StickNews Digest Issue #270 - 12/08/04
An online digest about The Chapman Stick® published by Jim Reilly.Please send your posts and responses here: sticknews@stick.com
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CONTENTS:
INTRO
- Holiday tunes and old friends.
- Some toys up for grabs
- Live Stick In PA
- TL book and NAMM
- Steve Adelson is making it easy.
- Joe McCollum's transcription of a definitive Stick tune.
- The tune's creator's reply.
- French Road Stories In Fact.
- Stick Figures Re-mastered.
- Let's hear from you! The gauntlet has dropped!
INTRO: A Few Words From Your Host
Hello All,
Hope everyone is in the midst of a wonderful holiday season. Lot's of music, family, friends, good times? Maybe a gig or two? I've been lucky enough to have the time do some gigging lately. Any chance to play is a good thing but one in particular stood out.
A couple of weeks before Christmas I recorded a tune on a local TV show's Christmas Eve special. I struggled over what tune to play, never being one to spend too much time arranging 'traditional' tunes, opting for creating original music with the occasional, obscure or heavily modified cover.
What to do? I can't think of Christmas without hearing a version of 'Silent Night' that Robert Fripp recorded many years ago. At the time his Frippertronics gear still consisted of two Revox tape machines sync'd together. He played the melody pretty straight with the usual whirling, droning notes repeating as background. I used to loop all the time. There were gigs when that was all I would do. But then it lost its appeal to me. Nothing against you loopers out there, I love it when others do, especially when they do it well and most do it better than me, but I lost interest in looping as a tool for my music.
So I'm trying to figure out what tune to work up for this television taping and the only thing in my head is a Frippertronicized 'Silent Night.' The temptation was too great, the flesh is weak, I went for it. Of course I sold all my old looping gear a couple of years ago and had to make due with a 2000ms loop on one of my SE70s, so it was more of a drone then a loop - an F major arpeggio drone to be exact - but it worked. I used a string patch for the loop and soloed over with clean Stick, ACTV2 in mono. The loop sounded like snow falling on a crisp winter evening, my fairly straight 'Silent Night' melody cut through the night scene with just the right amount of reverence and respect. (Or at least that's what hope it sounded like...)
It worked though, on a bunch of levels. First, the folks at the station were blown away. They hadn't heard anything like that before. Even though I'm a regular down there and they're used to seeing me play and hearing my music, this was something new. They had a product they were excited about and just may have given it a little more exposure than they might have otherwise. That's a fine thing, especially if it's your music that's getting the attention. More importantly, I had the chance to do something I hadn't done for a long time - revisit and old friend if you will - and while I've resisted the temptation to go out and invest in a whole bunch of new looping gear so far, it was really nice to go back and visit that old friend, see what it was up to, see if we still have as much in common now as we did back then and get caught up with each other. An early present to myself...
It's here. This issue of StickNews has the first of many extended features. Simply follow the links from the articles to get 'the rest of the story.' Let me know what you think: Does it work? Suggestions, comments, feedback, what you like to see in the future? What do you have to add to mix?
Finally I'd like to pass along my best wishes to Tim Stack. If you've bought a Stick, or anything from Stick Enterprises for that matter, in the last 8 years Tim has almost certainly had a hand in it. From fielding questions from around the world, making sure instruments and supplies are where they need to be to lending a hand whenever and wherever asked, Tim has made an invaluable contribution to the Stick community. Not an easy feat, especially for a drummer. After eight years working at Stick Enterprises in L.A., Tim is moving back to his hometown in New York to start the next chapter in his life. I know Emmett and Yuta will miss him there and I'm sure we all will miss him when we phone in a panic because we just broke a string and have to have a replacement sent 'absolutely as fast as humanly possible.' Good luck Tim and keep in touch.
Take care all,
Jim
EVENTS, ANNOUNCEMENTS, BITS AND PIECES
From: Paul Walters [grandstick@gmail.com]
Subject: Gear For Sale
Date: Fri 03/12/2004
I've been making my transition from hardware based effects to software. I think the switch is now complete, (not to mention I have to replace my car!) - and so... I am putting some of my effects gear on the market.
The gear:
- Boss SE-50 (also used quite a bit by our crowd) with power supply
- Electrix MO-FX time synced effects unit (http://electrixpro.com/products/mofx.html), with manual
- Boss SYB-3 Bass Synthesizer pedal, new - still in box
- Boss RC-20 Loop Station (5 minutes of looping pleasure, with 11 memory slots to store your favorite loops), like new and still in box
- Akai Headrush E1 (the first generation) pretty cool delay pedal with 11 seconds of looping time, plus 22 second delay, tapped 4-output delay, also a tape echo simulator. Needs a 12-volt power adapter
- ART ECC Effect Command Center effects pedal. A great effects unit and MIDI controller.
The SE-70 and SE-50 are currently mounted together in a rack tray. I am willing to split them up, but would love to sell them as a set.
Please email me offline for more details.
Take care,
Paul
http://paulwalters.go.to
- Although a reasonable person might despair, hope is unreasonable.
From: Nandav8@netscape.net
Subject: Live Stick in PA
Date: Thu 23/12/2004
Live Stick in Pittsburgh, PA - TWICE A MONTH - Beginning in January Friday, January 14th AND Friday, January 28th, 8 PM to 10:30 PM OPEN STAGE Hosted by The PRIMATIVES (the 2nd and 4th Fridays of each month) at THE COFFEE DEN (St. Clair Shops--across from St. Clair Hospital)
I landed the ultimate Stick wish gig- a permanent opener spot! After a daring solo performance, I was honored to be asked to be the permanent opener for an amazingly intelligent band "The Primatives". Current tour configuration is Jesse Hanson (vocals/gtr), Lila Hanson (vocals/flute/mrdanga) and Jack Huston (vocals/bass). Incredibly thoughtful and insightful melodic writing of the finest caliber with sophisticated 3 part soaring vocal harmony. Check them out at www.theprimativesrock.com or give a listen at CDbaby. A google search will also give you the web community kudos on these phenomenal musicians. They are "Stick friendly", and are really supportive of my efforts.
The Coffee Den Open Stage is a very supportive and open minded venue. The friendly staff and good coffee and an excellent tea selection make for a very enjoyable atmosphere. The address is 1082 Bower Hill Rd. Call 412-276-3365 for more info. keep tapping, don't be afraid to make the leap! I did, and there is another side!
Dave Brosky- Pittsburgh, PA
P.S I couldn't have done this without great help and encouragement by Greg Howard, Jim Lampi, Tom Griesgraber, Jim Reilly, Glenn Poorman, and of course, Yuta and Emmett!
From: SteveAFran@aol.com
Subject: TL book and NAMM
Date: Mon 27/12/2004
I've written a review of Tony Levin's "King Crimson Chronicle's" photo journal book that will appear in next issue of Twentieth Century Guitar. The magazine will be available in mid January and those attending Anaheim NAMM can get their copy at the show in the publications area, gratis.
BTW, anyone going to NAMM?
Steve A.
TAKE A LOOK AT STEVE'S SPINAL COLUMN
From: SteveAFran@aol.com
Subject: Steve's Spinal Column #1
Date: Sun 21/11/2004
Steve's Spinal Column -numero uno
"CRACKER WANT A POLYCHORD?"
(Polychords made simple)
Playing "sophisticated" extended chords on the Stick is criminally simple. Guitarists stretch and contort their hands to achieve every inversion and voicing available on a six string neck. Here's the outline for the simplicity that allows the Stick player the extended menu of chords. Every large chord can be broken down to smaller triads. For example: Cm9=C Eb G Bb D 1 b3 5 b7 9 We can break this down to a Gminor triad (GBbD) and a Cminor triad(CEbG). On the Stick we can play the root, Cminor with the left hand in the bass and add the Gminor on the treble side with the right hand simultaneously. The composite will be the desired Cm9. We can change inversions of either triad to get different voicings. Here's a bonus. If you play Cminor in both hands, the right hand only has to move the same shape 1/4 inch to the right (one string over) or down a fourth to find the Gminor. Simple chemistry, simple visual. Likewise all the extensions can be found with simple triads.
We couldn't leave you hanging, here's more:
TAP ONE OF THE BEST
From: Joe Mc Collam [joemc@sbcglobal.net]
Subject: Emmett Chapman's Parallel Galaxy
Date: Sun 21/11/2004
Parallel Galaxy, Emmett Chapman's recording from 1985 (recently remastered to CD) is way up there on my recommended listening list. I'm hard pressed to think of another recording with a similar blending of innovation and soul. The title track, Parallel Galaxy, is rich in these qualities, with a pervading sense of mystery made all the more intriguing when one learns of the connection between the tune and the album's cover art.
I transcribed Parallel Galaxy for the same reasons I transcribe lots of recorded Chapman Stick music; as a bonus I get a new, complete composition to practice and add to my list of tunes I can limp through. What I'm really after, however, is the "gems": the principles and techniques within the tune that I can "borrow", absorb, personalize, and use in my own work. Parallel Galaxy is full of these gems, and I'm sure Emmett won't mind us borrowing a few of them, so here goes:
FOR THE REST OF JOE'S ARTICLE, INCLUDING A PDF AND MIDI FILE OF HIS TRANSCRIPTION OF 'PARALLEL GALAXY' PLEASE GO HERE:
From: Emmett Chapman [emmett@stick.com]
Subject: A map to the parallel galaxy.
Date: Sat 27/11/2004
THE REAL PARALLEL GALAXY
an "Offset Modal SystemT" theory put into musical practice
© Emmett Chapman 2004
In July 1980 I first devised a network of "offset scales" as I referred to them at the time. I improvised on the colorful seven-tone scales with one altered tone, then drew circular charts that related the scales to each other in a modal network, a process of synthesis that revealed lush new modes as I rotated the chart to put different scale degrees at a key center reference point.
The following month I composed "Parallel Galaxy" using this system, but called it "Starry Night". In 1984 my brother Dan and I finalized the graphic art for the circular charts depicting my discovery, which I renamed "Offset Modal System". In 1985 I recorded "Parallel Galaxy" on The Stick® in duo with vocalist Josh Hanna and this became the title track for my first album, an LP released that year (now re-mastered to CD).
The unique modal theory became "crystallized" in the "Galaxy" song, but it also opened up a "galaxy" of improvisation leading to ever new compositions and novel song arrangements. I also expressed the complete discovery on two unique charts, which illustrate in seed form this music theory put into practice. One chart was a triple "Wheel™" with twelve divisions patterned after astrology charts. The other was a "Stone™" chart of seven facets within a matrix of twelve equidistant points of a circle, the points of the facets representing the seven scale tones contained within twelve tempered tones.
FOR THE REST OF EMMETT'S ARTICLE INCLUDING IMAGES AND DIAGRAMS PLEASE GO HERE:
VIEWS FROM THE ROAD
From: Stickist@aol.com
Subject: Fabulous French Festival
Date: Mon 22/11/2004
What a fantastic experience!
The French Stick players and the town of Allaire have established an incredible community event. This year was the fourth annual festival of Tap Guitar, and if what I saw and heard was any indication, there will be many more in years to come, each better than the last.
Allaire is a small town in the Brittany region in France, about 5 hours drive west of Paris. How a music festival can be sustained in a place like this is beyond me, except that there is great support from the government and also from the community to make it possible.
I arrived by plane early Wednesday morning on a redeye from Washington, got a whirlwind tour by car through Paris (thanks Yannick) and then dozed for most of the trip west. Then we arrived in this small town where folks were gathering for this event. The whole town is involved it seems, with students and performers all staying in people's houses, and all of the people involved with the event eating communal meals together.
On Wednesday night we had a little promo performance in a record store for the festival. This was my first time hearing Youenn Landreau play, and thankfully, it wouldn't be the last. I had heard André Pelat a few times, but I didn't know how his peers measure up. Step by step I found myself becoming more and more impressed with the French Stick players. Another nice surprise was seeing André and Bob Culbertson show up, who weren't scheduled to be at the festival, but came to hang out in Allaire, and add their own special magic to the weekend. André performed a bit then I also did a couple of tunes and we passed out handbills to prospective audience members for the festival.
We then headed of to a small bar in the center of Allaire to meet, eat and drink (there was a lot of meeting, eating and drinking over the next few days). A couple of amps were wheeled in and several players played a few tunes each. As these guys would be my students for the next few days, I paid really close attention to how they played, but not so much that the highly musical nature of their playing didn't escape me. I was especially touched to hear Francois play his rendition of my song "Cross Country" and also to hear Bruno play "Goodbye Porkpie Hat" which I had never heard covered by another Stick player. I looked forward to Thursday morning, and teaching my understanding of how it's done, and learning some things along the way. Off I went to meet my host, Gil, and his family. Wonderful people, the norm I would come to expect before I left.
Read On:
A CLASSIC MADE NEW
From: Larry Tuttle [LSTuttle@ix.netcom.com]
Subject: Stick Figures review
Date: Mon 29/11/2004
Greg Howard's "Stick Figures" was always one of my very favorite Stick recordings. It's a wonderfully simple audio document, just Greg playing his Stick with very little processing and no overdubbing at all. For anyone wanting to hear the basics of what the Stick is, and what can be done by someone who really knows how, this is a great CD. Greg has released a new version, remixed and re-mastered, that goes to a new level sonically. The sound is rich, warm and full, but at the same time totally articulate - you can hear every nuance.
In this minimalist setting, it's the basics that strike you. You can hear every detail of touch, tone and phrasing. Greg gets a tremendous amount of warmth out of the instrument - using a sensitive touch and subtle vibrato, he makes the Stick sing, both on the melody side and the bass side. Lyrical melodies like "Adrift" and "Dedication" are heartbreakingly expressive. Rhythmic tunes like "Charmed Life" are foundations under Greg's improvs are totally solid and locked-in. Accompanying your own solos is a difficult craft, and Greg has it down cold.
There is a special art to writing music that "lays well" for a specific instrument. The way that that happens is simple - endless hours spent woodshedding with the axe. Performer and instrument become one. It's obvious that Greg spent those hours and then some. Simple devotion. You can tell by the way the songs fit naturally on the Stick. The widely-spaced bass chords, repetitive "motors", two-handed bass riffs, closely-voiced "cluster" chords using both hands - this CD shows off all the natural musical vocabulary of the Stick to best advantage.
It's great to have this new version of a classic recording by a guy that's dedicated himself to the Stick and the community of players surrounding it - still one of my favorites and totally recommended.
Larry Tuttle
COMING SOON TO A STICKNEWS NEAR YOU
Now, it's time to hear from you.
Here's the deal: I don't know what it's like where you are, but up here, the New Year's gig is the biggest gig for most musicians. I know players who measure the entire year's success by the prestige and/or income from their New Year's gig.
So, send in the stories of your New Year's gigs. The good, the bad, the ugly, I want them all. Showed up to the club only to find it all boarded up? Packed the house and rocked till the sun came up? I want to hear about it.
I also want all the regular posts, announcements, questions (don't forget you can ask Greg any and all Stick related stuff)? Keep them coming in.
There's lots more coming up in January. Of course the big news will almost certainly come from the NAMM show. The Stick Night looks like it will once again be outstanding and the show itself will certainly be something to behold.
And let me know how this new format works for you. Comments, advice, suggestions, they're all welcome and encouraged.
Take care,
Jim
Please send your posts and responses to: sticknews@stick.com.
Copyright 2007 by Jim Reilly, all rights reserved, except where noted. The opinions expressed by subscribers and contributors to this digest are not necessarily those of the publisher. Any business transactions arranged by readers of StickNews are solely their responsibility, and not those of Jim Reilly.
Stick and Chapman Stick are registered trademarks of Stick Enterprises, Inc., and are used in the title of this digest with permission.
Archives of previous Sticknews Digests can be found at sticknews/archives.
End of StickNews #270.