When I am writing songs I use Reason 4 a lot. I have not upgraded to the newest version as of 02/10/15 and yet I still can’t believe how great this software is! The graphic interface is inspiring. It feels like a mad-scientist’s playful laboratory. Even with this older version, the possibilities of sound generation are infinite. The code is stable and super-fast which means older computers, like my 2008 Macbook Pro, can run this software like a top. The cpu meter barely moves though I can have dozens of synthesizers and effects stacked into a chain. Incredible! I highly recommend this software for the creative musical spirit in you.
The other excellent part of Reason is it will teach you everything you need to know about running all the components of a recording studio while teaching most of the fundamentals of electronic music synthesis. Just the factory presets without any further effects or routing are rich and inspiring. When you add the metaphorical patch cords, CV control and FX, the sound generation possibilities are jaw-dropping and compete with any outboard gear I have heard. The biggest problem I have is being tempted to explore the sounds and synthesis without actually writing any songs, so I try to work with discipline and focus. Talk about schooling! Reason is a fun way to create and be educated. My hat is tipped to the brilliant programmers and creators at Propellerheads in Sweden. This software has been around for 14 years for both Mac and PC. You get so much for your money. Hey I wasn’t paid for this endorsement.
When it’s snowing out and I get the winter blues, there’s no reason not to get creative with Reason!
Dennis Chambers, one of the world’s greatest drummers, is a genius. He not only plays great and as close to perfect as I’ve ever heard, but he has innovated an approach to the drum kit that is an evolution from what Steve Gadd was doing. Many drummers are great, but few innovate and reinvent the instrument. Dennis plays pure music on the drums, very melodic, not brash drumistic athleticism like a lot of good drummers. He’s got that too, but his playing seems to always have Bach or a kind of melody, like Max Roach, that makes good compositional sense. I was blessed to meet Dennis serendipitously at a bar in Columbus Ohio. Here’s what I asked him:
Dennis, that funk stuff you’ve got going on with the weaving snare ghost notes, plus the snare accents, plus the kick drum plus the ride cymbal woven with the occasional non-patterned bell of the ride, did you develop that before or after George Clinton and P-funk?
“I had that stuff down BEFORE P-funk!”
That’s an amazing answer because it means he had developed his breathtaking coordination when very young. It’s difficult to hear that intricate coordination he does on P-funk records because it’s pure simple disco funk beats, more or less, with very little fills. So it makes sense he developed that amazing style of playing before P-funk. I will speculate here and say I’m not sure he could’ve developed such magical coordination playing in P-funk: the band was huge and in huge bands drummers must play more simple so everything can be heard. Simple helps the groove but rarely develops extreme coordination. The recordings change drastically when you check out Dennis with John Scofield, ah, now his playing opens up and one can hear all the subtleties of his playing. This was the band that introduced Dennis to the jazz and fusion world, with the album Blue Matter. When I heard that I thought the sky had fallen, heaven had come down from above. The drums would never be the same again. My practicing changed drastically after I heard Dennis!
“Are you ambidextrous?”, I asked Dennis. “Yes.”
The grand gem of the discussion I had with Dennis blew my mind. It would be wrong of me not to share what he said. Here is a gift for the world and for all artists to consider:
“My mom told me that of all the great qualities a person could have, the greatest quality is to be honest with yourself.”
Thank you Dennis for sharing that incredible wisdom from your mother to me.
I have to laugh because my last entry was about Tony Williams and this entry was inspired by hearing Tony play the hihat. Tony did everything known to Mankind with the hihat. There is no improvement on the topic. I’ve never heard something so simple be explored so deeply. Tony makes the hihat blossom into the universe that it is. You cannot imagine how much the hihat can do until you hear Tony, Max Roach and Buddy Rich play the hihat. ‘Nuff said.
I really like Tony Williams, especially when he was young. His drum kit sound was tight and crisp in the 1960’s. That time period was incredibly creative for Tony. As he moved to fusion in the 70’s his kit got louder and more rock-sounding in texture, though he always played great. I’ve been fascinated with Miles Davis’s album ESP, released in January 1965. On this album Tony plays very minimalist. He milks everything he can out of the ride cymbal and barely touches the drums. It’s a lesson in what one cymbal can do. I’ve never heard anything else quite like it. Check it out! The guy has chops from heaven – or hell, depending on your perspective – and barely uses them on this record, except for lush dynamic control. What a master! To think Tony was only about 16 years old when he recorded this album is beyond words.
One of my favorite musicians of all time is from Cameroon, Richard Bona. He’s one of the most innovative and musical electric bass players of all time, his voice is beautiful and he even looks cool. He’s a natural. He moved from Cameroon and made his mark in Paris, France. Then, the jazz world discovered him. I discovered him one night at a Pat Metheny concert in Ohio. He blew me away. Then I discovered this album. A one-time unique recording never to be repeated again, this music was created without rehearsal in a studio by these three amazing men: Cameroon’s Richard Bona, Congo’s Lokua Kanza and Paris-born Gerald Toto, whose parents are Caribbean. All these guys sing gloriously with tight textural harmonies. The guitar playing and percussion sparkles like Champagne. A lawyer from France produced the album and put these guys together in the studio to see what would happen. Since when does a lawyer or any businessman do something this cool with his money? If more lawyers could make beauty in the world with their money like this, I would dance on the ceiling. The song-writing is great, and yet apparently it was created in the studio, almost improvised. This music is pure soul with masterful, tasteful musicianship. In fact the album doesn’t last long enough. I want more. It’s a masterpiece.
I am so excited. I am going to see a legend in drumming tonight, Eric Gravatt, play with McCoy Tyner at the Regattabar in Cambridge MA. In the 1970’s he became one of the greatest drummers in demand for jazz music, playing with Freddie Hubbard, Weather Report, McCoy Tyner and many others. He had such a groove, beautiful swing, gut-feeling polyrhythmic fills and incredible swooping dynamics.
After having such success being one of the greatest drummers in the world, Gravatt dropped out of the scene to support his family and gain financial stability. What a dad! He became a nightshift prison guard in Missouri for almost twenty years.
He had a serious effect on drummers Terry Bozzio, Vinnie Colaiuta, Tony Williams, Jack DeJohnette and countless others. Joe Zawinul once said in an interview that of all the great drummers he had played with, Eric Gravatt was the best, the most profound. That says a heck of a lot about a person, because Zawinul has played with the best of the best.
I never thought I’d get a chance to see Gravatt live in concert. What an opportunity! I know that having expectations is not wise but I cannot help myself. I believe Gravatt is going to turn my head around and inspire me in new ways. I hope so.