I recently read Michael Gray’s biography of Georgia blues musician Blind Willie Mctell. The book is titled hand Me My Traveling Shoes, a line from McTell’s best-known song, “Statesboro Blues.”

Gray’s approach is to dig through primary sources of all kinds to fill in the hazy details of McTell’s life and times. Learning about African Americans in the southeast United States from the early 1900s is often a puzzle that tests the patience of a diligent researcher. Gray did his research well, resulting in a thorough and balanced history. If you are a fan of country blues or early-1900s folk music, this is a great read.

A Great Musician

Gray paints McTell as an energetic, industrious, optimistic soul. Blind from birth or from childhood (the specific details are unknown), Willie McTell was one of Atlanta’s most popular blues performers. McTell played the 12-string guitar with brilliance and skill. During the 1920s and 1930s, the 12-string was a popular instrument in Atlanta for its loud sound and the complex piano-like tone. McTell was one of the top 12-string players of his day. Today the 12-string is usually played with simplistic strums, but McTell played jumping bass lines and syncopated rhythms on it, plus a little slide work too.

McTell’s singing was sweet and high in a tenor range. He defies today’s stereotype of “blues singing” as whiskey-soaked growl and rasp. And his material also defies today’s notion that blues music is about miserable topics. No doubt there are some nasty numbers among the few dozen recorded McTell tracks available today, but most of the songs have a playful or rowdy tone to the lyrics. His “blues” are no bluer than the popular country songs and folk ballads from the same period.

McTell is known as a blues musician, and he was a specialist and innovator in the forms of Piedmont blues. But there is a strong gospel thread through his recordings too, along with some borrowing from popular songs and ragtime numbers. McTell was an entertainer, not a purist.

Turbulent Times

Gray lays out a detailed study of the historical, geographical, and cultural context of McTell’s life. McTell lived from 1903 to 1959, a period in which Georgia went from post-war reconstruction to urbanization and industrialization. McTell lived on the fault lines between country and city, between black and white, between farm and factory.

McTell’s blindness was no more a hindrance to him in his day than it would be today. He booked his own gigs over the telephone. He walked the country roads around the small towns where he grew up. He knew the streets, landmarks, and tram lines throughout Atlanta during a time when the cityscape was changing rapidly. In those days, the streets were redesigned to accommodate the arrival of automobiles, and the population of Atlanta doubled in the first two decades of the twentieth century. McTell is portrayed in this book as someone who kept in step with the changing times.

McTell was savvy and earned his living from his music. Some who don’t get a close look might expect blind musicians from a century ago to live as bumbling, penniless street performers who really didn’t know what was going on around them. On the contrary, McTell was literate, well oriented to Atlanta life, popular, and much admired.

First-Person Biographer

Another unique feature of Gray’s book is the inclusion of first-person anecdotes from the author’s research trips to Georgia. Gray is British and brings a foreigner’s objectivity to the task. He describes how he found census records, birth certificates, death certificates, and funeral home records. He also points out the many unfortunate gaps in the paper records from the early 1900s in the south.

Gray joined forces with an local couple to find the lost grave site of McTell’s second wife, Helen. He gives his impressions and opinions about the interesting and curious personalities that he interviewed. And he describes many of the helpful people behind desks at courthouses, libraries, a funeral home, and the medical institution where McTell died. At one point Gray found himself in the hateful eye of a hard-ass Georgia country cop. Being a guy with a British accent means he got more than the standard helping of humiliation and cruelty, an experience which could help an outsider appreciate what African Americans lived with every day under southern segregation.

It’s a curious thing to me. A writer in the twenty-first century has a terrible and frustrating time finding out about a popular black musician from a major city in the United States from less than a century ago. Does this show us how primitive and indifferent American society really was just a couple generations ago?

This dense book doesn’t read like Wikipedia. It’s for nerds who love the method and the research for its own sake as well as the subject matter being uncovered. Pick up Gray’s book, and you’ll get an appreciation for McTell along with a broader understanding of the times in which he lived.

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This post, Blind Willie McTell: A Great Read For Blues Fans, originally appeared on New Trail Coaching, Scott Malyszka on May 1, 2012. Tweet This Post!

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Harris says that mistakes are opportunities. If you want to take the music somewhere, you can’t push and pull the others forcefully. You contribute to the motion and color and feeling by listening and responding. Forcing things to go in a certain direction will alienate your collaborators more than inspire them. As long as one accepts the other’s music, then the group plays and creates a big music with deep feeling and meaning.

Let The Musicians Play

I’ll talk about myself a little, though I’m certainly not the perfect example that all musicians should follow. I do tend to take unusual approaches to music sometimes. For example, I don’t tell others what to play very much. I know this has thrown a few of my musical collaborators off a bit, because lots of folks are used to finding a specific part and playing that. “This is my part, and I’ll play it this way.” I figure the music works best for me if every practice and every performance has a spontaneous and present flavor to it. It has to smell and taste like “now.” And I tend to gravitate towards musicians who can put a lot of “now” into their playing.

I once heard an interview where mandolinist David Grisman said that playing with guitarist Doc Watson was always a great experience in the 80s and 90s, because Watson never told anyone in those sessions what to play or how to play. That’s trust and respect.

This “free” approach isn’t a magic formula. Sometimes musicians do need more direction, of course. There are settings, such as orchestral music, where freedom is the opposite of what makes the music come alive. You have to find the approach that works in your situation, so you can’t just follow this or that dogmatically. No matter what the approach your music needs, the trust and respect you give to your collaborators is a potent fuel for feeling a great moment with the music.

Earning and Giving Respect

What if the musicians around you haven’t earned your trust and respect? What if you’re frustrated because they aren’t playing very well? maybe they are playing fine but you’re just in a bad mood. Maybe you just need to give folks a little more room to play. The competitive nature of music and the music biz makes a lot of folks grouchy, arrogant, and disapproving jerks. Watch out so you aren’t becoming one yourself.

(Insert here your favorite memory of a conductor throwing a tantrum, because that is obviously what music is all about.)

Perhaps you are standing next to someone who really doesn’t have his technical chops down solid. If you’re trying to play with someone who is seriously in over his head, that will drag you down. In that case, you can be respectful to the person by trying to help them out as much as you can, even if you can’t trust the musician to stand up to the challenge. We’ve all been in that situation where we’re just struggling and fighting with the music, and nothing good is coming out of it. So be respectful when someone else is struggling, even if you have to shake things up to get the music right. Respect the person even if you can’t respect the music.

There is a difference between technical mistakes and improvising opportunities. You need to have sound musical technique. Bad timing, slowing down the groove, playing out of tune, and making lots of rattle and clunk are not what your audience is listening for. The mistakes can be opportunities for learning and improving, as I wrote in the previous post on this blog.
Bottom line; A lot of bad music is made in the name of “freedom” and “breaking the rules.”

on the other hand,breaking the so-called rules, listening, following, accepting, and trusting are all the breath and heartbeat of the spontaneous improv side of music. Can you follow the rules, break the rules, play freely, play strictly, whatever your approach, and carry the life and the story across to your audience?

Tell A Story

Performing music well is like telling a great story. Folks usually don’t worry if someone makes a few small hesitations, mistakes, and “ums” while telling that great story. People are more interested in you and what you are saying, as long as you are making that story come alive.

Imagine a person who doesn’t speak the lingua franca well because she grew up with a different language as her first tongue. There’s no reason why that person can’t tell a great story despite her limitations in grammer and vocabulary. Carry that over to your music, and you get the point. Try to get the technical things write, but at some point you have to get past musical grammar and spelling. At some point you have to make the story come alive, even within your technical limitations.

John hartford used to say that style is a function of one’s technical limitations. That’s a good thing to tell yourself once in a while. “I can only work within these limits and parameters, so whatever I come up with, that is my style.”
the next time you practice, alone or with others, think about the stories you are trying to tell with your music. What story, picture, and feeling can you speak into each piece of music you practice? Try to go beyond the rote and get to the story behind the notes.

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This post, More On Mistakes: Make Music that Tells A Story, originally appeared on New Trail Coaching, Scott Malyszka on April 16, 2012. Tweet This Post!

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Last night I was out for dinner and some live music with a crew of friends. The topic of practicing guitar came up. We talked about how hard it is to notice mistakes, and then to decide what to do about them. It seems like the whole point of practicing is to improve, but seeing mistakes and fixing them can be tricky when practicing becomes mindless routine and unconscious habit.

Watch yourself as you practice to notice as many mistakes as possible.
Once you find a mistake, then you must decide what to do about it. You can choose to ignore it, because you are intentionally focusing on another part of your playing. Or you can stop and work on the mistake until you are playing the passage correctly. Or you can plan to work on the mistake later. Do you make a deliberate choice with your mistakes, or do you follow a habit or routine without much awareness?

The most obvious choice is to stop and fix a mistake when it happens. How does a musician fix a mistake? By repeating the phrase or passage and trying to play it correctly? By improvising an exercise to focus on the underlying skill needed to correct the mistake? By focusing your mental attention to the trouble spot to clarify the connection between mind and muscles? Identifying the cause of the mistake might point you to the best remedy. If the problem is mental distraction, then you will need to put more focused attention on the problem. If the cause is physical, then you will need to work on muscles and technique. Sometimes a mistake is more stylistic–a weak or forced presentation. In that case you will need to combine your imagination and technique to develop a more effective interpretation for the piece.

Here’s a novel way to make some good use of your practice-time mistakes. Watch for mistakes as you play, and write down a nice long list of them. Do this for fifteen or twenty minutes, and suddenly you have a list that can serve as your practice agenda for the coming weeks and months. If your practice time is boring or uninspired, build your mistake list and get to work.

I once read in a book of Zen sayings that “life is a continuous mistake.” That saying has stuck with me for years. Life is messy, and people make mistakes all the time. Sometimes we don’t see our mistakes, and they just continue to happen. Other times we can recognize them and use them to grow and improve. It works for practicing music, and it works for other areas of life. Look for your mistakes in your relationships, your finances, and the way you spend your time. It’s a good thing we are all so flawed, because we have lots of mistakes to help us learn and grow.

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This post, The Magic Of Making Mistakes, originally appeared on New Trail Coaching, Scott Malyszka on March 25, 2012. Tweet This Post!

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I like to think of all the possible artistic things I could be doing as projects. Perhaps that comes from many years working as a software engineer. The word “project” feels like a well-defined goal and the time and work it will take to get there.

For some artistic personalities, thinking in terms of projects will be helpful by making the work seem attainable. A project is just a bit of work that you want to get done. You might find it helpful to focus only on a bit of work. Thinking about your entire career, about all the possibilities over decades, can bring a feeling of inadequacy or overwhelming despair. If you need to focus and calm your brain down, try focusing on one small project at a time, letting go of some of those bigger concerns for a while.

For others, thinking about a “project” may sound like a soulless, rigid, left-brain approach to things. What are we going to do–plan to have an inspiration at 9:00 am on Tuesday, to keep the project on schedule? I certainly do not use the word “project” to mean anything but a piece of work, no matter how you define that work and how you get it accomplished. For a songwriter, a project can be a song, a gig, or a recording session. For a playwright, a project might be a scene, an act, a finished script, and eventually a stage production. The mystery and soul and inspiration are all still part of the work, but it helps to clearly define what that work is.

So a project can be whatever size feels good to you. If you feel overwhelmed, then a small project can help you focus more on the moment. A small project might be something that you can accomplish in an hour, a day, or a week.

For folks who feel bored, unmotivated, uninspired, or discouraged, a larger project might be the ticket. A larger project could be a novel, a play, or a series of paintings. Dreaming up some big plans and ambitious ideas might help you get out of the doldrums. When was the last time you sat back and dreamed some big dreams about your artistic work?

Try writing down your thoughts on one of these questions.

1. Do you think that the idea of artistic projects is helpful for you? Why or why not?
2. What is one small project you can finish today?
3. What are three things you can accomplish to make this week feel successful?
4. Describe one of your big dreams. Write it down in as much concrete detail as possible. For example, I recently had a coaching client who told me, “If I could make $30,000 a year from my music, I would have all the success I could hope for.” That number is very specific, and it will help that person know the goal and the steps to reach it.

Take fifteen quiet minutes and write out your answers. Putting your thoughts into actual words on paper or computer screen will help you think more clearly.

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This post, Getting Art Done: The Project Approach, originally appeared on New Trail Coaching, Scott Malyszka on March 14, 2012. Tweet This Post!

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Lose Yourself

How can an artistic personality bring an attitude of abandon to his work?

• Lose track of time. Set up your schedule so you have some blocks of time to just hang out with your work. Find an afternoon or evening where you don’t have to think about the next thing coming up in an hour. Even better, set up a regular time. “Every Saturday night I stay up late with my sculpture work.”
• Lose yourself in space. Find a comfortable place where you feel good doing your work. That place might be a typical work area, such as a library or home studio. It might be an unusual place, such as sitting in your car in the park, or on the steps leading up to the attic. Find a place where you can get lost in your work without interruption, even if that means negotiating some spatial boundaries with others in your home.
• Lose yourself in the work. Produce without worrying about marketability. You can decide which finished pieces you will send out into the public later. First things first–just work and forget everything else. Your imagination has enough material most of the time. It only needs you to struggle through the hard work of choosing, creating, revising, and finishing.

Play games

Give your imagination some freedom, let it run off its leash for a while.

• A poet who is stuck might try to write the worst poem possible, or she might try writing a love poem to an earthworm.
• A musician struggling with an intense piece of music could try playing a few lines backward or in a silly rhythm, just for some comic relief.
• An actor might parody himself, or imitate his cat performing Shakespeare.
• A novelist could imagine a plot where a large rock is elected prime minister of Canada, and how that would bring about world peace. Or perhaps a story where scientists discover that the number eighty-two doesn’t really exist.
• An artist could draw cartoons of giant forks and spoons having a dance in the kitchen.

Though these are silly suggestions, there is a serious side to the attitude of abandon. Sometimes the intensity of artistic work makes a soul miserable. Sometimes a creative person holds to tightly to her project. She tries to hard, worries too much about outcomes, and suddenly the joy of the work turns into resentment and harsh self-criticism.

For the artistic personality that feels discouraged or stuck, letting go with the attitude of abandon can help break up the ice around the imagination. What are some things you can do to grow the attitude of abandon in your creative endeavors?

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This post, The Attitude Of Abandon, originally appeared on New Trail Coaching, Scott Malyszka on February 20, 2012. Tweet This Post!

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This rule is not just another case of “because you should” or some similar vague guilt trip. I’m not a big fan of the imaginary mom who stands in your brain ready to evaluate what you are doing, just because.

No, this rule is very practical. If you focus on criticisms and negative parts of another person, then you walk away with nothing to add to yourself. “she talked too much about herself.” “He came across as a salesperson more than a musician.” and what do you gain for yourself?

But when you focus on finding some positive stuff from another performer, you then have a little reminder of what you can add to your own work.

• “She talked too much, but her arrangements were very interesting. I need to get better at arranging my songs”
• “His sales pitch was annoying, but his lyrics were clever and provocative. I want to spend more time polishing up the lyrics on my new batch of songs.”

I’m talking about musicians learning from other performers here in these examples, but You can pick up ideas for yourself from areas other than your own.

• A novelist is listening to a rock band, and she is inspired by the dramatic shifts from loud to soft. She tries to employ some dramatic changes in tone while working on her next chapter.
• a songwriter is really digging the characters in a spy novel. He tries doing some character and plot in his next batch of songs, making a deliberate move from abstract symbolism toward a narrative style.

Focus on what you like, and take something for yourself from the other guys.

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This post, Take Something Good From The Other guys, originally appeared on New Trail Coaching, Scott Malyszka on January 6, 2012. Tweet This Post!

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Note the key sentence in this article that perfectly describes the goal of mind-focusing practices:

Meditation, suggests Brewer, appears to be “perfect practice” in the skills that make undistracted work a possibility: the ability to detect the first signs of mind-wandering, to recognize and essentially forgive the impulse, and then gently to draw the mind back to the task at hand.

In creative work, a habit of resistance can build up to the point where you lose the ability to work on your art. You want to do your work, but you don’t want to do it. The resistance comes from a long history of negative feedback about you and your interests and your abilities. meditation exercises, as this article points out, can be a huge step toward rewriting your thought patterns and breaking down the resistance.

some folks like meditation for its own sake. It is an escape or a relaxation–a way to let go of stress and feel renewed. I’m in favor of all those things, but this article brings out an extra emphasis. meditation helps one control the thoughts and stay focused. When we go beyond meditation for its own sake, we can see practical benefits. It’s like building up your mental muscles so you have the strength and stamina to keep your focus.

Read my post on centering for one example of a thought exercise to help build stronger mental focus.

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This post, Meditation Helps The Wandering Mind, originally appeared on New Trail Coaching, Scott Malyszka on December 27, 2011. Tweet This Post!

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Music is not about being cool. In his post, “Are jealousy and Sour Grapes Killing Your Music Career” at the CD Baby DIY Musicians blog, Chris R. posits that there is no such thing as cool. I have to agree with him on that–taste varies so much, it really is hard to see how the goal of music is to get you into the cool crowd.

Music is not about putting in a little bit of work in order to become the center of attention at gigs. It isn’t about having a bunch of people tell you how pleased they are. It isn’t about having everyone listen to you, where usually you spend your life stuck listening to what others have to say without getting your say in.

What is music about? It is about playing, that’s all. Like little kids playing a game simply for the fun of it. There’s a saying that baseball legend Willie Stargell used to say, and it is probably older than him, “They don’t call it ‘working’ baseball. They call it ‘playing’ baseball.” Baseball players are playing a game, no matter how much money and how many TV cameras are involved. It’s still the same game that little kids play in their back yards.

And music is still just music. It’s little kids banging on pots and skillets. It’s five little kids honking on little harmonicas all in different keys, making noise and having a laugh. Read about Mozart’s life, and you will learn that he had dirty jokes and an impish side to his personality, though he wrote such elegant, transcendent music.

After all the workshops on how to market yourself, how to record your demos, how to book your regional tour, how to promote your gigs, how to sell CDs once you’re at the gig, and how to follow up with your fans after the gig–after all the self-management and self-promotion and self-franchising, it’s just music. You’re still a little kid banging on a toy piano, just for the fun of it. That’s the only way your music will mean anything to you and your fans.

Stephen Nachmanovitch’s book , Free Play, is an inspiring read for musicians and other artistic people who need to foster their improvising impish side. He writes about losing yourself in the music and regaining a child’s playfulness. Give this book a look if you feel that your artistic side has become too serious or too depressing for you. You will fine it a big help in getting back to the simple playfulness of your creative pursuits.

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This post, Music Is About Nothing Except Music, originally appeared on New Trail Coaching, Scott Malyszka on December 10, 2011. Tweet This Post!

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First, she gave the keynote address at the northeast Regional Folk alliance in New York. She talked about the recent deaths of Bill morrissey and Jack hardy, who were her friends and supporters during her early years as a performer. These two helped her build her peer network, get out to play in more places, and held her to a high standard for her music.

Second, I attended a songwriters workshop by Vega in Washington DC. The workshop was set up to have three DC-area songwriters each present a song to the group, and then Vega would discuss the work with the writer. I expected her to be tough, critical, and encouraging. She was critical, and she was tough on one songwriter in particular who really didn’t appear to be ready for such a public grilling. But I was impressed with Vega’s warmth and genuine interest. She seemed to like the songs a lot more than I did, and she showed no sign of a “rock star” attitude.

Vega described how a good song is an idea that you can’t get rid of, something that sticks in your head and keeps bugging you until you have to finish it. that’s very different from my process, which is to capture lots of ideas so that I don’t lose them. she seemed to say that a writer could just lose a lot of ideas, because the really great ones would force themselves to stick in your brain. I can see both sides–take down all your ideas and inspirations, and review them later to find the few gems. But don’t tie yourself entirely to those notebooks and computer files, because a really good song will write itself over time.

One person at the DC workshop asked how he could become more comfortable and free as a performer. “Rehearse, rehearse, and rehearse,” was Vega’s answer. Another great reminder that practice is the number one ingredient for good music. How hard and how smart you work at your rehearsing determines how good you perform.

Vega pointed the audience at one of these events to Jack hardy’s songwriting manifesto. Here is a brief version of this set of ideals and instructions, well worth your pondering. Write a song every week. Get into the good stuff that other people are doing. Melody is half the song, so write melodies that stand without your guitar or piano. Spend some time reading and thinking about Hardy’s ideas, and you’ll learn how hard and how rewarding it is to be a songwriter.

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This post, Suzanne Vega: The Standards Of A Songwriter, originally appeared on New Trail Coaching, Scott Malyszka on December 2, 2011. Tweet This Post!

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My good friend Dr. Ruthie is a sex and relationship educator. She sees a similar let-down in the conferences in her field of work. She and many others use the term “con drop” to describe the low energy state after an intense, inspiring event. Check out her blog post on “Symptoms and Solutions For Con Drop.”

Music people can experience the same let-down after a big event, especially festivals and conferences where you get to hear so much great sound and meet so many people. I’ve just returned home from a super weekend at the Northeast Regional Folk Alliance, and my sluggish days afterward reminded me of Ruthie’s post. Allow me to borrow a bit from her and put my own spin on the aftermath of a big music event.

Be Your Own Best Secretary

Once you get home, you’ll want to remember and follow through on all the great conversations and experiences. There’s no way your brain will remember all the people you talked to, all the insights and inspirations you gained, and all the follow-up you want to do. You need to act like a secretary for a terribly busy big shot–keeping all the contacts and appointments organized.

When you are organized, you won’t be bumming and regretting afterward that you slept through some great stuff or got sick by not eating for a day and a half.

• Take exhaustive notes. When you get a few minutes between sets and conversations, write down everything. Keep a journal describing everyone you talked to, all the acts you saw, and all of your impressions. It’s the only way you will retain those rapid fire impressions and details. The information will keep coming at you faster and faster, and your brain’s buffers will throw away lots of good stuff because they just can’t hold it all. Writing down all of your experiences will give you a chance later to sort and sift through things. You’ll have business cards, CDs, emails, flyers, and scribbles all over the place, so plan your strategy for organizing all those names, faces, times, and places.
• Set a good schedule for your basic necessities. Make sure you have the meals figured out so you aren’t short-circuiting yourself by under-eating. Keep up with your hygiene. I keep hearing people complain about how stinky some folks get at festivals and conferences. Smelling bad makes for bad networking, no matter how pretty your business card, no mattter how good you sound. And make sure you have a good plan for sleep. That might mean napping at 3 pm so that you have the energy for 3 am jamming. But that 3pm nap might not happen if you don’t intentionally put a spot in your schedule for it.

Keep It Real With The networking

There are musicians and music-biz people who are all about selling themselves. The old maxim for musicians is, “Promote yourself, promote yourself, promote yourself.” You can act like a slimy used-car salesperson or a greedy preacher, willing to go to any length to make a deal. Or you can find a natural, authentic, and friendly way to connect with others.

there is a big difference that is easy to see when you are looking for it. Some performers are making a presentation, and others are engaged in two-way conversation. There’s a time to pitch yourself, sure. You got to get airplay and gigs. But there’s also a vibe of openness and community that some people have. They’re the ones who join into the jam session to jam and have fun, rather than to show what they got and to brag about who they jammed with later. They’re the musicians who listen to other musicians and become sincere fans, rather than simply sizing up the competition.

When you have the community approach to your networking, then you’ll have some new friends and contacts after the big event. When the let-down hits you, you’ll have a few nice emails coming in over the next few days that will help brighten the mood. Otherwise, you’ll be sitting at home wondering why plastering your thousands of flyers all ove the place didn’t really pan out.

Finding The Gaps

If you watch closely, you’ll see trends. The same two or three vocal licks or stylings being used, the sexy instrument of the season–it’s been the ubiquitous ukulele for the past few years. And you will see some gaps, some glaring absences. I saw two or three of these at NERFA, and I’m considering them as secret weapons. Of course there’s nothing automatic about doing something different from everyone else, but you might find that you have a unique aspect to your music that will be a breath of fresh air. That’s how fads and trends start–a lot of people start saying, “Wow, yeah, haven’t heard anything like that for a while!”

And no, I’m not going to give away my secrets. You’ll have to figure out your own secret weapons, or catch up with me some time next year.

What Are Your Experiences?

It’s not just for music festivals or conferences. The big let-down can ambush you after any event with intense emotions and energy. I wonder how many honeymoons have been derailed by day-after-huge-wedding drop. I don’t know for myself–both of my wedding ceremonies were very small, and I have never experienced a regular “honeymoon” at the all-inclusive resort, or whatever the kiddos go for nowadays.

What are your bummer hours or days like after a big event such as a huge concert or conference? Leave a comment and let us all know your experiences.

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This post, The Big Let-Down: What Happens After Festivals And Conferences, originally appeared on New Trail Coaching, Scott Malyszka on November 19, 2011. Tweet This Post!

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