That’s right, ladies and gentlemen. If you thought this site was no more; if you thought it had ceased to be, had kicked the bucket, gone on to blog-pasture, or was pushing up eDaisies - consider your bad self wrong. Because as of right now, America, this page is officially UNDEAD. 

Now, I know it’s been a while, and I do certainly apologize for that, but things have been pretty busy for old duder lately and unfortunately, this site kinda took the back burner. I’ve had some real cool projects simmering the last couple months though, and I’m hoping to get a whole buncha new stuff on here for y’all in the very near future.

Though I’ve been pretty much terrible about keeping this site up to date, I’m gonna make a point of getting at least something up here every week, so stay in touch for updates on all my new stuff that’s gonna be coming your way. We’re lookin at an EP from my new jazz trio Calliope, some new material from my live-looping duo the Parkside Intensive, my first full solo album (and a few solo shows!) and a new, top secret hip-hop/funk collab with a good old friend all in the next few months, so things are about to get real crackin real soon. 

In the mean time, I figured I owe you guys at least a little sample of some of the stuff I’ve been workin on, so here’s a taste of some of my upcoming album. I give you “Dream Within A Dream Within A…” and “We Rise, We Fall”:

  Dream Within A Dream Within A… by zachpbass

(Beat chopped on my MPC1000, all music played on bass, all vocals sung and tweaked [heavily] by me. “Interlude” poem by Edgar Allen Poe.)

We Rise, We Fall by zachpbass

(Beat & vocals chopped on my MPC1000, all music played on bass. Big ups to Morgan Freeman on the mic.)

___________________________

Anyway, thanks so much for checkin my stuff out, and again, real sorry about that whole “neglecting you for 8 months” thing. I’ve missed this place a lot and it’s sure nice to be home. Hope to catch you guys again real soon!

This day in age, there are more options than ever for a band looking to record, and depending on what sort of a budget you’re dealing with, there’s a wide range of possibilities that can all sound fantastic. In general, the more time & work you’re willing to put in yourself, the more money you’ll save, but as with all D.I.Y. (Do It Yourself) endeavors, the long-term investments that’re necessary can often come with a pretty hefty start-up cost. For instance, you’ll probably end up having to pay much more for a great “home studio” set-up than you would a weekend in “the studio”, but if you consider your investment as sort of a ‘flat-fee’ for the unlimited recording possibilities you’ll have in the comfort of your own home, the long-run is obviously very cost effective.

As I see it, there are three general “levels” of studio experience available: DIY or home studios, semi-professional spaces, and professional or “real” studios - and each has its own particular degree of effort and funding necessary on your part. I’ve been personally involved with all of these methods many, many times as both a performer and an engineer, and I have to admit that each of these will inevitably have its pro’s and its con’s. In any event, today I’d like to discuss our first option:

 – Total DIY –

This is the option that I’d recommend to most starting musicians/bands. Recording your material yourself is a great way to engross yourself in the process, and I think being able to do so at your own pace is essential to the learning curve. Among this category we probably have the most options of all, and depending on your levels of budget and technical inventiveness, you can get something recorded for practically nothing! I’ll never forget recording my first punk band through a $25 four-track mixer & a cassette recorder we got at Goodwill, and while it may not have sounded the best, for a bunch of little broke, 15 year old punks, we had something to pass out at shows that we were pretty proud of!

Programs

These days, assuming you don’t want to pay for the steeper set-ups like ProTools or Logic right off the bat, there are many digital options that won’t cost you much more than our ‘Goodwill rig’ did us, and will sound infinitely better. Your best asset will probably be the computer you’re reading this on and if it happens to be a Mac, you’ve probably already got GarageBand, a spectacular and super easy-to-use recording software, a click away! If you don’t have GarageBand, there are also free programs like Audacity out there that’ll serve you just as well. (It may not be as pretty and option-loaded as GarageBand, but the simple interface is nice to learn on and super low-profile; even my dinosaur HP could run Audacity and that computer couldn’t run anything!) 

The advantage of programs like these is that they give you the opportunity to get used to the idea of recording without having to invest a single dime. However, the disadvantage, as you’ll quickly find, is that if you’re using your internal computer mic, the sound quality won’t be very good. This can be remedied in a number of easy, cost-effective ways. The simplest of which, if you’re just recording one electric instrument at a time, is to pick up some kind of 1/4″ to 1/8″ adapter plug from your friendly neighborhood A/V store and run straight into your mic/line-in jack. This, too, can become rather limiting though, so pretty soon you’ll want to start looking at…

Mics

If you’re looking for a simple, “general-use”  sort of mic, I’d recommend getting some sort of omnidirectional large diaphragm condenser microphone, undoubtedly the best for picking up large amounts of sound. Here you’ve got an option between a “normal” XLR mic, for which you’ll need some sort of interface to connect it to your computer, and a USB mic, which you can use directly with a computer but ONLY with your computer. If you decide to go this route, I’d suggest either the AudioTechnica AT2020USB or the Samson G-Track. Both of these mics work brilliantly with all of the aforementioned programs, but certainly have their differences: while the AudioTechnica might sound a slight bit better and cost a slight bit less, the Samson also sounds amazing AND has a built-in interface w/ a gain-adjustable stereo instrument input, making it a very well-rounded and versatile recording package as well. Along these same lines, I’d also highly recommend the Zoom H2 Portable Recorder which also has stereo in/outputs for analog recording AND can even function as a small, portable, self-contained recording device all by itself! (This is awesome for live shows and rehearsals - I’ve documented almost everything I’ve done since I got it!) 

There are also a few “mini-jack” mics in production that serve great for beginners, and offer a great large-scale sound pickup for a very small price. These mics typically run off batteries, and offer a stereo signal that can be plugged straight into your mic/line input on your computer - the Sony ECM MS907  and the AudioTechnica Pro 24 are great examples of these, that can easily be found for less than 100 bucks. 

If you do decide to go the XLR mic/interface route, however, you will end up paying a bit more money, but you’ll get significantly more options in terms of recording flexibility. (I’ll talk more about interfaces in a moment.) As XLR’s have been in a much wider range of use for so much longer than USB’s, on the whole they tend to sound much better for your money, and offer an exponentially larger number of options. 

As I said, a large diaphragm condenser’s probably going to be your best bet at first: they’re not only incredibly versatile for recording room-fulls of sound, but are also great for recording individual instruments, amps or voices. You can get some great switchable cardioid/omnidirectional mics like the Samson C03U or the Behringer C-3 for less than $100, or, if you want to go a little higher quality, something like the AKG Perception 420 or Rode NT1-A cardioid for about $250. (I won’t get into the difference between omnidirectional, cardioid and supercardioid condensers here, but if you’d like a resource, Sweetwater.com has a terrific “Studio Microphone Buying Guide”.)

If you’d like to be more specific with your micing, or are planning on using your set-up for live sound, I’d also highly recommend investing in a couple dynamic mics as well. Standards like the Shure SM-58 (one of the best for horns & vocals) and the SM-57 (arguably the best for amps, speakers and snare drums) cost less than 100 bucks, and will give you awesome results for a lifetime. (There’s a reason these two are industry standards!) Since dynamic mics, and most cardioids, are really only used to pick up one specific instrument’s sound, if you’re investigating these options, you’ll need to have some kind of multi-track capability, which means it’s time to talk about…

Interfaces 

Much like microphones, interfaces can come in all different sorts of shapes and sizes, and can be near custom-taylored to fit any budget. If you’re only looking to use a channel or two and portability’s important for you, something like the M-Audio MobilePre USB or the PreSonus AudioBox USB are great options that you can get for a reasonable price; or if you’re running FireWire, the PreSonus FireBox or the TC Electronic Konnekt 8 are also great options. It’s important to note that if you’re using ProTools, you’re kind of stuck with one of DigiDesign’s fancier (read: pricier) interfaces, like the M Box, Digi 001, or 003. (I know I know, compatability’s a pain…)

If you’re not running ProTools, though, you’ve also got the option of running through a USB mixer, like the Behringer 1204FX or the Alesis MultiMix 8 USB (which I just bought and love!) to process your sound. These are great options, as since they’re fully functioning analog mixers, you can also use them live with several instruments, through a PA or amp, and take the digital out straight to your computer. One small disadvantage of these is that, as they usually only send out a stereo signal to your computer, any post-production level changes are basically impossible; though with a good sound check first, this is kind of a non-issue. 

–The Bottom Line –

The bottom line, in my opinion, really comes down to figuring out exactly how much you really need for whatever project you’re working on. If you’re working on your first “record”, you’re probably gonna be doing it on a pretty tight budget and that’s certainly important to keep in mind; but don’t forget that this very likely won’t be your last record and it wouldn’t hurt to have some tools for the next one. Getting a simple, efficient, affordable set-up that you can later expand upon is a great idea, and a great way to “grow” into having a studio of your own. All too many times I’ve seen bands either go out and spend entirely too much money on gear they don’t need or know how to use, or grossly underestimate their options and end up with an inferior product because they’re ill-informed . (Incidentally, the picture at the top is of my set-up, which, though rather humble, functions to record all my solo/small group stuff marvelously!) The key is really taking the time to make sure you know what’s out there and weighing all your options accordingly! 

I’ve done my best here to hip you to some of the equipment I, and folks I know, have used over the years that’ll be sure to give you a great final product without breaking the bank. In my next post, “Recording Tips for Bands on a Budget - Part II: ‘Semi-Pro’ Recording”, I’ll talk a little about some of the other slightly more arduous, yet significantly less expensive, ways you can get your music out there with the help of others! And, as always, thanks for reading and please feel free to comment away! 

Well, it took about a month longer than I meant it to, but just got my second video up - my solo bass take on Jamiroquai’s “Dynamite”. Everything’s recorded live, w/no overdubs, thanks to the help of my Boss RC-50 loop machine. Anyway, hope you dig it, and I’d love to hear what y’all think!

[*Edit: If the Vimeo embed below doesn't work, you can also check it on YouTube here. Thanks a lot!]

Zach Parkes - Dynamite (Solo Bass Jamiroquai Cover) from Zach Parkes on Vimeo.

I thought today, in honor of the Fourth of July, I’d post one of my all-time favorite poems and, in my mind, one of the more patriotic things I’ve ever laid eyes upon. From his collection Howl and Other Poems, I give you Allen Ginsberg’s incredible “America”:

America I’ve given you all and now I’m nothing.
America two dollars and twenty-seven cents January 17, 1956.
I can’t stand my own mind.
America when will we end the human war?
Go fuck yourself with your atom bomb
I don’t feel good don’t bother me.
I won’t write my poem till I’m in my right mind.
America when will you be angelic?
When will you take off your clothes?
When will you look at yourself through the grave?
When will you be worthy of your million Trotskyites?
America why are your libraries full of tears?
America when will you send your eggs to India?
I’m sick of your insane demands.
When can I go into the supermarket and buy what I need with my good looks?
America after all it is you and I who are perfect not the next world.
Your machinery is too much for me.
You made me want to be a saint.
There must be some other way to settle this argument.
Burroughs is in Tangiers I don’t think he’ll come back it’s sinister.
Are you being sinister or is this some form of practical joke?
I’m trying to come to the point.
I refuse to give up my obsession.
America stop pushing I know what I’m doing.
America the plum blossoms are falling.
I haven’t read the newspapers for months, everyday somebody goes on trial for murder.
America I feel sentimental about the Wobblies.
America I used to be a communist when I was a kid and I’m not sorry.
I smoke marijuana every chance I get.
I sit in my house for days on end and stare at the roses in the closet.
When I go to Chinatown I get drunk and never get laid.
My mind is made up there’s going to be trouble.
You should have seen me reading Marx.
My psychoanalyst thinks I’m perfectly right.
I won’t say the Lord’s Prayer.
I have mystical visions and cosmic vibrations.
America I still haven’t told you what you did to Uncle Max after he came over
from Russia.

I’m addressing you.
Are you going to let our emotional life be run by Time Magazine?
I’m obsessed by Time Magazine.
I read it every week.
Its cover stares at me every time I slink past the corner candystore.
I read it in the basement of the Berkeley Public Library.
It’s always telling me about responsibility. Businessmen are serious. Movie
producers are serious. Everybody’s serious but me.
It occurs to me that I am America.
I am talking to myself again.

Asia is rising against me.
I haven’t got a chinaman’s chance.
I’d better consider my national resources.
My national resources consist of two joints of marijuana millions of genitals
an unpublishable private literature that goes 1400 miles and hour and
twentyfivethousand mental institutions.
I say nothing about my prisons nor the millions of underpriviliged who live in
my flowerpots under the light of five hundred suns.
I have abolished the whorehouses of France, Tangiers is the next to go.
My ambition is to be President despite the fact that I’m a Catholic.

America how can I write a holy litany in your silly mood?
I will continue like Henry Ford my strophes are as individual as his
automobiles more so they’re all different sexes
America I will sell you strophes $2500 apiece $500 down on your old strophe
America free Tom Mooney
America save the Spanish Loyalists
America Sacco & Vanzetti must not die
America I am the Scottsboro boys.
America when I was seven momma took me to Communist Cell meetings they
sold us garbanzos a handful per ticket a ticket costs a nickel and the
speeches were free everybody was angelic and sentimental about the
workers it was all so sincere you have no idea what a good thing the party
was in 1935 Scott Nearing was a grand old man a real mensch Mother
Bloor made me cry I once saw Israel Amter plain. Everybody must have
been a spy.
America you don’re really want to go to war.
America it’s them bad Russians.
Them Russians them Russians and them Chinamen. And them Russians.
The Russia wants to eat us alive. The Russia’s power mad. She wants to take
our cars from out our garages.
Her wants to grab Chicago. Her needs a Red Reader’s Digest. Her wants our
auto plants in Siberia. Him big bureaucracy running our filling stations.
That no good. Ugh. Him makes Indians learn read. Him need big black niggers.
Hah. Her make us all work sixteen hours a day. Help.
America this is quite serious.
America this is the impression I get from looking in the television set.
America is this correct?
I’d better get right down to the job.
It’s true I don’t want to join the Army or turn lathes in precision parts
factories, I’m nearsighted and psychopathic anyway.
America I’m putting my queer shoulder to the wheel.

Alright, alright, so the “weekly” aspect of these things isn’t quite working out like I’d hoped… I admit it. In my defense, though, this isn’t necessarily due to falling behind on my “reading a book a week” pledge; it’s more that I’m just takin so darned long with my reviews! I’ve been reading about a book a week pretty solid, but I’m finding that most of the books I’m reading are really requiring a couple days’ thought to decide what I think about them, and I’m falling a bit behind skedge. (Incidentally, I love it when a book has that effect, so we’ll just have to see whether or not I pick up the pace… You may just have to bear with me.)

Anyway, such was very much the case with last week’s book, Jerzy Kosinski’s The Painted Bird  – a deep, dark book about a young boy’s trials and tribulations while growing up throughout Eastern Europe during Word War II. This book was a lot of things - shocking, depressing, insightful, interesting,disturbed, beautiful - all in a very small package, and honestly, upon writing this review, I frankly still don’t know how I ultimately feel about it. 

The story, which follows the dark-haired, brown-eyed boy for six years as he travels from village to village, is full from start to finish with every kind of horrifying abuse and brutality imaginable, and reading it, one can’t help but feel the unbelievable pain the boy endures. In this, Kosinski’s first novel, there’s no shortage of his trademark imagery and poetic description, but unlike his other books (take Being There for example, one of the most beautiful and inspiring books I’ve ever read), his artistry in The Painted Bird serves to paint one of the more deeply disturbing pictures I’ve ever read about. And frankly, I’ve read some pretty effed up stuff. 

The novel, which is a pretty fast 230 pages, follows the basic formula of “boy enters village, boy finds one ally, boy gets devastatingly abused, boy gets run out of town”, and makes for a horrifying first-person account of one of the darkest times in the history of humanity. Called “one of the most important books in so-called ‘Holocaust Literature’” (and by Arthur Miller no less!), what I think sets Painted Bird so far apart is that unlike most WWII books, which focused so heavily on the horrible brutality of the Nazis, Kosinski’s book focused almost solely on the widespread effect the Nazis’ terror and hatred had on the people themselves.

Throughout the adventure, our narrator is witness to endless acts of all sorts of evils (including but nowhere near limited to: rape, murder, cannibalism, castration, beastiality, and horrible daily physical/emotional abuse), but it’s almost always his fellow villagers that’re behind it — never for a second relenting the severe hatred that existed for people of his “kind” (the boy’s actual heritage is never clearly established, though he is constantly regarded as a “Jew” or a “Gypsy devil”.)

Over the course of his travels, the boy tries a myriad of ways to escape his suffering - superstition, Christianity, mysticism, agnosticism - only to find that none of them will relieve him of his torture. Ironically enough, the boy’s only supposed ’salvation’ comes at the end of the book when his village is “saved” by the Soviet army, with whom the boy quickly grows to place his complete and total trust in. Even this is shed in a depressing light, though, as we bear witness to our twelve year-old protagonist’s near brain-washing at the hands of the Communists, as he abandons almost all else he’s learned in life for his worship of Joseph Stalin. (In the orphanage after his stay with the army, he utterly refuses to take his special-made Soviet uniform off, even to wash it!) 

What really bothered me about the book though, was just how unrelenting Kosinski was with all the awful stuff. Now, I’m no stranger to dark literature, and have frankly always believed that you can’t have real good without some solid evil - nor light without darkness, yin without yang, bliss without sorrow, and so on - but I believe the the converse is definitely true as well, and here Kosinski falls far short. The Painted Bird, with all its incredible insight and power, is one unspeakable horror after another and the resulting lack of balance seems to have a more numbing effect on the reader than anything else. I suppose that the author might have intended to have this impact on his audience - perhaps as a way of mirroring the emotionally hardening effect that the story had on our hero - but in my mind, the end result is ultimately counter-productive. The Painted Bird is a remarkably-written book that, unfortunately, I feel I can only truly recommend to those certain biblio-masochists with the stomachs to endure it.

For my first book of the Summer, I decided to read  A Fraction of the Whole, the amazing debut novel by Australian author Steve Toltz. I’ll admit straightaway that I picked up the book almost entirely due to the review on its cover from the Wall Street Journal - which states that Toltz’s book “deserves a place next to A Confederacy of Dunces” (quite possibly my favorite book of all-time) - and while at first the comparison seemed to be a bit of a stretch for me, by the time I finished Fraction I couldn’t have agreed more. 

Much like Confederacy (which, coincidentally was John Kennedy Toole’s debut masterpiece as well), A Fraction of the Whole is a brilliant and engaging examination of the close-knit relationship that exists between genius and madness, and the fine (if not altogether blurred!) line that so often exists between the two states of mind. Also much like Confederacy,  A Fraction of the Whole accomplishes this feat through the amazingly insightful perspective of some of the more fantastic and brilliant characters I’ve ever read - in this case, the Dean family. 

Over the course of the novel, which spans a meaty 550+ pages, Toltz treats us to a look at three generations of Deans - largely centered around the youngest, Jasper, and his father, Martin - in an epic adventure that travels “from the Australian bush to bohemian Paris, from the jungles of Thailand to asylums, labyrinths and criminal lairs” and never once fails to excite and intrigue. With laugh-out-loud highs and soul-searching lows, A Fraction of the Whole reads as quickly and accessibly as a book with half its content, yet sacrifices nothing to deliver this deep, and incredibly well-painted, story. 

One of the things I appreciate so much about great fiction is that, in order for an author to write about an intellectual/philosophical/witty/deep/etc  character, he or she must actually be every bit that intellectual/philosophical/etc themselves!! It’s an art that there’s no way to fake, and in this, his first attempt, Steve Toltz has held nothing back. Through his amazing foray of characters, each with its own special blend of outrageous personality disorders and enormous insights, Toltz examines nearly every facet of our society, leaving practically no stone unturned - covering everything from religion, to optimism, to love, loyalty, isolation, politics, criminality, sex, parenting - you name it! The list goes on and on.

The end result is a fantastically entertaining and insightful look into the depths of human character, and a pleasant challenge to many of the conventions that we as a society hold dear - not the least of which being the notion of a “warm-up novel”. With A Fraction of the Whole, Steve Toltz has started his career on an incredibly high note, and I, personally, cannot wait to see how high he takes it from here.

No matter how busy you may think you are,
you must find time for reading,
or surrender yourself to self-chosen ignorance.
~ Atwood H. Townsend ~

I gotta say, aside from all the small things like health, happiness and general productivity, the coming of Summer has meant the return of one particular, and one majorly important, thing for me:

READING. 

That’s right! Havin a little extra free time in my days has meant one thing so far: finally having some time to read, and let me tell you, I have been loving it! Admittedly, the first few weeks were mostly spent finishing up the three measly books I attempted to start this whole last semester, but since the beginning of this week, I have been looking at a cuh-leeeeaan slate! This means that I’ve finally had the opportunity to start digging into the top of my towering “To Read” pile - my first endeavor being Steve Toltz’s “A Fraction Of The Whole” (which was given and highly recommended to me months ago!) - and since starting it I have not been able to put this thing down.    

I’m not sure whether it’s the book itself, or simply just the fact that I’m reading something good, that feels so refreshing, but I’m starting to remember awfully quickly why I used to read a book a week back in the day. I honestly can’t remember the last time I felt this engaged and this refreshed, and it never ceases to amaze me the way that engrossing yourself in a good piece of fiction - and by association another world and a whole other life - just makes you appreciate your actual life that much more. 

So this, in short, is the motivation behind my pledge for the rest of summer, which I whole-heartedly invite all of you to join me in: to do everything I can to read, and review, one book a week.  I know it sounds a little intense, and frankly I’m not even sure that I’m even gonna be able to get this done on the weekly, but I figure that’s why I’m leavin it at the “do everything I can” stage. (Hell, maybe I should just make it ‘every two weeks’…? Naw, never back down!!!) Besides, as I see it, we’ve all got some free time on our hands now that summer’s comin around - why not feed our heads a little? 

So there’s my call to all of you! Friends, family, strangers, biblio-philes and -phobes alike, join me in reading a book a week! (Or every other week, if you rather!) Fiction, non-fiction, science fiction, travel, history, cooking, who cares? Read whatever you want, and be sure to find something that really interests you! And further more, review it with me!! I know I’m personally starting a goodreads.com site for this project and I invite all of you to do the same!! (It’s a great place to post and receive recommendations! Check it out!) So what do you say, folks, who’s gonna read a couple books with me, hunh?

Just finished my very first video - my take on Simon & Garfunkel’s “59th Street Bridge Song”. All recorded live, w/ no overdubs, and a little loopyness towards the end, courtesy of my RC-50 loop station. Now that I’ve got the process down, I’ll hopefully be gettin a few more of these up here later in the week (I’m hoping that sayin that’ll make me follow-through with it… we shall see!). Anyway, stay tuned, and enjoy!

Zach Parkes - 59th St. Bridge Song (Solo Bass Cover) from Zach Parkes on Vimeo.

[Zach's first thought yesterday morning: Holy smokes! It's June already?!? WTF?!]

Wow. I can’t believe it’s been two whole months already since I made this thing, and moreover, I really can’t believe it’s been about six weeks since my last post! I know I’ve been a horribly negligent blogger later, and I’m fully aware of what a tease it is to make a blog, drop two relatively meaty posts on it and promptly abandon ship, but my timing for making this site honestly couldn’t have been worse! (I suppose that’s what I get for making this site as a means of procrastination in the first place, hunh? lol!) 

The last couple months have been absolutely CRAZY for me, and unfortunately this blog was one of the things that just had to take a backseat.

But this is NO MORE! - because Summer is finally here!! 

Which means, I’m finally going to have the free time to take care of aaaaaall the things I’ve been putting off - recording, writing, practicing!, blogging, gigging, etc - and this is gonna be the place to check it all out! I’m awfully excited about the prospects of this summer, and it’s already getting off to a great start - so stay tuned for a huuuuuge influx of stuff from me in the very near future! Seriously. I’m about to get downright spammy on y’all.  (Just kiddin’.)

(But not really.)

:o)

Anyway, in short, I just wanted you to know, Blogosphere, that I love you, I’ve missed you, I haven’t forgotten about you, and I’m going to do my very best to make up for all our lost time! 

Love always, 

Z

In my last post, I touched rather briefly upon the idea of what I like to call “Neo-Chamber Music” as a description for this sort of loose ’scene’ (or community, or genre, or collective, or whatever) I seem to be finding myself so engrossed in lately, and after several thought-provoking comments/conversations about the matter, I thought in this post I might expand a bit on the idea.

So the first logical step to me seems to be to define, as best I can, the sort of music I’m talking about here, which is actually a relatively more complex task than you’d think - largely because most of the artists I’m talking about in fact have so little in common! (At least on paper, anyway…) The uniting factor seems to lie more in the mindset of the artists than the particular genre their music technically falls in, and this is one of the things that I think makes this ‘community’ so uniquely interesting.

In her essay “The String Quartet and Society”, Christina Bashford describes chamber music, which she calls ‘music of friends’, as “music to be performed for its own sake and the enjoyment of its players, usually in private residences (often in rooms of limited size), perhaps with a few listeners, perhaps not”, and I believe this explanation nails the commonality that I see between all these musicians I’m referring to under the blanket of “Neo-Chamber”. In my last post about the Capitola House Concert, I talked about how enjoyable it was having as diverse a setting as we did - again, where else could you see traditional Mexican ranchero singing, ambient-solo-bass-looping, some bluesy-singer-songwriter action, and a jazz/funk trio all under one roof? - and it’s only because this music is performed “for its own sake and the enjoyment of its players” that such an event is even possible in the first place.

Now, like classical chamber music before it, “Neo-Chamber” music is, in its nature, a much more intimate affair than most music - typically consisting of intricate, sophisticated arrangements, performed by only a few, or often only one, musician - and this small-scale, intimate sort of vibe allows for a relatively small-scale, intimate audience/artist relationship to boot. I think it’s safe to say that anyone who makes a habit of playing in living rooms probably isn’t dealing with millions of fans (and likely doesn’t want to!), and is thus able maintain a sort of actual relationship with many of their fans that most mainstream artists could never do. As a result, the music these artists share with their audience really is, as Christina Bashford described, “music of friends”, and is shared and appreciated by both parties involved accordingly.

In fact, more often than not, many of the folks in the audience tend to be fellow musicians and peers themselves, which only furthers what’s already bound to be an informed and appreciative audience (I mean, if they weren’t, how would they have even heard about the show?). I believe Bashford’s words regarding string quartets ring all-too-true again when she later writes:

This was truly the quintessential ‘music of friends’, an intimate and tightly constructed dialogue among equals, at once subtle and serious, challenging to play, and with direct appeal to the earnest enthusiast. “Just a few rational people conversing” was how Goethe would later see it.

Here we finally come to the crux of what I see “Neo-Chamber” music really existing as: music defined by its intention, its humility, and its grace, rather than its origins, or even its particular sound; Music that can be ’subtle and serious’ without taking itself too seriously; Music based upon its own inherent co-operative spirit, a true “dialogue between equals”! Perhaps Goethe had it even more right than he thought when he related the value of chamber music to its conversational aspects - for today, in a world where Social Media connections exist and thrive beyond old Johann’s wildest dreams, the conversation and interaction within the “Neo-Chamber” community is by-and-large about as much a part of the experience as the music itself, and at the very least, the two are often inter-connected to a level well past distinction.

Take for example, events like the April 10th Capitola House Concert, which was put together entirely via Twitter, and featured over a half a dozen musicians, most of whom had never even met in the “real world”, yet had known each other and developed an appreciation for each other’s music in a way that would’ve never been possible, were it not for the internet; or take the recent popularity of “live streaming” concerts, thanks to sites like uStream, where artists can film and share their set, instantly, with anyone in the world, who’re then able to watch, and talk to each other, in a specified “show site”. One recent example of this was a concert Steve Lawson & Lobelia performed last week and streamed live using a only a MacBook camera. According to the super-official records, 17 people attended the show live (really not bad for a nice, cozy living room) and 198 people watched live online!!

I suppose I’m derailing a bit here, but to bring it back home, the point is that in our society today, we’re starting to see a shift away from many of the “pop culture trends” we’ve been building over the last many years in respect to our music, and starting to see a shift back toward the value of more small-scale and substantial music; and I believe this shift is almost solely due to the transparency and accessibility that modern technology provides, and which are so very vital to “Neo-Chamber” Music.

So here’s where I think I’ll turn it over to you guys. What’re your thoughts on “Neo-Chamber” Music? Where do you go for music - larger scale sources, or smaller, more intimate ones? (And why?!) Also, where do you see musical trends heading?