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Monday, December 13, 2010

Life Lessons From Chuck Loeb

After decades of working in music, you're still making strides in your career. What are some challenges you face making a living making music?
The same challenge for every human being trying to make a living with music -- balancing my musical endeavors with my family life. Sometimes I feel like I know certain airports way too well....

You've taken the reins from Larry Carlton in Fourplay, what's it like filling the shoes of a legend?
From the beginning, Bob, Nathan, and Harvey have made a point to say they don't want me to emulate Larry or Lee; they want me to be myself. That said, and being a big fan of Larry and Lee Ritenour for many years -- the most difficult thing for me is to keep myself from thinking, 'what would Larry play,' or 'what would Lee play here...,' and to just trust my instincts. To be myself, as the guys want me to be.

What is your typical creative approach to writing; how do you get from idea to finished recording?
There are a few ways this happens. Sometimes a melody or idea pops into my head, and then I rush into the studio to record it, or at least jot it down so it doesn't fade away into the ether. Usually, I have a project to write for i.e., the Fourplay CD. That inspiration comes from imagining the styles and personalities of the musicians I'll be in the studio with, and that leads me to ideas which I'll work on using the guitar and piano until I have it right. Then, in the studio, the players bring their magic and it all comes to life -- usually much better than I imagined. Doing demos on my home system is a good way to prepare for the recording, but beware of demo love. Sometimes I'll sit and try to write a song -- which almost never works!

A lot of people think jazz players don't make money, discouraging a lot of new players who want to take the reins -- leading some to say jazz guitarists are a dying breed. What's your take on the jazz player's scene today?
People said that to me, too, but you shouldn't listen to that. I believe there will always be great jazz and great jazz musicians. I'd like to say to the people who think 'you'll never make money playing jazz' is that it is a terrible thing to say. Look at the amazing and successful new musicians that have surface in the last 10 years: Esperanza Spalding, Hiromi, Chrisitan Scott, Lage Lund...there are many. Just play your heart out and you'll be fine.

You've produced dozens of albums, and worked with a diverse group of artists. What are a few tricks as a producer you've picked up that help make a better recording?
Keep the mood light. I start out by saying, 'Everything will go smoothly if everyone does exactly what I want!' That lightens the mood pretty well so we can jump in and get started. Another trick is to find a great and easy tune to record first, something you think will turn out great -- setting a good mood and vibe for the rest of the sessions. I always try to put the artist in the best possible light, and position them in a way that allows their creativity to flow. I will quote someone (not sure who said it), but to be a producer, you need to have both an eye for detail and be able to see the big picture. You want the artist to be happy with the way the finished product sounds.

The influence of Jim Hall's subtle playing style and his approach as an arranger has had a lasting effect on modern jazz. You studied with him as a high school student; what was the most important thing you learned from that experience?
Just the fact that Jim (the ultimate gentleman) took on a green, seventeen-year-old guitarist was amazing. I don't think a week goes by that I don't think of something he taught me. He was a humble man, and a true master.

A lot of people think smooth jazz is elevator music, or they can't connect the dots between smooth jazz and more traditional forms. Could you help explain, or address that perception?
I think the radio format helps that perception to exist, but dig around on the internet and satellite radio, folks are able to hear the deeper cuts from our projects. It's a fusion of many elements and different styles of music: pop, R&B, folk, new age, world, classical, etc., but with jazz improvisation. It's perfect for me. If you think it's all elevator music, I suggest you come to a few live shows and hear us smooth jazz cats burn!

What's the recipe for a great jazz solo?
A good rhythm section grooving under the soloist. Years of practice. A beer.

Four bands every guitarist should know?
Wes Montgomery, The Jimi Hendrix Experience, Pat Metheny, George Benson.

What's on the horizon for you?
My next solo CD, producting a few other projects (to be announced), touring with Fourplay, and my own group.

Best advice you've ever gotten?
Put that computer and iPhone down, and go play your guitar.

A prominent figure in the music world for many years, Chuck Loeb is known for his genre-spanning versatility as a guitarist, knack for commercial success, and a successful stint scoring soundtracks for feature films. Having first picked up the guitar at age eleven, Loeb studied under jazz giants Jim Hall, Pat Metheny, and Joe Puma. Read his full story.


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7 Little Known Effects Of Music On The Body

by Charlie Doom

Music is as old as humanity, yet we know very little about the powerful form of communication. These seven facts will help shed a little light. 


There is a scientific reason why the most stunning bands in history were also the loudest. A Canadian study found that listening to music at 95 dB can reduce your mental and physical reaction times by 20% (The Who used to perform at 120 dB). However, this only matters when you’re operating a heavy and dangerous piece of machinery -- like a car. The study was conducted for research on the effect loud music has on driving. 


A French study found that when the loudness of bar music was increased from the usual 72 dB to 88 dB, bar-goers drank at least 1 more beer on average during their stay. No one really knows why this is, but some studies suggest it’s because people get tired of shouting over the music and focus more on slinking under the table. It’s also well known that drunken people are prone to impulsive actions – make sure you have CDs for sale.      


The human heart will automatically try to synchronize its beat with the tempo of a song. According to the latest studies, humans and songbirds are the only animals known to do this, suggesting our bodies are made to be “moved by music.” This perhaps answers the question as to why babies intrinsically dance to music, and why musical styles that feature strong, anchoring rhythms are so widely appealing. If you want a hit song, make sure it has a good rhythm.   


An American study found that the musician’s brain has enhanced activity in the auditory cortex when listening to music, compared to the brain activity of non-musicians. This enhanced activity has nothing to do with answering test questions better, but it does mean musicians can interpret the complexities of a song better. How you can use this: if a critic says your band sucks, ask if they play an instrument. If they say “no”, tell them to kiss your ass. If they say “yes”, don’t let them see you crying.     


An American study found that musicians with long-term musical training are better able to judge the emotion or intentions, and even the identity of a speaker based on changes in pitch within a syllable. Basically, a seasoned musician will know what you really mean no matter what you’re saying. Makes us wonder what the world would be like if everyone learned to play guitar. Incidentally, this brain skill is what helps with the composition of melody, and the understanding of tone and timbre.


Listening to your favorite song can boost your feelings of wellbeing. A research team from Germany found that listening to “pleasant music” boosted levels of serotonin in test subjects. Serotonin is a neurotransmitter responsible for giving you good feelings and, strangely enough, regulating your bowel movements. The study also found that listening to “unpleasant music” had the opposite effect of decreasing serotonin levels. At any rate, this explains why you feel so good after an awesome jam session, why your favorite song can help you move on after something traumatic, and why people become fans of a particular band; they develop a mild emotional and physical dependency – almost like a drug.


In 2005, a British luxury cruise liner fended off a Somali pirate attack using blasts of extremely loud noise from a new breed of non-lethal weapons. Known as a Long Range Acoustic Device, it’s the latest in a series of military grade “sonic weapons,” capable of emitting 150 dBs -- enough to burst your ear drums -- at a range of 984 feet. The device has also been used in war zones, like Iraq, and to control crowds in New Orleans during Katrina, but using sound and music as a weapon dates back decades. US troops blasted rock n’ roll to help flush out Panamanian leader Manuel Noriega in 1989; the FBI used “irritating” music in an attempt to end the standoff with the Branch Davidian cult in Waco, Texas; and the rock anthem, AC/DC’s “Hell’s Bells,” blared down the streets of Fallujah while US Marines battled the Mujahadeen. Even George Washington's Army used a drum and fife corps as a command platform; their musical signals would direct troops during battle.

Perhaps one of the most interesting facts of music is that everyone is capable of making it. Long-term cultural studies have proved that the ability to make music is as inherent to human beings as speaking is -- basically, everyone can do it. It is only in the Western social mindset that a select few are considered capable of being musicians, making the saying, "I don't have a musical bone in my body," one of the most widespread (and tragic) misconceptions in modern history. Don't let anyone tell you what you can't do.


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Sunday, November 21, 2010

The 25th Anniversary Rock & Roll Hall Of Fame Concerts (3 DVD)

The 25th Anniversary Rock & Roll Hall Of Fame Concerts (3 DVD)On October 29th and 30th, 2009, rock 'n' roll royalty held court at Madison Square Garden for what have been called "the best concerts ever," where "rock 'n' roll history was made." In celebration of the 25th anniversary of the Rock And Roll Hall Of Fame, the concerts in New York City featured a who's who of rock from the '50s to the '90s and included artists performing together in unique combinations that will most likely never be seen again. Now, this critically-acclaimed and highly-rated special is available on DVD for the very first time! The 25th Anniversary Rock & Roll Hall Of Fame Concerts features all 51 performances from the acclaimed special, plus 16 performances not seen on TV, all in a 3-DVD set. Highlights from the concerts include: Mick Jagger and Fergie in a blistering version of the Stones' classic "Gimme Shelter," with U2 as the backing band; a Bruce Springsteen and Billy Joel duet of "Born to Run"; Sting joining Jeff Beck for the Curtis Mayfield classic "People Get Ready"; Paul Simon, David Crosby, and Graham Nash joining together for a spine-tingling "Here Comes the Sun"; Ozzy Osbourne singing with Metallica on the Black Sabbath classics "Iron Man" and "Paranoid"; and John Fogerty and Bruce Springsteen sharing vocals on Roy Orbison's "Pretty Woman." Plus there's appearances by Stevie Wonder, Aretha Franklin, Simon & Garfunkel, Dion, Bonnie Raitt, James Taylor, John Legend, Annie Lennox, Smokey Robinson, B.B. King, Little Anthony and the Imperials, Jackson Browne, and more. Originally nominated for 5 Emmy Awards, this 3-DVD set includes all 4 hours of the TV special on 2 DVDs, plus a bonus DVD of 16 exclusive performances never seen before. Also included are a special collector's edition full-length color reprint of the Rolling Stone magazine article about the planning, rehearsals, and concerts. This is a must-have for any fan of rock and roll.

Price: $39.99


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Eric Clapton - Crossroads Guitar Festival 2010 (2 DVD - Super Jewel Case)

Eric Clapton - Crossroads Guitar Festival 2010 (2 DVD - Super Jewel Case)Over the summer of 2010, Eric Clapton gathered a veritable Who's Who of the world's most talented guitar players at the third Crossroads Guitar Festival, an 11-hour celebration of the six string that attracted a sold-out crowd of more than 27,000 music fans to Chicago's Toyota Park. All profits from this daylong display of guitar virtuosity benefited The Crossroads Centre in Antigua, a treatment and education facility Clapton founded to help people suffering from chemical dependency. Available in either DVD or Blu-Ray formats, the show includes more than four hours of music, interviews, and behind-the-scenes footage from this star-studded concert, including performances by Clapton, ZZ Top, Steve Winwood, Jeff Beck, Vince Gill, Buddy Guy, John Mayer, Derek Trucks, B.B. King, and Bill Murray, who served as the concert's master of ceremonies. "The Crossroads Festival is the realization of a dream for me, to gather a group of amazingly talented musicians to perform on one stage," Clapton said. "The Crossroads performers are all musicians I admire and respect." It's no surprise a festival named for a Robert Johnson song would include a heavy dose of the blues and Crossroads Guitar Festival 2010 does not disappoint with remarkable performances by Robert Cray, Hubert Sumlin (Howlin' Wolf's guitarist), Jimmie Vaughan, Sonny Landreth, Gary Clark Jr., Keb' Mo', and Buddy Guy, plus B.B. King who led an all-star jam of his classic "The Thrill Is Gone." The rock contingent was well represented by ZZ Top, Jeff Beck, the John Mayer Trio, Doyle Bramhall II, the Derek Trucks & Susan Tedeschi Band, Warren Haynes, and Steve Winwood, who teamed with Clapton for several performances including an epic cover of Jimi Hendrix's "Voodoo Chile." Other styles find a home here too, with "Blackwaterside" by Scottish singer-songwriter Bert Jansch, an accomplished acoustic player; "One More Last Chance" and an amazing take on Clapton's "Lay Down Sally" by country picker Vince Gill who is accompani

Price: $29.99


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Good stuff - check this CD out !