Monday, August 28, 2017

Jimi Hendrix---How To Play Jimi's Material Your Way---And Not Copy The Man

Jimi Hendrix---How To Play Jimi's Material Your Way---And Not Copy The Man


How can you play Jimi's material yet put your own spin on it. Most Blues and Rock players copy Hendrix material lick for lick, and note for note. Then if they get it down they think they're just killin' it!

Think again!

I've had many conversations with fellow Canadian Guitar Player writer, and bluesman Dee Curtis. We talked about Detroit blues artists who play his material like a bastard but don't do it in a way that says--ORIGINAL.
First of all don't use a white Fender and Marshall Stack thinking that will turn the tide to playing Hendrix material like a freight train. Also,don't string and tune your guitar like he did either.



Nor do you need stomps and effects pedals.



In the last hour before I started writing this piece, I was looking at how to videos on playing Hendrix tracks. All of it, I mean all of it focused on copying his material and playing tunes like "Hey Joe", "All Along The Watch Tower" and "Purple Bloody Haze".Be an original even when picking out Jimi's material.If Jimi were here he'd be pissed and bored that you picked those tunes to play at Blues jams,Gigs and Practices--all the while playing it note for note.



Look at some of his more obscure material"One Rainy Wish" which is one of my favorite Hendrix tunes. As well he has some purely instrumental material which I have on cassette tape. Some other material was with the Isley Brothers when Hendrix was a sideman, as well as with Little Richard.Just go on line and pick something out and learn it until you can play it your way. Learn one Hendrix tune play part of the song and change up some of the chords and notes. You may have to go over the parts more than once to to change a Hendrix tune and play it your way.



You could take some tracks from The Band Of Gypsies tracks with Jimi and Bass axeman Billy Cox. Just record the bass and lead guitar parts and change up these parts and if you have very creative drummer and bass player in your band, they'll be able to change up their parts of Hendrix material.



There is a good way or device to record your original Hendrix tunes. Tascam has a portable digital recorder called GT--R1 to record guitar and bass parts. You can also slow down the playing of a track to learn and play along as well as recording to a different device.

http:www.tascam.com

The Tascam GT--R1 is a great unit for learning set lists and recording. You can make instant MP3's you can transfer to your band website for your fans to listen to. The Tascam is an incredible unit to use in combination with an Analog device, which is a Tascam 4 track tape deck to get more of a late 60's early 70's warmth and feel for Hendrix material.



You can pick up a Tascam 4 track on E-Bay and get a good deal.



Using both analog and digital will help you learn new material and play and record your way,and not be a copier. This way you don't have to use any Hendrix equipment like Fender and Marshall.



To be more creative I would suggest using the Tascam 4 track. Too many players learn and play material using digital units and effects, which ruin Hendrix material and having any original artistic integrity.



Learn and play Hendrix material your way, not Jimi's. Jimi would be proud if you played it your way, not his.

Peace and Success to all Players.

Mark G

Saturday, August 19, 2017

Greg G Rock Sanders--Back To Basixx Album--How He Writes His Songs

Okay musicians and fans of G Rock,I've been running a Facebook Group for G Rock's Back To Basixx Album.

Thank you to all the people who bought a copy or just want to be a part of the G Rock world. As well, thank you to Curtis Wilcox who's G Rock's artist--and does some wild art work that you'll see more of as we progress along with the album and other activities we have planned.

But last night on the Facebook group I asked Greg how he comes up with his songs. Does he write the lyrics before he fleshes out chords on the bass and do any vocals or other instruments.

Here is what G Rock had to say...

GR:As to your question about the songs and what's done first;. Bass licks, everything was actually written as separate patterns in the song structure.The solos came as a more free form playing different scales such as pentatonics etc within the chord structure...


Greg Sanders:
 Oh yeah, all overdubs songs like 'Pimpalicious' contains 8 different bass patterns,and  n contrast 'Strung Out' is one Bass part mixed way out front and meant to be the main musical part of that piece.

Mark Grove Thanks man,that's great information for all your fans and musicians who love hearing the technical side of G Rock and how you actually come up with your material. As well, I'll use this information to make an article for the website and help other musicians. Fans, this skinny you get no where else.

The link below will take you to G Rock's Back To Basixx Album Facebook Group to have your say on the album,and if you go see Greg when he does gigs as a solo bass player,and with The Gorilla Funk Mob. Also below the FB group there's a link to grab G Rock's album. It's only a few bucks.

https://www.facebook.com/groups/1547675875283834/ 


www.longrangedistribution.com


Just click enter when you click over to long range. It's  at the bottom of the page. Then,click the letter "g" at the top of the page,then on the next page scroll down until you get to G Rock Back To Basixx album. The use Paypal to grab his album.

You'll love his bass and funk groove which takes me back to the 70's with all the great funk groups of the day.

So grab the album and see us over at the FB group for G Rock's Back To Basixx album.

Tuesday, August 15, 2017

Playing Your Guitar To Old Vinyl Records--A Great Way To Learn From Analog Records

Vinyl Records and playing to them to learn songs.
A great way to learn if you don't have a band or jamming partner to learn from. And especially if the old man has a great vinyl collection and old analog stereo with a turntable to boot.
Just remember to clean off those old albums very carefully.
Yeah, you may run across some albums that feel like"A Fireside Album"--cracklin' all the way through. Don't worry about it too much unless it's so bad you should do the old man a favor and go to the local old album store and grab one in better condition.
He'll appreciate the gesture on your part as the kid who wants to learn real music,and listen to music that mattered from the 60's and 70's.
What's your take on learning from old albums to play guitar?

Thursday, August 10, 2017

Greg G Rock Sanders Coming Out With Several New Projects Besides His Back To Basixx Album Solo Project

Greg G Rock Sanders has been workin' his ass off not just with his new projects,but has been working for years with The Gorilla Funk Mob backing up some of the top rap and hip-hop artists;as well as releasing their own material and doing gigs of their own.

I've been touting G Rock's Back To Basixx album,and did a review on it you can see here on the blog.

As for Greg's new material--he's coming out with a Black Rock Music Project,and a collaborative effort with Dee Curtis who's been a mentor of mine,and someone who I've learned a lot from over the years,and write for at times.

I'll have more on both these projects from G Rock soon,and I'll be doing an interview with Greg.

But for now go grab Greg's Back To Basixx album. It's more of a hip-hop endeavor which I enjoyed more than I thought. If Jimmy Page can find something in the hip hop of P Diddy, or Sean Combs, I should look into and study different genres of music.

To grab G Rock's album go to: www.longrangedistribution.com 

To get the album follow these steps: click the link above,then on the next page click the letter "G" on the list of letters at the top of the page. That will take you to a new page where you scroll down to G Rock's "Back To Basixx" album.

Use Paypal to grab it. it will ask you to use Paypal. It's about 12 bucks. A better investment than buying "Dunkin Donuts."

How You The Musician Can Use Financial Hard Times For Others To Your Advantage

By Mark Grove

 This article is not to alarm you, but to give you the ability to make money despite tough economic times.

Your band can succeed despite the bullshit with our governments in the US and Canada bailing out mega corporations and other companies who feed us bullshit lines everyday.

Musicians Like you will succeed!

Most musicians who are not enlightened to what the US financial woes mean, will obviously think that the money problem means potential money problems for their band. They will whine and complain and have a herd mentality like everyone else in the general public. They may still have a regular job or a small business and a band to boot, yet they still think the financial fuck-up will hurt them. If you let it, yeah it will hurt you monetarily. How does any of this financial problem with the banks and mortgage lenders involve musicians?



It won't if you're ready for it. Musicians will say the clubs will all dry up and they'll be fighting for gigs, or even opening for others. And no the money's not gone, it's just one sector of the economy that was hit because people thought giving great deals for mega houses would not go in the toilet. Unfortunately it did. The money is not gone!

This money crisis will make some musicians new multi-millionaires when worked right. Don't ask me how, it just will. Incredible bargains will be had for music equipment, making deals with club owners to play regular gigs or rehearsal and recording studio time.

These musicians will profit hugely!

The intelligent players will see the crisis as opportunity to make money in off the beaten paths, not just the staple of club gigging.The prices will drop to have a CD made as well. You can put that money to work doing online marketing and setting up a website. Write Press-Kit articles for musicians, or where agents see gloom and doom you can set up shop and book musicians at just a little lower percentage and grab a bunch of acts, and there by capitalize on the lower percentage.



If you're a musician who sees this as opportunity, you'll know that your band and music business is providing value to other musicians, fans and music industry people. There's still lots of money out there and people will always want to see live music.



Music Marketing:


It's still important to concentrate on the business of music, and in this financial crisis you can ask people on your email list what they do for a living if they value your music and articles on music. That way you can see where they are financially by knowing what they do.



Most musicians will still freak out because of the financial crisis and think shit!

What am I gonna do for my band?


They will wait everything out and focus on what they aren't doing and making. Marketing is huge, besides the music.



And where major label deals and major booking agent deals go south, if you're resourceful enough you could book certain bands or offer an indie label deal for a band who's had some success but a major has dropped them. You don't need to be a major player to do big deals every time.



But think about this, why would a major label keep an artist coming out with albums if they don't sell a certain amount based upon what the label puts into marketing and recording of an album, then lose money. Now you know they keep their interests on the bands that make money for them.


Makes sense doesn't it. But they could do a better job with their smaller labels. Just some input. Maybe the banks could learn a little something from the major labels on focusing on the money making deals. Most companies in this crisis will be petrified and think their market will go in the dumper and a recession.



No matter what, think of this as an opportunity ripe for the pickin'.


Here's a Little Secret:

Well, it's not a secret.


There will always be music--and even if there is a major recession people will still listen to music. Any problems with labels, bookers or clubs has nothing to do with your band. And most musicians will do nothing to make their situations better, so if your band is ready to pounce on opportunities will profit from the financial crisis.



And most musicians will wish everything better.



I deal mainly with blues musicians and it's the toughest to make money at. I feel there are monstrous opportunities for blues artists and blues promoters,writers and bookers. If a bluesman can make money in this economy why isn't your band?

I think that it's worth the investment in your band to challenge them to overcome the financial crisis and come out on top. Think of ways to bring more people to gigs. Offer to play for free to club owners. Get them to bring the media and interview the band. The free gig will help you bring more people out to add to your mailing list and buy your CD's and keep your band in the limelight. Unfortunately you need to get the media talking about your band.

Offer Q and A sessions to fans, and put up a forum on your site where they can talk about your music. Market your band's ass off and you'll say, Financial Crisis, What Financial Crisis?

Mark Grove


Friday, August 4, 2017

Guitar Players--How You Can Get Playing Blues Guitar Jams By Using These Tips

If you're a guitar player just starting out and have never played on stage,you need to get back to basics.Okay,let's say you already know how to play a number of songs but have never jammed    publicly at a club.

Start by watching other players--especially the better ones. Watch how they interact with other players and the audience as well.If you can record your favorite players to boot.Keep watching them and how they play songs.

There will be little clues that tell you how to play without playing over everyone else,or not in tempo.

Here's a Tip if You're Still Scared To Go Onstage:

Ask one of the better players if you could jam with them privately.Offer to pay for their time.Chances are a good player who's not a guitar teacher,can help you leap from a shitty player,to a great player faster.

Ask them if it's okay to record the songs you jam with them as well.Jam for 30 minutes.Then at home practice those tunes more playing to those tunes.Ask them if you could get together for half an hour once a week for a month.

If things go well with that guitar player ask him the next time you go to a jam to play with you onstage.This way your stage fright won't be so pervasive.If the player in question is a working bluesman or rock player,offer to interview him and start a blog that focuses on local blues or rock players.

After you jam onstage with that player,jam with other players and interview the players who play regularly and have a drive to be real serious musicians.This will help you in your quest to jam with others,and you'll help out your local music scene.

You'll become a better player,create massive value for other musicians,and have better access to players you will want to start a band with as well.

So keep practicing and going to jams and learning all you
can in your quest to be a great player.

Tuesday, July 25, 2017

Paul Cabri A Humble New York City Musician Who Helps Musicians Become Better Musicians

Paul Cabri A Humble New York City Musician Who Helps Musicians Become Better
Musicians

Paul Cabri,has done what most musicians haven't,and that's worked as a musician,teacher and
gigging player for many decades.
                                                                                                                                                               "When you are in a creative field mindset, the desire to get better and try new things never goes away" --Paul Cabri

                                                                              Paul has been a hard working and dedicated musician in the New York area since the 80’s,and
has been a music teacher and faculty member of several music schools.

Paul’’s Session Playing Resume:

Paul has performed as a sideman for various solo artists and opened for headliners such as Meatloaf (with the band Clilly & East of Urban), Howard Jones, and KC & The Sunshine Band

(with The Elisa Peimer Band). Paul also worked in theater as a pit musician for the Making Books Sing's presentations of THE BUTTERFLY and JOSE LIMON: THE MAKING OF AN ARTIST, in which both were showcased at Symphony Space in NYC.

Paul: My playing has been featured on the recordings of Elisa Peimer (Hope Tunes), Lee (The Square Egg, LLC), J-Hype (Mental Instruments Records), John Russo (Musicreations Records) Mike Hirsch (M-Sol Productions) and Jefferson Thomas (Evanworks Music). Some of My compositions and solo work can be heard on a solo recording, CROSSOVER, an EP I released in 2009 comprised of six instrumental pieces.

Paul’s Music Teaching

Paul is a non-stop machine of music and guitar teaching in the New York area Paul coaches a guitar ensemble group,and rock band at The Village Community School In NY City,and even more,he gives private lessons!

 Paul also wrote the Syllabus for the guitar class offered at St. Francis College in Brooklyn NY as part of the school’s new music minor program. Finally,Paul is a Guitar Teacher at Leman Manhattan Prep’s Music Conservatory in New York.


Paul is both a hard working music teacher,and session player,which I think goes back to his days as a touring musician who is totally dedicated to music,and teaching others. Paul’s Session Playing On Various Artist Albums:Both Live and Studio :

Point Of View 1990
Elisa Peimer 2000 to 2010--Currently doing sessions with Elisa
John Russo 80’s and 90’s
Jefferson Thomas 90’s
Buddy Banks (Periodic Sessions For Decades)

Paul has also done a number of one up sessions and shows with solo songwriters in New York,but done so many he couldn’t remember them all. I wish most players could say that.

List Of Sessions Paul Has Done:

Paul Cabri, Crossover (Guitarisms Records)
J-Hype, The Acoustic Sessions (Mental Instrument Records)
Lee, 16 Reasons To Buy This Album (The Square Egg, LLC)
Lee, Naked (The Square Egg, LLC)
Lee, Meet Lee (The Square Egg, LLC)
P.O.V., Point of View (Casual Panic Music)
Elisa Peimer, Inside The Glass (Hope Productions)
Elisa Peimer, Pull Of The Moon (Hope Productions)
Elisa Peimer, Shed This Skin (Hope Productions)
Elisa Peimer, Transparent (Hope Productions)
John Russo, Come On With Me (Musicreations Records)
John Russo, Two Weeks From Tuesday (Musicreations Records)
Jefferson Thomas, Barbarian’s Ballroom (Evanworks Music)
Various Artists, It’s About Eve: Music For The Cure (Fore Reel Entertainment)
Various Artists, Never Give You Up (P&C Nightlife Records)
Various Artists, We’ll Carry On (West Street Records)
W.R., Walter Rivers (Buddy Boy Records)
The Way, Dream Street (ICAR Productions)

Paul:”Playing songwriter sessions isn’t necessarily lucrative, but it can be very rewarding”.

As far as performing I play in a cover band in the city, Flight of Sound (www.flightofsound.com ) and occasionally pick up a songwriter showcase but that’s it. Paul’s music teaching has taken over a big part of his professional life,and any recording and session work has been mainly through the internet which makes it more convenient for Paul’s schedule as a music pro.


Paul also says that the musicians that he is working with these days aren’t recording CDs as much,but recording and marketing different versions of the same song for sale in different markets on a global basis.

Paul also talks about being a gigging musician in the past doing back to back gigs for business, weddings and the club scene,but states he has no desire to go back to that type of life as a working musician. Paul talked about the relevance of the DJ today,and the fact a lot of clubs who used to book bands find it easier and more lucrative to book a DJ and get bigger crowds and paying customers. You can still do well as a gigging player,but it’s truly hard work,and you better understand the economics and literally be your own accountant and keep a hawk eye on expenses going out,versus money being made for a band.

Paul gave me an exhaustive list of some of the clubs he’s played at in New York City and the Tri-tate area. I literally need a an old Rolodex to keep track of it. This shows how committed Paul was to be a successful working musician.

But I get the feeling Paul is quite happy and content being a music teacher seeing his pupils learn the amazing craft of being an accomplished musician,than being on the road the majority of the year,and being a session player in the internet age.

.
Below are is a list of some of the places locally that I played in years past, many of which aren’t even around anymore.

Acme Underground
A.D.
The Alphabet Lounge
The Angry Squire
Arlene's Grocery
The Artery Festival
Arthur's St. Moritz (NJ)
The Baby Grand
The Baggot Inn
Barnes & Noble
Bar East
Bar 169
Bayfest 2011 & 12
The Bay House
Big Shots (NJ)
The Bitter End
Briody's (NJ)
Borders
The Brooklyn Arts Council
(BACA) Performances
The Brooklyn Conservatory of Music
Café Le Figaro
Café 111
The Cat Club
Cave Canem
CBGB's
CBGB's Gallery
Cha Cha's (of Coney Island)
The Charleston House
The Claddagh (NJ)
The C-Note
Coda
Connolly's Klub 45
The Cornelia St. Cafe
Dag Hammarskjold Plaza
The Darkstar Lounge
Downtime
The Downtown
(opening for Howard Jones)
The Duplex
The Elbow Room
Emma's Beach House (NJ)
Eureka Joe's
Fat Baby
The 55 Bar
The Forked River House (NJ)
Gabriel's (NJ)
The Goldstein Theatre
(at Kingsborough C.C.)
Googie's Lounge
The Harvest Festival
Indiegrrl Showcases
The International Pop
Overthrow Festival
Jalopy
Jenkinson's Inlet (NJ)
Joe's Pub
Kenny's Castaways
The Knitting Factory
Krogh's (NJ)
Krone's (NJ)
The LaGuardia Performing Arts Center
(at LaGuardia C.C.)
La Tavern
Le Bar Bat
The Limelight
The Lion's Den
The Local 269
The Lonestar Roadhouse
The Lovinger Theatre
(at Lehman College)
The Luna Lounge
Make Music New York
McLynn's (NJ)
Meow Mix
The Mercury Lounge
The Milk Bar
The Mt. Vernon Public Library
Mugsy's Bar (NJ)
The National College Bookers
Convention (PA)
The New Music Cafe'
The New Music Seminar
The NYC Marathon
Nick's Jersey Pub (NJ)
Nightingales
Nirvana
Parkside Lounge
Pianos
Queensfest
(opening for Meatloaf)
Rare
The R Bar
ReBar
The Red Lion
Reminisce Lounge
Renaissance Hotel
Rockwood Music Hall
Ruby Fruit Bar
The Sanctuary
St. Patrick's Church
The Scene
Session 73
Siberia
Smith's Bar
The South Street Seaport
The Spiral
Symphony Space
Thai Rock
Tir Na Nog
Tramps
Two Boots
The Underground Lounge
Union Square Park
The Village Lantern
The Waldbaum's Balloon Festival
(opening for KC & the Sunshine Band)
The Waldorf Astoria
Webster Hall
Wetlands
Wicked Willy's
The Yankee Doodle Tap Room (NJ)
YMCA

Paul’s Gear:

Paul isn’t a big gear hound,which most of my readers are--but Paul can teach players more than he thinks about choosing the right gear for the music he or she plays. And his pupils should learn all they can about the gear they use.

In this part about gear from Paul: I am putting everything he said verbatim about it.

Finally, regarding gear, OK Mark I don’t like talking about gear but I’ll give it a try. I’ve always veered toward Fender and Music Man amps because I love their warmth and clean sound and tube amps at that; although I’m really liking the new Quiltar amps which are solid state I tend to play out using a small 110 or 112 RD 50 Music Man amp (sometimes both) that I bought back in the stone age.

Paul’s Pedal/Effects Arsenal:

My pedal board has a Boss Tuner, a Carl Martin Parametric EQ, a Vox Ice 9 Overdrive, a Fulltone OCD Distortion, a Boss DD-3 Digital Delay (sometimes 2) a Boss High Band Flanger, an old TC Electronics Chorus--and a new TC Electronics Hall Of Fame Reverb. If I’m using a Strat or Tele I’ll add an EBS Multi Comp Compressor.

Guitars:

My favorite guitars are a 2002 Gibson SG Standard, a fairly new Ernie Ball Music Man Axis Sport, a 1990 (I think) Hamer Daytona Strat, A 1990 Taylor 515 acoustic, an 1980 Ibanez LR-10 Semi Hollow and an old Gibson A50 Mandolin. I’ve got other amps and guitars but these are the ones I use most of the time.

Strings

One last thing, you asked about strings. I use D’Addario (regular light gauge) EXL110-10P’s on all the electric guitars, and D’Addario Phosphor Bronze (light guage) EJ16-3d’s on my acoustic steel. When I play on a classical guitar I use D’Addario EJ46 (hard tension) strings, and finally my mandolin has D’Addario Phosphor Bronze Wound J74s – I hope that covers it.

If anything players I hope you took notes on Paul’s gear choices and how he uses certain guitars pedals and strings for specific playing situations.

From Paul:

Maybe the best thing about all of this is that as musicians we never stop learning, and that keeps it fun and interesting. As teachers we get to pass on what we’ve spent our lifetimes learning to a new generation, and see other people get to experience the joy of music for the
first time.

Paul is a an accomplished musician that most wish they could be. He is happy and enjoying teaching others become better musicians and people.

If you’re in New York City,look Paul up and learn from him. Not many people do what they want as musicians,and I get the feeling Paul enjoys teaching and seeing kids and young adults become accomplished musicians.

Thank you to Paul Cabri for taking the time to do this interview. I didn’t have to change a lot of the text in the interview. So,get off your butt and learn something from Paul on playing guitar, doing session work,or just becoming a gigging musician.

Paul’s contact info is just below this.

Best
Paul Cabri
www.paulcabri.com
(718) 614-2824
paulcabri@gmail.com or paulcabriguitarstudio@gmail.com