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Have a question about making a jazz cd? Ask Rodney...
Date: 21-May-2001 00:14:18 From: Perry Schirmer (pjspro@earthlink.net) Hi Rodney
Can I mp3 you a sample of my guitar playing?
thanks
Perry
Date: 21-May-2001 09:24:28 From: Toni Harris (msjazz@erols.com) May 29- I will be recording my first cd on Jazznote lable at
Sound to Sound studio in N.Y. I have great arrangements- top
musicians- great engineer because of the *low* budget I am
going to record in 6hrs- I keep hearing about wasted time in
the studio-any advice would be appreciated--on the mixing-
the pressing(DiscMackers)-promotion
Micheal Abene-piano
Lyle Atkinson-bass
Rich Allen-drums
two of the arrangements by Larry Willis call for a guitarist
would you consider the gig?????????
Oh, I am Toni Harris(Ms Jazz) jazz vocalist and musician
Peace & music
Date: 21-May-2001 14:37:49 From: Iva Jean Ambush (JazzCircle@aol.com) It is truly a blessing to see you everyday on the Rosie O'Donnell Show. My daughter and I are Rodney and Rosie fans. My question is, do you have mixed feelings about your "DAY" job. Maybe since you are still playing it may not be the same, but my dream as the "singing settlement officer" did not go off too well! In any event, is it patience or some other trait that allows you the comfort to continue as you do. I have been working on my own self-produced CD for over a year and I am patient until others ask me about it. Do you have any suggestions on how to manage such obstacles in life. Thank you for your time and consideration.
PEACE
Iva
Date: 21-May-2001 17:00:27 From: Rodney Jones (Thesoulmanifesto@aol.com) Perry, Sure! Send the MP3 along. I look forward to hearing it.
RJ
Date: 21-May-2001 17:06:47 From: Rodney Jones (Thesoulmanifesto@aol.com) Welcome! Hey just a couple of points... I thank all of you who post to this location. I will answer each of your emails. Those of you who ask questions that are specifically about your concerns will receive an email from me and your reply may not be posted.
Questions that are more general and that would be of interest to all will be answered by email and also posted to this forum.
Thanks,
Rodney
Date: 21-May-2001 19:23:47 From: Rodney Jones (thesoulmanifesto@aol.com) Dear Toni, First of all congratulations on your upcoming recording. There are so many of us (artists) that never get a chance to record our music much less to record with such a fine group of musicians that you have assembled. I also thank you for posting your question. Having been part of quite a few recordings as a producer and a player I would be happy to offer some pointers for the studio.
I am very familiar with Sound on Sound studios. I have recorded many CD's there and in fact my new CD, Soul Manifesto" was recorded there!. They maintain the equipment very well.
I have done a number of records in six hours and here are some time and money saving tips:
1. Have a free roll DAT tape running all the time. This will allow you to capture all of the out takes and false start and will help you later to remember what is what. The expense for the purchase of DAT tapes will be small compared to the benefit. Even if you are recording direct to 2 track it is still a good idea. It is a real time saver later.
2. Speak to your engineer about bringing your own tapes to the studio. Most studios will add a substantial markup to their supplies. If you purchase them from an audio supply company you will save at least 30% right there! Some studios are funny about that so check it out in advance of your session.
3. When you listen back to your playbacks in the studio, have the engineer dub them to a reference cassette and a reference DAT right then rather than waiting till the end of the session. This can save you at least a couple of hours of copying time!
4. Plan out your recording well. Write notes to yourself about the following:
- What is the order that you want to record the tunes?
- What is the proposed solo order on the tunes?
- Consider a tune rundown sheet that you give to each of the players and the engineer detailing the form of each tune, solo order and the arrangement. You can always be flexible with it.
- Rehearse for the session at least a couple of days ahead. This will give you time to listen to the cassette of the rehearsal (yes, record the rehearsal) and to make any changes that seem to make sense after the rehearsal.
- Make sure that your music is written out clearly. Sloppy music is perhaps the single biggest time waster in the studio. Even if you pay someone to write out your music clearly it will be money well spent.
- Figure out your tempos for each tune ahead of time. Use a little metronome to do this and then carry it to the studio. That will avoid wasted takes because they are to slow or fast.
- Take your survival kit to the studio: Aspirin, Juices, herb tea, and anything else you need to be comfortable.
- Turn your cell phone off so it does not ring in the middle of a perfect take!
Those are some of the big tips. Post back after the recording is done and I will email you re: mixing, pressing, etc., Another tip: Focus on the music for now and deal with the after the recording details later.
Congratulations and enjoy!
Rodney Jones
PS. Give my regards to Michael (we both teach at Manhattan School of Music) and Lyle whom I have known for years.
Date: 21-May-2001 20:12:53 From: Rodney Jones (thesoulmanifesto@aol.com) Dear Iva, Thank you for your kind words and for listen to my musical offerings. Although I perform all the time I still feel a sense of wonder when I think that someone whom I do not personally know is listening to and hopefully enjoying the music that I play. Many artists do have mixed feelings about a "day job" like the Rosie O'Donnell Show. First let me tell you what playing guitar for the Rosie show is like.
This is the 5th year that I have been with the show. I was home about 5 years ago and checked my answering machine and there was a message on it from John McDaniel (the musical director for the show). He told me that there was going to be a new show with the commedienne Rosie O'Donnell and would I like to audition? I had met John only once previously while performing with the great Broadway Diva Patty Lupone on Broadway. Of course I was excited and called him back right away. The audition was the next day.
When I arrived at the audition there were a number of musicians there. Some were doing their "Hip NY TV Musician" thing. I was just myself. In the audition much to my surprise John was interested in our knowledge of tunes and show tunes in particular. Could we plan in different keys? Could we learn quickly? Because of my jazz training I knew all of the tunes that he called and was used to playing in a variety of keys. Who knew that Rosie was a Broadway fanatic? It was one of those cases where my skill set matched the job and so the rest is history as they say.
Now about the day job thing, It is true that the music on Rosie is not high art but that is not its intent. Music on TV is meant to be background and to enhance the video image and to help to connect various aspects of the show. I have done a lot of music for TV. I was the guitarist for The Cosby Show for a couple of years and was on the show Its Showtime at the Apollo for 8 years. Music can be separated into to parts: 1. Art and 2. Craft. Music for the Rosie show is craft meaning knowing what to play when and playing a variety of styles and being consistent. My own music and jazz music is Art. Music that expresses and uplifts the spirit and fills the heart with love and the mind with wonder.
I survive by being clear about the intent of the music and recognizing that there are lessons to learn and gifts given in every situation. I ask of myself in every situation and from every person that I met, "What can I learn from you" and "What can I give to you." This has helped me so much for I have learned to recognize the gold in every situation. Often experiences are like gravity. Sometimes in the morning I moan and groan as I get up and my muscles push my body upward but were it not for gravity which is pressing me down my muscles would atrophy. It is fire that tempers the steel to make it strong and pressure that turns a lump of coal into a diamond. I have found that by not seeing experiences as good and bad but as gifts and opportunities to learn or practice discipline or patience. I get through all of life;s many ups and downs better.
It is great to do music full time as I do but the richness of life is found in the moments of love, with your daughter, family, friends, listening to good music, prayer, meditation, contemplation, quiet walks. Those life experiences are what will make the music you perform filled with love and warmth and something to hold your heart on eagles wings. If you touch one life with love as a settlement officer then you would have done more that the greatest solo played without love.
With gratitude,
Rodney Jones
Date: 22-May-2001 08:47:10 From: Rodney Jones (thesoulmanifesto@aol.com) Dear Toni, First of all congratulations on your upcoming recording. There are so many of us (artists) that never get a chance to record our music much less to record with such a fine group of musicians that you have assembled. I also thank you for posting your question. Having been part of quite a few recordings as a producer and a player I would be happy to offer some pointers for the studio.
I am very familiar with Sound on Sound studios. I have recorded many CD's there and in fact my new CD, Soul Manifesto" was recorded there!. They maintain the equipment very well.
I have done a number of records in six hours and here are some time and money saving tips:
1. Have a free roll DAT tape running all the time. This will allow you to capture all of the out takes and false start and will help you later to remember what is what. The expense for the purchase of DAT tapes will be small compared to the benefit. Even if you are recording direct to 2 track it is still a good idea. It is a real time saver later.
2. Speak to your engineer about bringing your own tapes to the studio. Most studios will add a substantial markup to their supplies. If you purchase them from an audio supply company you will save at least 30% right there! Some studios are funny about that so check it out in advance of your session.
3. When you listen back to your playbacks in the studio, have the engineer dub them to a reference cassette and a reference DAT right then rather than waiting till the end of the session. This can save you at least a couple of hours of copying time!
4. Plan out your recording well. Write notes to yourself about the following:
- What is the order that you want to record the tunes?
- What is the proposed solo order on the tunes?
- Consider a tune rundown sheet that you give to each of the players and the engineer detailing the form of each tune, solo order and the arrangement. You can always be flexible with it.
- Rehearse for the session at least a couple of days ahead. This will give you time to listen to the cassette of the rehearsal (yes, record the rehearsal) and to make any changes that seem to make sense after the rehearsal.
- Make sure that your music is written out clearly. Sloppy music is perhaps the single biggest time waster in the studio. Even if you pay someone to write out your music clearly it will be money well spent.
- Figure out your tempos for each tune ahead of time. Use a little metronome to do this and then carry it to the studio. That will avoid wasted takes because they are to slow or fast.
- Take your survival kit to the studio: Aspirin, Juices, herb tea, and anything else you need to be comfortable.
- Turn your cell phone off so it does not ring in the middle of a perfect take!
Those are some of the big tips. Post back after the recording is done and I will email you re: mixing, pressing, etc., Another tip: Focus on the music for now and deal with the after the recording details later.
Congratulations and enjoy!
Rodney Jones
PS. Give my regards to Michael (we both teach at Manhattan School of Music) and Lyle whom I have known for years.
Date: 22-May-2001 09:47:26 From: Leroy Hawthorne, Jr. (LHawth8013@aol.com) Hi, Rodney. I am glad that there is a way to contact you to say that you are a realy great guitarist, sonically and spritually. If I am not mistaken, there were two other places besides Showtime at the Apollo that I remeber hearing you from and they are, of course, Rosie O'Donnell's show and the webcast you did from J&R Music World. There is a possibility that you may have seen me on BET's Jazz Showcase(I was the keyboard player for an artist that you critiqued named Leroy Marshall). I am seriously considering doing a jazz guitar CD. However, after reading your article at ALL About Jazz.Com it would be better for the moment to self-produce it because of the region that I am from which is north central Louisiana, one extremely limited market for jazz that has a handfull of followers. I am, though, not disillusioned by this aspect because there are arts councils in the area who are slowly recognizing the importance of including jazz performances and area schools such as Grambling State (where I teach), Louisiana Tech and ULM that promote major jazz artist perfomances. I will try to keep the faith so to speak and hopefully myself and other local jazz musicians will aid in developing a stronger following. On a personal note, my release will come at the end of 2001 (no specific date as of yet). Thanks for listening and the music you play!
Date: 28-May-2001 00:27:15 From: Iva Ambush (JazzCircle@aol.com) Hi Mr. Rodney, How important is it to rehearse solos prior to the recording? I want a spontaneous improv but I feel when it is contrived that is is noticeable on the recording. Yes, I do realize some of the greatest recordings were from well established groups that probably played together on a regular basis, but in my case I don't have that luxury. Do you have any suggestions?
Since I am not an educated writer/composer I find it better to hire musicians with strength in that area as opposed to cats that I can improvise well with.
Iva
PS I promise not to be a pest, but I did want to ask these questions.
Date: 29-May-2001 07:37:12 From: Rodney Jones (Thesoulmanifesto@aol.com) Dear Iva, It is true that on many of the great jazz records we are listening to musicians who played together night after night and who "worked" their tunes and their solos till it was exactly what they wanted to say. As you correctly state, that is a privilege that very few of us have these day. So what do we do?
I find it useful to have an overall concept of the sort of improv that you want to do. Of course, this may change when you are actually recording the songs and in the moment but a few notes to yourself about things you would like to include may help you to stay focused and to add ideas you might otherwise forget.
Regarding the right musicians to hire, that is always a personal choice. It is a good idea to have someone who is skilled at writing and organizing music to work with you during the planning stage or even to be at the session. That will keep your charts organized no matter who writes them.
Make sure that you do not take a back seat on your own recording. So many times a new artist will perform almost like a sideman on their own cd and defer to those musicians who they think have more experience or skills. If the players are great, they will give of themselves to help you to shine while at the same time displaying their individual talent.
Most important to the whole of the project is to be clear about your intent. Know why you are recording a cd. Know why each tune is important to your intent. Know what it is you want to say. Establishing this awareness in the very beginning can mean the difference between a cohesive cd and one that reflects your inner strength and a cd which is scattered. Goal setting is so important.
More later and good vibes always,
Rodney
Date: 29-May-2001 13:56:19 From: Anthony (tadams@rexallsundown.com) Hi Rodney, I loved your first c.d., thought it was fantastic. My question is, Jazz music is music of the moment, improvisation is what makes jazz music so incredible. How is that captured in a recording studio? Are the musicians in separate rooms? are they able to respond musically to one another? Or does each person play their part and the studio producer/engineer cleans it up? I always wondered how an artist reconciles the recording process versus the live process. Thanks and God Bless, Anthony.
Date: 31-May-2001 09:08:26 From: Rodney Jones (thesoulmanifesto@aol.com) Dear Anthony, Thanks for your post. Thank you for listening to The Undiscovered Few (my last cd). Now to your question...
In the early days of recording the concept was; put the musicians in the room and let them set up and play how they naturally would and set up one microphone in a place that made sense and capture what happened. All of the natural dynamics of the performance were captured. Musicians would instinctively get softer when another person was soloing and the contour of the music was determined in the moment.
Later as technology progress the concept was still the same but there would be multiple microphones used so the sound, in theory, got better. Eventually musicians were using headphone and engineers were trying to get as much isolation as possible so often players were in separate booths surrounded by foam and padding unable to hear anyone else but for the headphones which they wore. Was this better? It depends on the individual situation.
What has happened now is that there is a whole generation of players who only know what it is to record in a booth and with headphones. Many of the older players have also recorded so much the "new" way that they too have become used to the headphone booth scenario. The human spirit is a remarkable thing in that it is often able to adjust to the most adverse of circumstances. This is generally a good thing except when the person adjusts to negative behavior such as smoking. They try it and cough and wheeze and then the body adjusts to the poison and they are able to smoke to their own detriment. The mind rationalizes that since the symptoms have gone away that they are ok and they wont get sick.
In the case of recording I think that many musicians have adjusted. They have learned that when it sounds a certain way through the phones, then the actual sound is good. It is something like trying to perform a task in the mirror. Your sense of perspective is much different but eventually you make the adjustment between what the mirror reflects and what the reality is.
There are those cases where the engineer takes on the role of the "third man." He changes the sound and fundamental character of the recording. For jazz this is not generally a good thing but in heavily produced music where most of the instruments are layered one by one it is needed. In fact that is why so many producers in the R&B and Rock world earn so much money. They are relied upon to make the music "happen."
I prefer the live recording process but like the multi-track advantage which means that should someone make a mistake or play a really wrong note or passage you are still able to salvage an otherwise good take by just correcting the mistake not erasing the whole performance.
I hope that this answers so of your questions. Keep 'em coming!
Rodney
Date: 07-Jun-2001 12:53:00 From: Mwanji Ezana (mwanji@hotmail.com) Hello Mr. Jones, I was wondering what the budget is like for a jazz recording such as your's, especially for sidemen. Of course, I'm not asking you "How much are you paying Lonnie Smith?", but in general, how much do you pay an A-list sideman for a one or two day recording? For a show? And how much does the recording itself cost (studio, etc.)?
I enjoyed reading your life philosophy in the earlier posts.
Thanks,
Mwanji Ezana
Date: 10-Jun-2001 20:16:24 From: Iva Jean Ambush (JazzCircle@aol.com) Hi Rodney, Ok .... now this is an embarrassing question or an embarrassing comment. I love the CD picture of you -- you look great. Last year, finally, I went to a professional to get my pictures done and I kinda' look good too. (LOL) Anyway, what do you think about the final package or is that something that you'll be going into in the next issue of the All About Jazz "Making A CD" series? If that is a part of the next series, let me know, but, are there any preliminary things that we(self-producing artist) can be doing to start this part of the production. Or, is there a certain time that we should look at that aspect of the production.
Thank you.
Iva
Date: 10-Jun-2001 20:19:44 From: Iva Jean Ambush (JazzCircle@aol.com) PS Will you be doing anything this summer to promote your CD again or are you getting ready to go back into the studio? Iva
Date: 12-Jun-2001 13:29:20 From: Anthony (tadams@rexallsundown.com) Hello Rodney, Can't wait for the new CD to hit!! What particular albums or CDs, or even just artist themselves, are you especially thankful for? This isn't a question about "desert island" favorites or even necessarily an artist's best work. What mattered most to you about these artist,what struck you, what, perhaps, you even felt was a gift from the cosmos?
Thank You & God Bless.
Anthony.
Date: 19-Jun-2001 22:40:54 From: Rodney Jones (Thesoulmanifesto@aol.com) Dear Anthony, You question is interesting. At each point in my life, there has always been music that seemed to speak directly to me. It was often like there was an invisible hand programming the music so that whatever I was going through, whatever questions that I had the answer could come through a song and often in the most surprising places; In an airport, a cab, in the grocery store, at a concert, on TV. Has this happened to you?
Music has always met my needs. When I was a young guitarist just learning how to play jazz I was exposed to the great recording of master guitarist Wes Montgomery. I also listened a lot to Grant Green, George Benson, Barney Kessel and Nathen Page. Of course, there were many others along the way but those are the guitar mentors that really got me going.
I love Miles Davis' Kind of Blue, John Coltrane Crescent and the Africa Brass Sessions, Herbie Hancock "Speak Like A Child" etc. I also enjoy country music as well as good funk, James Brown etc, and New Age Music.
The primary thing that has always moved me in music has been the feeling and intent of the artist and how "connected" they were to their own inner side.
As for the cosmos...For me, all life is a gift from spirit to give each of us a chance to unfold a little more each day and to grow our hearts into a fountain of love.
‘Nuff said!
Rodney
Date: 20-Jun-2001 18:52:01 From: CINDY (jazznotes2001@yahoo.com) DEAR RODNEY, THANK YOU FOR YOUR WONDERFUL COLUMN!! I GUESS THEY ARE RIGHT--"WHEN THE STUDENT IS READY THE TEACHER WILL APPEAR" SEEMS TO BE MY CURRENT LIFE THEME AND THERE YOU ARE! MY CURRENT QUESTION (AND THIS DOESN'T HAVE TO BE PUBLICLY ANSWERED)IS THAT 3 PEOPLE (PROFESSIONAL SINGERS) MAY START A VOCALESE GROUP -- CAN YOU RECOMMEND A PRIVATE COACH
TO HELP LAUNCH THIS. YOU KNOW -- SOLOISTS WORKING AS A GROUP MAY NEED A MUSICAL DIRECTOR/COACH (OF COURSE HE OR SHE WILL BE PAID)...THANKS AGAIN -- YOUR ANSWERS TO OTHER PEOPLE'S CD QUESTIONS HAVE BEEN VERY HELPFUL.THANKS AGAIN -- MY SPIRIT EMBRACES YOURS!
CINDY
Date: 21-Jun-2001 12:08:38 From: Michael Aarons (michael@michaelaarons.com) Rodney -
Very nice to read your column on AAJ. It's great for me to follow the direction of your music through all the years I have known you, and see your creative process - and see how your music really captures your spiritual paths in life. I learned so much from you when I studied with you years ago and continue to as well.
Now about your CD which I am anxiously awaiting it's release: (hey, where's my copy!)
I see that you are really going for the organ/groove/funk side of jazz on this album. I think that is great especially since I love your work so much on Maceo's records and others you've played for me. After so many recordings you've done as a side-man in this genre it's great to see you headline an album in a style that you are so great at playing. I do however, have some questions for you (hey, that't the purpose of this forum!)
Your other records, X-Field, Undiscovered Few and even Articulation all demonstrate what I perceive as a breaking away from the "norm" or stereotypes that have been labeled on most jazz guitarists. For example - and you and I have had many lengthy discussions about this - I always saw you through these albums, a desire to redefine or re-establish the jazz guitar as an instrument that is as convincing enough to be able to express the same language the Coltrane Miles or Dolphy (for instance) have been able to express through horns. You play in a way that is not typical of most guitarists - only because it has never been done before. Not to name names, but today there is a signature "jazz guitar sound" that has received popularity and is recognized by the jazz record buying public as the way jazz guitar should sound in modern times. A complex issue, however, translate the notes, dynamics and feel of some of these popular guitarsits (won't mention names) and place them on a tenor saxophone, and 99% of the time it will sound like shit. In other words, all horn players seem to have a designated jazz language, even pianists and other instruments, but for some mysterious reason guitar is not an instrument that classifies itself in the same catagory hence, lacking popularity in jazz today. You are one of the only guitarists that seems to understand how to capture this sound on the jazz guitar and transmit it convincingly. I must say, even in 1978 when you did Articulation, you were on this path. When you recorded the rare "Liberation of the Contemporary Jazz Guitar" your goal was precisely my point stated above (with even a slightly political edge!). My question (finally) is are you shying away from these desires? It is important to constantly re-invent yourself in your art, and I know you always taught me to do that. Is it possible though that the desire to sell more records is overpowering your quest to re-establish the jazz guitar? I say this only in assuming that the setting of your new CD is more groove/funk/soul based and the guitar plpaying on it will be more straight ahead rather than X-Fieldish. To me, the Undiscovered Few is a masterpiece and monumental jazz guitar work. I feel that it didn't get the recognition it deserved - although it did pretty well for your debut Blue Note record. I have no doubt that your new CD will be even better, groove seriously hard and i KNOW it will sell very well. Where do you see yourself after the potential enormous success of this CD? If and when theis project places you at the forefront of modern jazz guitar, and your audience is bigger than ever, will you try and bend the ears of the typical jazz listening public to push the envelope and get people to really hear the way the jazz guitar should sound?
Either way, it is undeniable that you are the best jazz guitarist playing today.Your Friend
Mike
Date: 23-Jun-2001 18:08:58 From: Rodney Jones (Thesoulmanifesto@aol.com) Dear Michael, Thank you for your thoughtful posting and for the questions that you raise.
What you see a thing is is what you see a thing as. This applies to artistic expressions as well everything else in life. We view the world though our own consciousness and we alone are responsible for its contents. It is important to practice moderation in all things including moderation. You experience what you believe unless you don’t believe this statement to be true in which case you don’t experience what you believe which means it is true! So, why all the quotes?
The driving force behind all of my musical decisions has always been my connection to my own inner world. I try to explore that and to glean from its illuminated pages wisdom, guidance and the strength to act upon that wisdom and guidance. Freedom to me means freedom of choice. Freedom to express who and what I am at each moment and to harmonize my beingness with the essential nature of spirit, the essence of life itself. Your points about “The Liberation” and “The X-Field” and “The Undiscovered Few” are well taken however there were other records, “The Unspoken Heart”, “When You Feel The Love”, even an unreleased effort for Blue Note called “The Call of Soul.” Those cd’s expressed a gentler and softer aspect of my musical palate. If maturity has taught me anything it is that the personal intent to change or to reinvent oneself is only a step to surrendering to the intent of spirit and to follow Its lead. The title of the cd is Soul Manifesto. As these postings go along I will share the story of the title and that will illumine much about what you are asking. So the direct answer is that I did not record this format just to seek a wider audience although I hope I get one. I still believe in reinvention but my understanding and awareness about this has grown. I once had an experience with a teacher who had me to go into contemplation he said.
Let go of your physical body. What is left?
The mind I said.
Let go of the mind. What is left?
The Soul I said
Let go of Soul. What is left?
Awareness I said
Let go of awareness. What is left?
Ah I said.That was just the beginning.
More Later,
Rodney
Date: 27-Jun-2001 13:30:14 From: Josh Maxey (Music1ness@aol.com) Hey Rodney,
I’ve enjoyed the AAJ discussion so far, and I wanted to respond to one of the last topics. I think that the music of Soul Manifesto probably is more accessible then X Field or Undiscovered Few. I’ve had a few friends who are not particularly jazz fans hear S.M and really enjoy it. With that being said, the actual guitar playing on there is a further step ahead from X Field or Undiscovered Few. It is just in a more (?) palatable format, and it does point to the current fad of the pseudo-organ thing.
I do like Mike’s point about you working to move away from the common jazz guitar stereo type. but, even that intent doesn't go against the idea of Soul Manifesto. I remember we talked a few months ago and you half joked about your next record being the "guitar manifesto" wearing the barrette and looking serious, that it might cause a stir in the student/jazz guitar community. Then you said,”well, I'll see what spirit has me do”.....So, I have sorta thought of S.M as a happy medium of that.
As for seeking a bigger audience. One thing that I certainly believe (and i believe so do you) is that music can be the thing to touch and change people's lives. I guess we don't really get to decide who or how many that is, but it is certainly my intent in music to be of service to God. = ^) You have helped a ton with me feeling like I could really do that! So, is it a bad thing to reach a bigger audience by using a familiar or popular format? I think, Of course not! Especially, the way it was done! The authentic guys were used on this recording. Idris Muhammad, Dr. Lonnie Smith, Arthur Blythe, Maceo Parker and Lonnie Plaxico play this music because they love it.
I am a student of Rodney’s, so I was invited to help out and be a part of much of the process of Soul Manifesto. Aside from just being happy to be a part of the whole thing, I also was (and still am) really excited at how raw and real the music felt to me.
= ^) I’ll talk with you soon.
Be well!
-Josh
Date: 07-Jul-2001 22:54:57 From: Iva Ambush (JazzCircle@aol.com) I'm LOVING this, Rodney! Thank you.
Iva
Date: 13-Jul-2001 15:53:16 From: mitch can you tell me where I can find your latest recordings in Vermont.I went to look for them &no one here seems to have any.
thank you
Mitch
Date: 14-Jul-2001 01:40:52 From: Rodney Jones (soulmanifetso@aol.com) Dear Mitch, I suggest that you just order online from Amazon or CD Now etc. They will have at least my last CD "The Undiscovered Few" The new CD 'Soul Manifesto wont be released until August 28th, 2001. If there are any jazz specialty shops in VT (there must be) they probably have my cd. You can also go to www.Bluenote.com and email them a message asking them about the VT situation. They should know! Hope this helps!
Rodney
Date: 14-Jul-2001 01:42:48 From: Rodney Jones (Thesoulmanifesto@aol.com) Correction of the email address! RJ
Date: 26-Jul-2001 17:43:31 From: Ignacio Gonzalez (ignacio@vollmerpr.com) Hi Rodney. I think that these "behind the record" pieces are really great, especially for jazz aficionados like myself, who really take the craft and nuts-&-bolts of jazz-making into consideration when listening to the final result, which is the music. One thing that I would like to hear about is how you prepare your instrument for a recording. I am an amateur jazz guitar player, and I would want to know if and what particular things you do to your instrument for a recording session, or for this particular record. How does your relationship with your instrument evolve during a recording, in all possible terms (mentally, spiritually, physically, technically). Do you modify your instrument for a record? Are you sometimes concerned that your instrument is not doing what you want it to do during the recording? Anything about your instrument that you could talk about would be great.
Thanks and good luck!
Date: 27-Jul-2001 02:00:45 From: Vincent Siauw Hi Rodney,
your explanation about the recording process, especially the headphone booth syndrome, is very enlightening. I've been listening to some CDs by guitarists that received good reviews in magazines (and also in AAJ). However, I can't seem to concentrate to their playing, and when there is a sax solo, it becomes worse. The guitarist can't seem to have a presence and are buried deep in the record, although it's actually their record. I guess the headphone booth approach may have something to do with it, not to mention the tendency of some guitarists to roll off the tone on both their guitar and the amp. When I listen again to those CDs using headphone, I can hear the music better and understand the good reviews that they got. However, unfortunately listening music through headphone is not something that I do often.
Look forward to your new record.
Date: 27-Jul-2001 14:30:16 From: changamire (changamire@hotmail.com) thanks so much for the great article, rodney. i just completed my debut cd, due to release august 7th. i used a professional mastering lab, but the recording level still is not "major league". the producer and i are still trying to determine where in the process could the level of the recordings have been enhanced. we used professional studios too.
any ideas on what may have happened? does the equipment used by the majors create that big of a difference?
previews of all of the tracks are available on the website below (NOT all tracks on website are on the cd).
thanks,
changamire
htttp://www.mp3.com/changamire
Date: 28-Jul-2001 06:27:24 From: Rodney Jones (thesoulmanifesto@aol.com) Dear Ignacio, Thanks for the nice words. I am glad that you are enjoying the journey with me. I am enjoying it myself! No about your questions…
I don’t really do very much to my instruments for a recording. Because I am working a lot my instruments are always more or less in recording condition. For “Soul Manifesto” I brought several guitars to the studio.
- Heritage 535 (1987)
- Heritage 545 (2000)
- Yamaha SA 220 (1996)
- Gibson ES 345 (1966)
- Gibson L-5 (1966)For my amplifiers I use:
Polytone Taurus IV (2*12 inch speakers)
Fender Vibro King (3*10 inch speakers)
Line Six Axis 212 (2*12 inch speakers)The only work that I do to them is to change the strings on them about one week in advance. I did have the Heritage 535 intonated which was a mistake. When I got it back from the shop the guitar technician had changed the action making it much lower and changing the feel. I tried to adjust it back to where it was prior to intonation but it was not quite right for the record.
I have been playing long enough to have a good idea about what my guitars will do in any given situation. That is something that comes with experience.
Physically I don’t do anything special other that try to eat very lightly. I try to warm up my hands for about ˝ hour prior to the recording. Spiritually I remember that the idea is to make great music. I try to let go of all of my thoughts about everything and just live in the moment with the music. Hope this helps.
I wish for you all the best with your continuing studies on the jazz guitar. It is a rewarding journey!
More later - -
Rodney
Date: 28-Jul-2001 06:39:32 From: Rodney Jones (thesoulmanifesto@aol.com) Dear Changamire, Yes the mastering process can and does make a huge difference in the final result for a cd. A mastering engineer can really alter the sound of your DAT through his use of EQ and leveling. I think that the mastering results have much more to do with the engineer than with the equipment. The engineer will contour the sound of your recording to what he thinks it should sound like. I am always present at mastering sessions to make sure that I get the as close to the sound that I am hearing in my head as is possible.
If you just want to raise the levels (make the tracks hotter) then you would probably have to go back in the mastering studio and tell the engineer to do that. For “Soul Manifesto” for example, I made the tracks as hot as possible. They really jump out at you. I wish you much success with your news recording. It is great to make music and then to be able to share it!
More later!
Rodney
Date: 01-Aug-2001 13:50:46 From: Rene Edwards (edwards@martin-edwards.com) Would like to get in touch w/you about the possibility of having you record on my CD. I'm based in Wash, D.C. and have been performing locally for a few years now.
Met your former student Miles at the East Coast Jazz Festival a few years back (what a small world)
Is there a way to contact you to dicuss in private??? Do not want to put my number out there for all to see.Rene Edwards
Date: 03-Aug-2001 07:02:22 From: Iva Ambush (JazzCircle@aol.com) Hi Rodney, I'm so glad you put a timeframe on the rehearsal. That gave me a better sense of how you were going about this process. Please expound on that day if you can. Were there any changes once you all got together?
Iva
Date: 04-Aug-2001 13:22:31 From: Dorothy McIntyre Rodney..
Was watching "Lulu on the Bridge" yesterday..Caught you and Lena performing during the end credits..Sounded great, as usual.Dorothy
Date: 02-Sep-2001 11:16:40 From: Michael O. Drexler (MODrexler@aol.com) Dear Rodney, it was a pleasure mastering your CD at BMG!
My name is Michael O. Drexler and not "Dreyer". Unfortunately the credit is missprinted on the CD as well.Best,
Michael O. Drexler
Diplom-Tonmeister
Date: 14-Sep-2001 14:55:10 From: Harriet Tercell (harrietercel@hotmail.com) Dear Rodney, You have my deep symapthy to the victims of the terrosist attack in USA and I hope soon the things to be cleared.
I am Harriet Tercell from Elvira - Portygal and I am a regular visitor to this site for some time now and I must say that it is really very good with plenty of informations about Jazz in general.Excellent !!!
I am a pianist composer and I am interested to do some Jazz music by my own and I contact you for some advices.
I do not know if you be able to reply personally due to the very large emails you may receive on a daily basis from many persons who ask diferrent things about Jazz but please let me try.
I wish to know please if Jazz midis will sound good on Cd and what sound module is the best for Jazz ?
Yamaha MU90R XG Sound Module
Kurzweil K2000 VP Rack
EMU ESI 2000Please, you may reply me at my email address and if you wish to publish my letter its ok, please do not show my email due if this is possible.
All the best.
With kind regards,
Harriet Tercell
Elvira - Portygal
Date: 14-Sep-2001 14:58:20 From: Harriet Tercell Good site
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