This is all I need! Good morning Espresso. :)
Saturday, 31 October 2009
Friday, 23 October 2009
Sound concept ideas with Mic Smith
I have had the privilege to be in fairly regular contact, via email, with trumpeter Mic Smith. Mic is a top US studio musician, and a snippet from his biog, for your information:
Mic Smith received his formal orchestral training while attending the Peabody Conservatory and the Julliard School. His teachers include Wayne Cameron, Ray Moore and William Vacchiano. His professional experience includes performances with the Baltimore Symphony and both the Broadway and road companies of “Cats”, “Phantom of the Opera” and many other touring shows. He has worked as lead trumpet backing up many performers such as: Frank Sinatra, Celene Dion, Pia Zadora as well as many others. In the studio, he has recorded many radio and TV jingles as well as film scores and CDs. Currently freelancing in the Tampa/Orlando areas, he enjoys a wide variety of work from recording studios, solo engagements, and various chamber ensembles to corporate and Latin bands. Mic maintains the position of principal trumpet and orchestra contractor for the Spanish Lyric Theater.
To add, he has been on the road with Brian Bromberg and played lead for Arturo Sandoval recently... he can REALLY play, and I have asked him many questions on many aspects of playing which he has graciously answered! I will include one here, it is interesting reading.
My much abridged question:
How do you think you should find your own sound, and how does this fit in being an adaptable musician?
Mic's answer:
Your question about the sound ideal is a good one. Sure, with every context you play in you'll have to change your sound to a degree. Using the right mouthpiece is what I prefer as it limits the amount of adjustments I have to make. I could use the Curry 3BC (deep and dark) to cover a lead book but I would have to work very hard to brighten my sound and this can get tiring. With the 3Z (shallow and bright), the sound is already brighter so my effort is saved for the demands of the book. In the studios, I have to cover all the parts on a session, meaning I will be playing trumpet 1, 2 and 3 etc. Usually, they like to double the parts as well so that means 6 tracks for one tune. I like to use a different mouthpiece for the doubling because it fattens up the recording...sounds like different players were involved. Since you're really asking about your personal jazz sound, you already have that. Of course, you've listened to Freddy, Clifford, Miles, Brecker, Botti, Dizzy, Wynton, etc., and have their sound in your head too but if you record your solos, you'll find that you do have your own sound. Each time you practice or play a gig, you're taking the sounds you've heard from these guys and mix it in with your own so a "sound evolution" of sorts is always taking place. In a jazz context, there is a lot of room for sound variety...everything from dark and diffused to bright and centered. In the classical style, there is a much smaller target for sound. Here, you need to play with a darker, fuller centered sound that more closely matches what an orchestral trumpet player would sound like, even in a solo setting. Its logical because everything in a classical setting is more strict. I have to change my sound all the time in the studios because I might be on a film session (orchestral) from 10~12 and then a commercial lead session (accuracy + high notes) later in the day.
The bottom line is that if I were you, I wouldn't worry so much about your sound. Let it develop and evolve. You sound like you know what you're doing so this shouldn't be a problem for you. Each player out there has their own sound, even in an orchestral setting. Listen to a bunch of recordings of the opening of Mahler 5 and you'll hear many different sounds. If you're worried about your sound getting lost in the mix of all of this, make sure you dedicate time in your practing to gaining control over your sound. Take one of the Charlier etudes and play it several different ways. Try it with a big, dark orchestral/soloist sound, then repeat it with a more relaxed maybe jazz-like sound. You can develop a lot of control over what is coming out of the bell this way. Of course, as you know, when we're playing with other trumpet players in a section, we need to keep a lot of the personal inflections out, such as vibrato and we need to blend. The principal/lead player will have more flexibility with this but not overly so...he still needs to sound like part of a section. So, you'll find yourself using a generic (wallpaper) sound for this only because the section as a whole is more important (in this case) than the individual player. When you are the soloist, you can make your sound what YOU want it to be as long as you're staying within the genre.
Great answer I thought, and it has helped me a lot - thanks Mic!
Check Mic's playing out:
Take care and God bless,
Mic Smith received his formal orchestral training while attending the Peabody Conservatory and the Julliard School. His teachers include Wayne Cameron, Ray Moore and William Vacchiano. His professional experience includes performances with the Baltimore Symphony and both the Broadway and road companies of “Cats”, “Phantom of the Opera” and many other touring shows. He has worked as lead trumpet backing up many performers such as: Frank Sinatra, Celene Dion, Pia Zadora as well as many others. In the studio, he has recorded many radio and TV jingles as well as film scores and CDs. Currently freelancing in the Tampa/Orlando areas, he enjoys a wide variety of work from recording studios, solo engagements, and various chamber ensembles to corporate and Latin bands. Mic maintains the position of principal trumpet and orchestra contractor for the Spanish Lyric Theater.
To add, he has been on the road with Brian Bromberg and played lead for Arturo Sandoval recently... he can REALLY play, and I have asked him many questions on many aspects of playing which he has graciously answered! I will include one here, it is interesting reading.
My much abridged question:
How do you think you should find your own sound, and how does this fit in being an adaptable musician?
Mic's answer:
Your question about the sound ideal is a good one. Sure, with every context you play in you'll have to change your sound to a degree. Using the right mouthpiece is what I prefer as it limits the amount of adjustments I have to make. I could use the Curry 3BC (deep and dark) to cover a lead book but I would have to work very hard to brighten my sound and this can get tiring. With the 3Z (shallow and bright), the sound is already brighter so my effort is saved for the demands of the book. In the studios, I have to cover all the parts on a session, meaning I will be playing trumpet 1, 2 and 3 etc. Usually, they like to double the parts as well so that means 6 tracks for one tune. I like to use a different mouthpiece for the doubling because it fattens up the recording...sounds like different players were involved. Since you're really asking about your personal jazz sound, you already have that. Of course, you've listened to Freddy, Clifford, Miles, Brecker, Botti, Dizzy, Wynton, etc., and have their sound in your head too but if you record your solos, you'll find that you do have your own sound. Each time you practice or play a gig, you're taking the sounds you've heard from these guys and mix it in with your own so a "sound evolution" of sorts is always taking place. In a jazz context, there is a lot of room for sound variety...everything from dark and diffused to bright and centered. In the classical style, there is a much smaller target for sound. Here, you need to play with a darker, fuller centered sound that more closely matches what an orchestral trumpet player would sound like, even in a solo setting. Its logical because everything in a classical setting is more strict. I have to change my sound all the time in the studios because I might be on a film session (orchestral) from 10~12 and then a commercial lead session (accuracy + high notes) later in the day.
The bottom line is that if I were you, I wouldn't worry so much about your sound. Let it develop and evolve. You sound like you know what you're doing so this shouldn't be a problem for you. Each player out there has their own sound, even in an orchestral setting. Listen to a bunch of recordings of the opening of Mahler 5 and you'll hear many different sounds. If you're worried about your sound getting lost in the mix of all of this, make sure you dedicate time in your practing to gaining control over your sound. Take one of the Charlier etudes and play it several different ways. Try it with a big, dark orchestral/soloist sound, then repeat it with a more relaxed maybe jazz-like sound. You can develop a lot of control over what is coming out of the bell this way. Of course, as you know, when we're playing with other trumpet players in a section, we need to keep a lot of the personal inflections out, such as vibrato and we need to blend. The principal/lead player will have more flexibility with this but not overly so...he still needs to sound like part of a section. So, you'll find yourself using a generic (wallpaper) sound for this only because the section as a whole is more important (in this case) than the individual player. When you are the soloist, you can make your sound what YOU want it to be as long as you're staying within the genre.
Great answer I thought, and it has helped me a lot - thanks Mic!
Check Mic's playing out:
http://mic.bandcage.com/
http://www.cdbaby.com/cd/micsmith
Ok, I have some more of his emails concerning playing which are very informative, I will add these at a later date!
http://www.cdbaby.com/cd/micsmith
Ok, I have some more of his emails concerning playing which are very informative, I will add these at a later date!
Take care and God bless,
Mike
Wednesday, 21 October 2009
Friday, 16 October 2009
Wednesday, 14 October 2009
Tonights Italian meatballs
The before shot. Rosemary on the way - thieving that from mum's garden! I am hungry!
Sunday, 11 October 2009
Dod's
More of a post for the owners of the house! Great night with great friends! Going to slumber land with Family Guy! More practise tomorrow, and maybe cooking. Sort of fancy more chicken soup. . .
Friday, 9 October 2009
Tuesday, 6 October 2009
Cooking with Chris
Jambalaya with Chris. New recipe, super! Look forward to eating this bad boy! Next. . . . Jazz.
Monday, 5 October 2009
Studies, wine, office
Monday night. . . Charles Colin advanced studies, cheap wine, the office. Nice.
My special diet!
This is how i keep my body is such sweet olympic swimmer state :) fried eggs and moka made espresso. Serve with soda bread and garnish with bacon! I don't often get breakfast but dan left this morning having fried some bacon which really put me in the mood for a mini health break! Not even remotely related to music, sorry! Though I am currently writing music. I like mobile blogging!
Sunday, 4 October 2009
Merville House Début
I did my official first gig on the 30th of September, and I will briefly summarise - I have practise to do, a computer to re-format and install Windows 7 onto, music to write and stuff to tidy. All on top of my hefty 7 hours a day of procrastination! How will I do it? Easy... go to bed at 7am again.
I was playing with my go-to musicians, Scott, Dan and Matt. These guys are awesome, and make my life easier by keeping me right when needs be and just playing the hell out of their instruments! The first 2 tracks were a bit nerve racking, but I soon relaxed into the gig and besides the odd clam, I think overall it was a great wee concert. It was very well attended which always makes you feel like playing better and doing your best to play music. I shan't say much more. I was very pleased with my tune "Dawn" which I wrote for the concert, it was played very nicely buy the guys and by my own estimation, is probably the start of me writing more modern music.
http://projectormonkey.com/2009/10/the-michael-barkley-jazz-quartet/
Band Members:
Michael Barkley: Trumpet, Flugelhorn
Scott Flanigan: Keyboard
Dan MgGeown: Double Bass
Matt Weir: Drums
On a typical evening where local acts provide the entertainment, usually it entails watching a haze of check shirts and floppy fringes bouncing up and down like the stage is their mother’s mattress, and the music sometimes falls on deaf ears, or causes deafened ears. However, this is a particularly different concert to which I normally attend. In Newtownabbey, The Michael Barkley Jazz Quartet are about to embark on their first gig.
Recently appearing on late night BBC radio show with Linley Hamilton, local music virtuoso Michael Barkley has been performing in the background of many high profile musical events around the country for many years, and this evening, the spotlight is finally all on him, armed with his extraordinarily talented backing band.
Playing to a rather small audience in an even smaller room, the quartet ran the jazz gamut, playing impressive renditions of Miles Davis, a thoroughly enjoyable Bossanova number, and a gorgeous original piece, entitled “Dawn,” which Mike informed the audience that it was only penned 48 hours previously. That is something quite spectacular, especially considering that the piece sounds like a 40-year old jazz aficionado painstakingly wrote it over a period of months; never mind a young man of 22 years of age writing it within an evening. No doubt about it; this is perhaps one of the most talented young men performing in Northern Ireland today.
Though jazz is certainly not the cup of tea of most modern music fans, The Michael Barkley Jazz Quartet deserve more praise than most local acts out their, on the merit of their acute musical sensibility, their enormous respective talents, and their humility. So pour yourself a glass of brandy, get comfortable in your burgundy robe, open your Nuts magazine (if you like that sort of thing…), and have The Michael Barkley Jazz Quartet provide the soundtrack to a sophisticated and enjoyable evening.
These guys are available for bookings and private functions. Check them out on http://www.myspace.com/michaelbarkleyjazz
In other news I have started keeping a practise diary, just noting how much I play each day to keep me focussed and to help me level it out to an even 4 to 6 hours if at all possible. I will maybe spreadsheet this and share in December. Friday was a LAZY day for me! 1 hour. For shame!
Time to organise the photos from the gig and get some long tones going!
Mike
Friday, 2 October 2009
Trumpet in low g
I was messing around with my trumpet and was able to get a well tuned low g by swapping the pipes and connecting them as pictured. This is probably bad for the instrument! Still it was cool to hear such a sonorous low g! Time to email will spencer!
Some roses, test 2.
A 'grand lincoln' and a 'peace' rose. These are all from my front garden and they smell fantastic!
Thursday, 1 October 2009
Wednesday, 30 September 2009
Opening gig, radio
I have been a bit lazy on the blog front and this entry will be no different, I must go to sleep. I was on the radio recently, you can check it this week here: (30:29 in) http://www.bbc.co.uk/iplayer/episode/b00mzt8w/After_Midnight_with_Linley_Hamilton_27_09_2009/
I will rip that to mp3 and put it online soon, so don't despair (as if you were).
My first official quartet gig in my name is tomorrow night!
My first official quartet gig in my name is tomorrow night!
I will be doing standards and a tune called "Dawn" that I wrote 2 days back. Should be a good evening!
Radio: (30:29 in): http://www.bbc.co.uk/iplayer/episode/b00mzt8w/After_Midnight_with_Linley_Hamilton_27_09_2009/
Wednesday, 9 September 2009
Demo tracks!
After some serious practise and a lot of planning to make this happen, I have my first 4 demo tracks done, so before I start writing rubbish about bio-mechanical death monkey-sharks I will post the appropriate links!
Myspace (feel free to add me as a friend!)
And tracks on Box, which will probably be a better quality and can be downloaded (all 320kbp/s MP3s)
Softly, As In a Morning's Sunrise:
I Remember You:
Footprints:
Killer Joe:
The musicians on the tracks, again, were:
Michael Barkley - Trumpet and Flugelhorn
Scott Flanigan - Piano
Dan MgGeown - Double Bass
James Anderson - Kit
And the sound engineer was John King.
I want to thank these guys again for the fantastic playing, and for coming to record with me! John I want to thank for doing such a great job on the recording and mastering! Thanks!!
Recording is totally new to me, and so some of this is a little green sounding on my behalf. It has highlighted areas in my playing that need attention and it has been a great learning experience! I can't wait to stop being sick, get back to practising, and start planning the next one! Next time I will really hope for more time for the recording, and perhaps write some original tunes for it.
I don't have too much to say in this entry, so do have a listen to the tracks, and drop me an email if you want:
michael . barkley 07 (at no spam) gmail dot com
Cheers and God bless!
Mike
Tuesday, 1 September 2009
Sushi, Ambient Music and Trumpet
Another day, another dollar... or in my case no dollars... come on job!
Trumpet
----------
Since the recording my practise has become a bit slack and I am annoyed at that, I do have excuses, but they don't exactly get your practise back. Must focus, and get my books back from my wee bro and buy him a set! Can you believe an 11 year old Tuba player (EEb) does about 2 hours (sometimes 4) a night on Arbans, Collins, Caruso and all the other goodies I should be working on!? It is no surprise that his ability is sky-rocketing! I should probably rename this section 'Tuba', I have spoken more about Andy than myself! His range is impressive as well, from C# above double pedal C to top C at the starts of most days... puts me to shame! Anyhow, Trumpet can lead to some interesting gigs, see below...
Ambient Music
------------------
My friends Ricky Graham and John King asked me to come and take some pictures and sit in on their session at the Black Box last night, so I was game! Trumpet, harmon, Nikon, clothes (optional!). The music they play is interesting - looped lines, quite ambient, improvised and a heck of a lot of computer wizardry from the both of them! Ricky plays a guitar that I made him a few years back, recently I fitted some cool gizmos to it which facilitates the type of music which he now plays. A multi-phonic piezo system on each of the 7 strings and a sustainer pickup which allows for infinite (ok not infinite, it is battery powered) sustain with the choice of the pitch or the 2nd octave harmonic if I remember correctly. John takes these signals and works some jiggery pokery with it, so the 7 signals all break out into 7 outputs and then add a mono (normal magnetic pickup output) to this and you have a really neat instrument. You can pan all of the strings to anywhere, and as Ricky says, it is like a small orchestra!
Anyway, I was playing on the 2nd section on this, and we jammed it out in the day time. This was really new to me, I was uncomfortable at first because of my background in playing - mainly studying Jazz or trying to read Classical music. I used the harmon just to have a bit of a cut in the mix and not to dominate at the same time. It was a great experience, playing just really long chord tones, or working with small amount of pentatonics or in cases the leading tone. It gave the ears a bit of work, though we were in concert E (F# major for me) and the overall harmony was basically Emajor9, the usual Jazz clichés or lines would not fit! Anyway, I think it went fine, the guys played well, and I am going to Derry to play with them again tonight, see if I can't learn a bit more now! I will try to get those multiphonics working a bit better this time!
Sushi
-------
On the way home I grabbed some Sushi from late night Tescos. It was amazing! I do love Sushi! On the less classy side of life I bought 17 packs of 9 pence noodles, mainly Chicken flavour. Nice!
Time to go, the coffee is brewed and there is only 3 minutes of the morning left, calls to make, coffee to drink, practise to do!
Mike
I just remembered - I decided to practice my trumpet at the train station on the way home, very few people about, but those who were there thought I was mental. Also practising for an hour in the dark before the gig got a few looks :) I like playing in the dark, it is nice to cut out all the distractions and just relax.
Friday, 28 August 2009
Next, please!
Well I am still alive!
I had little studio time, but I did bootleg my own session to get a listen to what I did before the real tracks appear post mixing - and as a real backup, I am anal like this! I have only listened to the first few takes of Softly, As In a Morning's Sunrise, and the final take is decent, at least by my playing standards. My playing was more adventurous in the 2nd take, but I think more focused in the last.
Because of the way everything panned out (no pun), my sound engineer took a portable kit and we recorded in a local carpeted church hall - it has a nice reverb and had the space at the time we needed. I will admit to being rather stressed for about 2 weeks concerning everything that transpired today!
Being my first recording experience I was a bit nervous, and although some of what I have heard so far has been fine, for me, some hasn't worked as well as it did in practise. I find it hard to totally open up and really forget myself, when I do I play best. Anyway, for me, I am still reserved about my judgement, I am very much still a developing amateur, but I think for my first attempt it is ok (by my standards... compared to... well lets not go there!!!)
I was amazed at how insanely fast it all went by... this day although seemingly incredibly slow at first, shot by from about 2.20pm till bed, 12 hours later! Anyway, its done, an honest days work and what is will be (if that makes sense!!)
After recording I cooked a killer steak dinner and enjoyed a nice glass of South African Cabernet Sauvignon. Bit of a wind down! (I enjoy cooking you see). Peppered steaks, baked vine tomatos with brown sugar and pepper glaze (thanks to Dan MgEown's recipe!), Irish potatos, corns on the cob, caremalised red onion and too much garlic butter!
Mike
I had little studio time, but I did bootleg my own session to get a listen to what I did before the real tracks appear post mixing - and as a real backup, I am anal like this! I have only listened to the first few takes of Softly, As In a Morning's Sunrise, and the final take is decent, at least by my playing standards. My playing was more adventurous in the 2nd take, but I think more focused in the last.
Because of the way everything panned out (no pun), my sound engineer took a portable kit and we recorded in a local carpeted church hall - it has a nice reverb and had the space at the time we needed. I will admit to being rather stressed for about 2 weeks concerning everything that transpired today!
Being my first recording experience I was a bit nervous, and although some of what I have heard so far has been fine, for me, some hasn't worked as well as it did in practise. I find it hard to totally open up and really forget myself, when I do I play best. Anyway, for me, I am still reserved about my judgement, I am very much still a developing amateur, but I think for my first attempt it is ok (by my standards... compared to... well lets not go there!!!)
I was amazed at how insanely fast it all went by... this day although seemingly incredibly slow at first, shot by from about 2.20pm till bed, 12 hours later! Anyway, its done, an honest days work and what is will be (if that makes sense!!)
After recording I cooked a killer steak dinner and enjoyed a nice glass of South African Cabernet Sauvignon. Bit of a wind down! (I enjoy cooking you see). Peppered steaks, baked vine tomatos with brown sugar and pepper glaze (thanks to Dan MgEown's recipe!), Irish potatos, corns on the cob, caremalised red onion and too much garlic butter!
Mike
Tuesday, 25 August 2009
Clean valves, play MUSIC, phrase, develop!
I am recording tomorrow, and things have been hectic, but I think it is all in order and calming down. On the session we have:
Scott Flannigan (www.zcott.com) - Piano
Dan MgEown - Double Bass
James Anderson - Kit
Taking care of the audio is John King who is really keen to get this recording under way.
Ok, so the tracks, finally, are:
Footprints
Softly, As In a Morning's Sunrise
I Remember You
Killer Joe
Anyway, the title refers to my check list which has these reminders on the bottom; Clean valves! Play MUSIC! Phrase! Develop! These are things which are tantamount to success!
Clean valves:
My flugelhorn's 1st valve is somewhat unpredictable, even after 2 trips to the repair shop. It seems to be behaving itself right now. My trumpet is quite new and needs its valves cleaned regularly, hence that part of the title.
Play MUSIC:
Reminding myself not to forget what I am playing or trying to create; music, not a dirge of thoughtless notes. Lets hope this one pulls through! I have been practising and recording these tunes a'cappella if you will to try and improve my weaknesses, and while it is very humbling to hear your mistakes so clearly, it is a very useful tool! I realise an interesting thing; I was annoyed by an excess of air in my sound on a bunch of recordings and the answer was two-fold. 1) Microphone placement - right in front of the bell up close isn't ideal, I found placing the microphone at an angle beside the horn and in front gave the best results so far. 2) The more tired I got, the more air sound was present, and I was usually recording myself after 2 hours of hard work. That seems almost too common sense now that I write it!
Phrase:
Phrasing in the solo is one of the biggest things that I have been told to remember, and one of the best things that I appreciate in a solo; obviously a great solo will have it all going on, but this is elemental!
Develop:
Another thing of importance is development in solos. Again part of playing music, and phrasing! I'll leave that one there!
Not too much more to say. I only have 3 hours in the hall which is tight, but I reckon that will give us 2 hours of actual recording time which should be enough to get about 3 takes of each tune done if needs be, and maybe a little more; it depends on how long the solos end up being etc... I am just trying to be realistic. It will also look a little like a Nikon show room on account of 3 of us being keen photographers! Hopefully I will have a few shots of the process to include online at some stage!
Wish me luck!
Mike
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