many more hours of interactive time between band members than playing. All this interaction is greater when touring or doing a gig out of one's home town.

It is common sense that people are only going to book those who they know can play the music and are easy to work with. No one wants to work with someone who is difficult or unorganised or is plain and simply troublesome. Being a musician and making music is hard enough as it is.

Recently I had an experience with a difficult musician who was way out of line. The silly thing is I was about to offer this person some gigs - but won't be now. So if he had been cool, that particular gig we were doing would have been better, and there would have many more dates for his diary.

I have learnt many lessons about attitude. Recently I had someone (different person) who was difficult on a gig. I could have confronted this person for being a dork but decided to remain calm and let it go and deal with it another day. In the mean time I happened to stumble upon someones comment on facebook which was 'it is better to remain friends than to be right'. So I decided to say nothing to this person and to let it go. This was the best thing to do.

Here are a few ideas to consider that could make life easier for all:

1. Turn up on time and with the required gear. In fact I would recommend being early.

2. Learn the music. A great attitude won't get you anywhere if you can not do what is required.

3. Be nice to everyone. Many times the guy or girl who is playing next to you will end up becoming the band leader ... or he / she might end up recommending you for future gigs ... or he / she might stop you getting future gigs!

4. Stay focused at rehearsal. If you are playing then focus on that, not your smart phone (no facebook, txt etc unless you have a break or are tacet). I know one band leader who gets extremely annoyed when people txt / facebook / email during rehearsals! This person has a long memory.

5. Pay attention. Do not noodle when the bandleader is talking!

6. Say thank-you when people help you. e.g if someone pays you a compliment, or offers you work, or gives you a ride, or recommends you etc. Seems simple but many people do not do these things. Pay people back for help - consider recommending them for gigs.

7. Be nice to everyone. I know I have said this previously but it needs repeating. You never know where someone is going to end up. The guy who is pouring drinks behind the bar might end up running it one day and might have the power to get you gigs.

8. Never complain about the money. Do not take the gig if you are unhappy with the money offered. If you accept it, then you do so for the amount agreed. However, you have every right to complain if you do not get paid what was agreed.

9. Do not bad mouth people. I know, I know, it is easier said than done but sometimes this gets back to the person... and as I said earlier - you never know where people are going to be, or how they might be able to help you. The only time it is ok to bad mouth someone is if people rip you off. Then spread the word, to ensure others are not getting ripped off too. Even then, often it is best to let it slide and put it down to experience (just don't work with them again!) - besides karma will get them.

10. Make friends. One of the best things about the music industry is the cool people you will meet. Make friends with people. The music gets better. Everything gets better. I have met and are friends with some amazing musicians both locally and internationally and am very grateful for this.

Visit www.nickgranville.com for lessons, free music, videos, news and more... 

Why Spotify is great and sucks.

Spotify: the company people love and hate. When I first heard of Spotify I was excited. I decided to become a musician because I love music and the idea of having access to any music I want is amazing. This generation do not know how good they have it; or maybe that makes them value it less? 

Spotify states on their website - 'Spotify gives you millions of songs at your fingertips. The artists you love, the latest hits, and new discoveries just for you. Hit play to stream anything you like.'  So surely this a good for people who love music? This is why Spotify is great. 

Spotify is a smart company. They have figured out what people want and provided this, making money in the process. The issue seems to be that Spotify is paying a pittance to use this music, which is integral to their business. I have seen people post photos on Facebook of bank cheques for less than a dollar for a huge amount of streams. This is why Spotify sucks. 

I have heard many people say the record companies are making money from Spotify due to making a little bit from each of the large number of artists they have on Spotify. Maybe this is true, but it does not makes sense to me. One only has to think back to the days when record companies actually made money from music to see that this business model is one of diminishing returns (many record companies are closing down!). 

I have also heard many people try to claim Spotify is no different from YouTube and other similar websites. I would argue Spotify is unlike anything else so really can not be compared. YouTube is essentially a community: a social network of sorts. Spotify gives access to music to anyone for free, or for a small subscription and is designed to replace CD's and tradition mediums. 

My friend Andrew London raised an interesting point the other day during an interview for Coast Radio. Andrew has noticed a few changes in the buying habits of people at his gigs. In the past people who liked the gig would come racing up in big numbers - in a  buying frenzy if you will. He has observed a decline in the number of people who now do this. Maybe this is because people are aware they can get the music afterwards for free so why buy it?! 

Here is the key - artists need to control how their music is made available to consumers. If you do not like Spotify then do not use it. You have choices. Streaming is here to say. It is not for me to say this is a bad thing; this is being driven by what the people want. Artists need to learn how to operate in this environment. Use Spotify for what it is. 

I have a new CD coming out soon and will not be using Spotify, iTunes or any similar websites to sell my music - I will be controlling this rigourously. I might loose a few sales from people who might stumble upon my CD but I think I will gain by those who really want the music going to one place for it. I have past CD's on Spotify and will be leaving them on there - using Spotify to my advantage (hopefully). I will be making this new CD only available on Bandcamp and a few physical copies for selling at gigs. Click here to go to my bandcamp page. 

I truly believe there has never been a better time to be a musician. (Click here to read my first blog to see why I say this). Remember there are still people doing well in current times - try to figure out what are they doing differently. It is most likely they are thinking differently and using the ‘services’ to their advantage. 

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There is no denying it - we are all influenced by others. Deciding upon your BIG THREE.

When considering the playing of any of the great musicians it becomes apparent that everyone is influenced by someone else in someway or another. All of the great players share this; no one is a total original. If they were it would be so weird to listen to that few would find it appealing.

Wes Montgomery is a good example, he was influenced heavily by Charlie Christian. I believe one of Montgomery's first regular gig's was performing a tribute of some sort to Christian. He had to sound as close as possible to his hero and was paid for it! George Benson was influenced by Wes Montgomery in a big way ... and one of Pat Metheny's key influences is Jim Hall. You can clearly hear it in Pat's sound and his approach (which is a vertical approach: see my YouTube video where I discuss working on a vertical approach using the minor pentatonic scale - click here). Yet clearly Pat has his own sound. 

I advise my students to choose three players to study and to make these people their focus. I call them the big three. To start you should consider learning these people's style, their choice of notes, their phrasing, how to recreate their tone and their time feel. At the end of the day, no matter how hard you try to sound exactly like someone else, you will never achieve it, but it does not matter. The goal is to absorb then to come up with your own sound based on a deep understanding of what came before you. As the saying goes - imitate, assimilate, innovate.

I would advise you go to the source. If for example you wanted to sound like George Benson then it would be a good idea to check out Charlie Christian. Remember, the people on your list do not have to be guitar players, although this makes it easier to directly use anything that you transcribe (knowing it will work on your instrument). Besides, if you play the guitar it is probable that you do so because you love the instrument. 

Now that you have decided on your big three it does not mean these are set in stone. This list will likely change over time but the important thing is to get started. Try to learn everything you can about these people. Some important things aspects to consider could be:

Their playing characteristics? 
What instrument / amps and effects they use?
Who are their key influences?
What makes them special?
What are the tunes they play regularly?
What is it you can borrow from them?
Are they still around to get lessons with?
What is their background? 
What is the album the everyone raves about?
What can you think of?

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Do you have the four T's every great musician has mastered?

I often think about the great musicians and what it is that they do differently from the rest. In many cases there is no one answer that explains what the greats do. However, some musical elements are universally mastered by the greats. When teaching students (either individually or in workshops) I often talk about the 4 T's (tone, time, taste and technique) and these are the musical elements I consider to be universally mastered by the greats.

1. Tone. If the tone is great the music captures our attention. If the tone is bad, then nothing works - it just sounds bad. B.B.King is an excellent example of the power of great tone. He plays the guitar with minimal notes with a huge tone which draws the listener in. It is incredibly powerful and moving.

There is no one universal great tone, rather every musician has to work out their tone to suit the music and to express what they want to say. Think of the tone of a few great jazz guitarists for example and you will realise just how different they can be (I am mentioning guitarists because I am one, but these things are the same for all musicians). Comparing John Scofield with Mike Stern or Pat Metheny or Jim Hall for example and you will see that all are worthy of being called great jazz guitarists, yet none of them produce a tone that is even remotely similar.

2. Time. This is a very close second for me. Time, timing and rhythm all fall under the category of time. Every great player has his or her way of feeling and playing the time and being able to project that to the listener. A few years ago I heard guitarist Pat Metheny and was blown away with the sheer power of his time and groove. It was an eye opener to say the least. A few years ago I got to play with guitarist John Scofield (Sco) in a duo format while on tour. Sco's time was so strong that there was never any doubt as to where the time was and it was super solid, yet he had the freedom to completely manipulate where he placed notes to great effect. Again, this was an eye opener.

3. Taste. Taste is subjective, but every great player applies their own taste to the music they play and it influences their decision making; whether they know it consciously or not. We choose instruments based on our tastes, we choose musicians to work with based on our tastes, we create tones based on our tastes etc, etc. So when people like what we are doing, it is often our tastes that they are agreeing with. When musicians get to a certain level there is no such thing as better or worse. No one can say Pat Metheny is better than John Scofield for example; that is a matter of taste. People who like Metheny better are basically saying they like his style of playing better - that they agree with his taste.

4. Technique. If we produce a sound then there is a technique required to doing this. All the great musicians have their technique worked out and developed to the level required to create the music. Great technique does not necessarily mean being able to play fast, unless that is what the music requires: for example, if someone is wanting to be a bebop player then the ability to play fast is very important. Any way you look at it though, having great technique and chops is an incredibly valuable asset. I work a lot on my technique, especially the ways in which I use the guitar pick, and the use of hammer-on's / pull off's (guitar techniques) and more. I do this because I want to be free to play what I want, when I want and not have technique get in the way.

So, when considering what to practise and how to do it, I keep these points in mind. I recommend the same approach to students and try to keep them focused on this. I  hope this helps on your musical journey.

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... and you can download my latest album from:  nickgranville.bandcamp.com/album/home