Daniel Lanois, producer extraordinaire, is bringing his Black Dub project to London for two dates at the Jazz Cafe. The lineup alone makes this worth checking out: Trixie Whitley on vocals, Daniel Lanois on guitar and piano, Daryl Johnson on bass, and Brian Blade on drums. Talk about a supergroup!
I’ll be there on 1st August, you can buy your ticket HERE.
When their album arrives (Amazon snail mail) I’ll post further thoughts and impressions but for now check out this video clip. I love the space, restraint, and taste these guys have – not to mention the insane musicianship from Blade and Johnson. The middle 8 vocals from 2:57 are huge. Here it is:
All the principles of heaven and earth are living inside you. Life itself is truth, and this will never change. Everything in heaven and earth breathes. Breath is the thread that ties creation together. – Morihei Ueshiba
Have you ever been concentrating on something and noticed yourself holding your breath? This can happen before an audition, before a big solo, or at a particularly challenging or exposed section of music. I even find myself holding my breath while playing warm-up exercises before a practice session or when reading a musical score for the first time.
As a musician, there are many reasons why it is helpful to breathe fully and clearly:
- Holding your breath (negatively) affects your time and groove.
- Breathing helps keep you mentally limber. When you’re breathing fully your body and brain are well-supplied with oxygen. It’s hard to think when you’re gasping for air!
- Good breathing helps reduce tension in the body, relaxing the muscles of the arms and torso. Holding your breath creates tension.
- Deep breathing helps reduce stress and anxiety (stage fright, anyone?). This is especially true of a long, steady exhale.
Take a moment to try a simple breathing experiment with me. Inhale for six seconds, drawing the breath into the pit of the stomach. Then inhale for six seconds. Try to draw the breath in and out at an even pace, not over-reaching at the beginning or rushing towards the end. As you breathe, keep the shoulders relaxed and stationary – breathe into the stomach, there’s no need to raise your shoulders up to your ears for a deep breath; let your belly fill and expand as you inhale and let it collapse as you exhale.
Some people like to visualise a trail of warmth or light traveling into the nose and down into the pit of the stomach on the inhale, and then that same trail of warmth or light rising through the spine, up the neck and out the top of the head on the exhale. Others visualise a stream of bubbles. There’s nothing particularly mystical about the visualisation itself, but it can be a nice tool to aid focus.
Next time you warm up, sight read, or play technical exercises, be aware of your breath. See if you can breathe evenly and deeply through the exercise. For added credit, take a mental tour of the muscles of your arms, shoulders, back, chest, stomach, legs, and even feet – relax each one consciously until you’re using only the bare minimum physical tension needed to play the musical passage.
The next time you take a solo, either with a backing track or a live band, try to sing what you play. You don’t need to have the voice of George Benson to do this – you can just vocalise along with your solo quietly and away from your microphone. You may find your lines take on a more personal, phrase-based sound.
I distinctly remember sitting in a lesson with Giorgio Serci – I was a student in the beginning stages of learning how to improvise in a jazz style and was struggling. Sure, I could (just about) navigate some basic jazz chord progressions but what I was playing sounded dull and very ‘by the numbers’. After a few minutes of playing Giorgio said, ‘let’s do it again, this time sing what you play‘. The difference was immediate and powerful – at once my playing sounded alive and like ‘me’, my own voice began to sound.
Why would this happen? Firstly, uniting what you sing with what you play can provide a more solid bridge to the music in your head – sure, you’ll still play your Clapton licks, but you’ll be surprised with how many more of your own melodic ideas and phrases will pop out too.
Secondly, the physical requirement to pause for breath will chop your solo into smaller phrases. For most beginner and intermediate players this is a very good thing – it’s too easy to noodle aimlessly and continuously around a scale with no real sense of melodic statement.
Thirdly, I personally find vocalising helps me connect my emotions to what I play. Whether it’s joy, anger, frustration, mischievousness, if I can recruit my breath and voice into the process I find it somehow shortcuts my inhibitions and allows those feelings to more easily channel through the music. I think there’s some truth in it when people say that the breath is the bridge between the conscious and the unconscious – because it can be controlled by either.
Admittedly, this second principle is somewhat negated if you can circular breathe!
Play with the following exercises and try to 1) maintain a conscious, full breathing pattern throughout and then 2) sing what you play. Be aware of the effect either approach has on your sense of time, melody and connection with the music.
– Play a scale at a slow pace to a metronome.
– Improvise over a simple chord sequence (perhaps a blues).
– Play a solo you know well (for example, ‘Alright Now’ or ‘Hotel California’). As you breath evenly, you may notice particular parts of the solo are much harder than usual – this is where you usually hold your breath! Work these areas until you can breath evenly through them.
– Play any song from your repertoire, again noting and working through areas of unexpected difficulty.
I’d love to hear your thoughts and comments on the relationship between breath and music – go ahead and post below!
Long story short, I recently found myself in the middle of the English channel with a dead Amp. Despite a full (and expensive) service at a respected London guitar store literally two days before the trip, my amp died. After checking every part of the signal chain, it became clear that the naughty standby switch was malfunctioning somehow, causing the amp to remain in permanent standby-mode. Without a soldering iron and other tools to hand, all I could resort to in terms of repair was a swift kick the grill (which didn’t work).
We arrived in Hull the next day and found a fantastic husband and wife repair team at ADR Soundsense. Mack and Liz graciously welcomed our impromptu visit to their workshop and repaired the amp in record time for that night’s gig – amazing!
Mack’s about as hip as they come, here’s a picture of us at his home workshop.
Here’s a cool behind-the-scenes video from an acoustic show at Glasgow’s O2 venue. The last time I was in Glasgow was with my own trio almost eight years beforehand – much bigger audience this time but I’m pretty sure we went to the same Nando’s. Some things never change 😉
Here’s the second half of Leon’s acoustic show in Glasgow’s O2 venue. For Leon’s shows, he usually lends me his gorgeous Taylor acoustic guitar – it’s really inspiring to play this kind of quality instrument. There’s quite a bit of Leon playing solo piano and voice in this video, I think he’d only been playing piano for a couple of months by this point. The man is a fast learner!
For Taylor-inspired guitar solo goodness, check out the 6:50 mark.
In March I did a run on Jesus Christ Superstar in the guitar 1 chair – it was a blast! I used to watch the movie as a kid so it was really cool to be able to play those parts (awesome movie, check it out if you haven’t already). Interesting incidents included a nightly spraying from a bloodied Jesus when he took a bow, Herod’s concubines dropping grapes on us etc…see below for photographic evidence!
Here’s the first half of Leon’s acoustic show in Glasgow’s O2 venue. The lighting engineer informed me that this is where they film the Celtic Connections shows, which explains the gorgeous lighting throughout the night. Dan Bowater mixed the live sound – in my opinion he’s aurally (if not theologically) a God of live engineering, the sound was perfect.
For the masochists who like guitar solos, check out the 11:30 mark.