Following on from last week’s post about The Digital Ensemble, this post gives you the opportunity to watch a short documentary about a project I worked on recently with this group.
‘Layers’ is a new track by The Digital Ensemble, a group of musicians with disabilities who compose and perform original music in a variety of styles. The track is the result of collaboration between CP Productions and Drake Music Scotland and was supported by Creative Scotland’s Youth Music Initiative (Access to Music Making fund). Zack Moir worked primarily with Paul Duff of The Digital Ensemble to write, record and develop ways to perform this innovative music. The track was recorded with the rest of The Digital Ensemble in Slate Room Studios, Scotland’s newest professional recoding facility in January of this year. The track is out now to buy on iTunes:
(all proceeds to The Digital Ensemble)
This documentary shows how the composition and production of this music was approached:
This month marks the 50th anniversary of the release of the iconic album ‘A Love Supreme’ by John Coltrane. The album is a four-part ‘suite’ (with a running-time of only 33 minutes) that is frequently listed as one of the most important or influential albums in the history of jazz. The album was written as an expression of Coltrane’s gratitude to God and is widely understood to be a reflection of his spiritual quest, arising from his personal struggle with drug and alcohol addiction. It comprises 4 thematically-linked tracks: (1) Acknowledgement, (2) Resolution, (3) Pursuance, and (4) Psalm.
My admiration for this record has nothing to do with Coltrane’s faith or spirituality. As an atheist, I have no religious connection to the music and I do not believe that such a connection is necessary in order to engage with the work. I love the music and feel that it was (and continues to be) an eye-opener for me with regard to the approach to improvisation, the development of melodic ideas and the ensemble interaction. So, here’s a short list of the musical reasons for my love of this incredible album. There is very little in the way of analysis of the music and I do not intend to draw any conclusions – this post is simply me, as an admirer of the album, providing some insight into why I love it. Please feel free to comment below and add your own reasons to the list – I’d love to hear other people’s opinions on this music.
Continue reading Why I Love ‘A Love Supreme’
Earlier this year, I wrote a post about ‘top 5 records’ for this site (have a read here) which seemed to generate a lot of activity in the form of comments and discussion. At this time of year, I thought it would be fun to follow this up and compile a ‘top 5 songs of 2014’ list. So, the following is a list of the 5 tracks that I have enjoyed most this year. Again, as in the original post, I’m not trying to convince anyone or to campaign for these songs in any way – they’re just my personal favourites from 2014.
It would be great to hear what other people have to say, so please feel free to comment below with your list or even just music that you have enjoyed from this year. Continue reading My Top 5 Songs of 2014:
As anyone who reads this blog regularly will know, one of the things that is of great interest to me is improvisation. I am interested in this subject practically and theoretically but I have a particular desire to understand more about the ways in which it is taught, learned and assessed in educational contexts. Over the last week I have been involved in a project in primary schools in which we have been introducing children between the ages of 8 and 11 years old to improvisation. It has been incredible fun and very rewarding so I would like to share some information about the sessions in this week’s post.
The workshops were part of a wonderful project, entitled ‘Music, Sound and Electronics’ which was developed and run by Lauren Sarah Hayes for West Lothian Council and supported by Creative Scotland’s Youth Music Initiative. This project consists of Lauren and guest musicians/composers/improvisers delivering sessions (each 1 hour long) in which the young people learn about music and sound whilst exploring electronics, designing and developing their own instruments and modifying/extending ‘traditional’ instruments , for example. The project runs over 10 weeks and, each week, classes will work on a different topic and explore music and sound in new and interesting ways. 16 classes across West Lothian participated in the project which meant that, over the course of a week, approximately 500 students are involved. I was asked by Lauren to write and deliver a workshop on improvisation (using electronic, home made and ‘traditional’ instruments) that would introduce the young people to improvisation. In some ways, I expected this to be challenging as I believed that it might be difficult to encourage some children to get involved with the exercises – as it turned out, I couldn’t have been more wrong and it seemed like everyone really enjoyed the sessions – including me!
Continue reading Improvisation Workshops in Primary Schools
This post is based on a presentation that I gave at ‘Improvisation: Educational Perspectives’, a conference that we held at the University of Edinburgh in April, 2014.
It is very common for people to say to me on a gig or recording session: ‘play a sax solo…you know – like the the one on ‘Born to Run’ – or, ‘let’s do Baker Street’ (or even Careless Whisper, unfortunately). Similarly, I’ve had many occasions where my pupils have said things like – ‘show me how to do it like Maceo Parker‘ or ‘how can I make it sound more like [X, Y or Z player]?’. I am really interested by the idea that people, particularly in the realm of pop music, will not only learn to improvise by emulating those who they enjoy listening to and respect, but will in many cases also be asked in educational and professional contexts to do so and may be assessed or evaluated on the success of the emulation. So, in this post, I would like to explore the notion of improvisation in pop and rock music – clearly this is a huge topic but this is deliberate and I will try to write as generally as possible for the purposes of stimulating discussion. I should also note that, although a great deal of pop/rock music is improvised, (guitar strumming, keyboard fills, etc.) featured solos are inevitably of great interest. Continue reading ‘Just Like Clarence’
I was sitting with my daughter last week watching Tim Burton’s ‘Charlie and the Chocolate Factory’ (Warner Brothers, 2005) and was struck by a particular passage of dialogue. Just after the first of the bratty, selfish children (Augustus Gloop) gets eliminated from the tour of the chocolate factory, the Oompa-Loompas perform an elaborately choreographed song and dance routine which describes the events which led to this child’s early exit from the film. Shortly after the song finishes, the following dialogue occurs:
Charlie: Mr. Wonka, why would Augustus’ name already be in the Oompa-Loompa song unless they—
Willy Wonka: Improvisation is a parlour trick. Anyone can do it. [turns to Violet] You! Little girl – say something. Anything!
Violet: Chewing gum.
Willy Wonka: Chewing gum is really gross. Chewing gum I hate the most. See? Exactly the same.
Mike: No, it isn’t.
Continue reading ‘Improvisation is a Parlour Trick. Anyone Can Do It…’
Last weekend I had the pleasure of giving a paper at the ‘Creativities, Musicalities and Entrepreneurship‘ conference which was a wonderful event organised by the Institute of Contemporary Music Performance. This post is essentially an abridged version of that presentation.
In addition to my university work, I also teach music in schools and on a number of youth music projects and, therefore, spend a lot of time working with young musicians. One particular youth music project that I am involved with affords young musicians (aged up to 25 years old) an opportunity to work with music industry mentors (professional musicians, composers and audio engineers), over a six month period in order to write, record, produce, publicise and sell their own music. Through working on this project and in schools/colleges/universities I have become very aware of a number of interesting issues surrounding the music making of young musicians, particularly in informal learning environments, and I will use this post to discuss them briefly. Continue reading An Ecology of Music Making: Young people, leisure, industry and education
OK, if you are reading any of the posts on this site you are probably a bit of a music geek (compliment, not pejorative)! So, be honest – is there anyone who doesn’t (at least secretly) enjoy the ‘Top 5 Records’ game? If you’re not quite sure what I am referring to then have a quick look at this clip from the film ‘High Fidelity’ from 2000 in which a group of record store employees indulge in a round of the game (as they do throughout the film). Not only do they demonstrate how the game works but they also show, and caricature, a lot of the other interesting attitudes that surround the choices that people make when asked to list their top 5 records.
Continue reading Top 5 Records:
This post will be used to show a short documentary that was made to outline an interesting project that I was involved with earlier this year. The project involved working with and mentoring a quartet of disabled musicians in the composition, production and dissemination of a 3-part piece of music, entitled ‘The Deep‘.
The documentary includes footage from the studio session and commentary from myself and other members of the team.
This project was funded by Creative Scotland’s via CP Productions and was a collaboration with Drake Music Scotland
Earlier this year, I was asked to run a workshop on ‘Communicative Improvisation’ for the University of Edinburgh as part of their ‘Innovative Learning Week‘. I have led many workshops on improvisation in the past, some focussed specifically on jazz, some on pop/rock, some on free-improv or improvisation for dance, for example, but never on ‘communicative improvisation’. To be honest, I wasn’t sure of exactly what this meant or how I would approach it. Also, when I agreed to do it, the only information about the participants was that they could could be from anywhere in the whole university (not specifically for music students) and that they may not even have any previous practical musical experience. As it turned out, the group comprised a range of people who had never played an instrument before , people who were professional musicians and everything in between.
Continue reading Learning to Improvise: Communicative Improvisation Workshop