This is a family tree representing the genealogy of Music, may it be from Cuba, Jamaica, or the USA.Now everything written in red is from Cuba, black is from Africa, Green is Jamaica, Blue is from America, and Grey music genres are from other parts of the world, like Europe.I hope this will help you know where the music you play comes from !
Note : “Afro” refers to multiple african music genres, such as Rhumba, religious music, and Comparsa…
As a drug abusing, alcoholic musician I can say without a doubt, ‘Yes, it was and is worth it.’ Not only is it worth it, it’s necessary. Not so much the drugs, but the personality that will embrace drugs to cope with it’s existence. The individual who will shrug the pain of developing the finger callouses, tendonitis, arthritis, blown lip, etc. for the release of endorphins playing something ‘good’ brings will also likely shrug the dangers of drinking, smoking, or shooting whatever makes him feel better about his one true addiction…music.
That said, psychedelics are their own thing. Taking them not only makes you aware of different perspectives, it allows you to be one with them. Jimi Hendrix without LSD would’ve been just another exceptional blues guitarist. Maybe more because his career coincided with the invention of distortion and other effects. But what made him stand out was his connection to things he may have never personally experienced. Watch the woodstock video of his version of the national anthem. That wasn’t a new take on the blues scale. That was him expressing what his mind’s eye had seen of war. The 1st handers didn’t get a chance to play their guitars, but he was able to fully realize their plight and express it through his medium.
About the losses…death’s a part of life. We lose about as many musicians to plane crashes and cancer.
LondonJazzCollector mentioned the audience and the drugs they were on. The audience is a huge part of a music’s upbringing, evolution, and overall success. How many venues have you been to that didn’t have a bar? Where you didn’t smell weed near the back door? Where you didn’t suspect someone of a self-inflicted runny nose?
Drugs are as much a part of the music we know as an artist’s childhood, society, colleagues, or influences and it is worth it.
‘No junk, no soul.’
Comment from punctualtroubadour
– Well, it’s a thing i’ve some experience with, LOL! Regardless of one’s technical prowess, rehearsing and performing with others is the best and most expedient way to progress. And being super relaxed. Really funny, what you describe as “frankenstein’s hand syndrome,” i have called “spaghetti hands or fingers”. I suffer from it most when I am unfamiliar with changes or being rushed, or having anxiety. Best cure for me has been to have the changes down cold and/or take a deep breath and pause. Thanks to mad repetition, I can learn changes on the bandstand on the fly more quickly than in the past. But, of course, depends on the gig what kind of risks and liberties to take…..relax, relax, relax….
I was awakened at 2 a.m. this morning to an intimate blues get together broadcast on PBS Channel 13. The show starred Muddy Waters at Buddy Guy’s Checkerboard Lounge on the South Side of Chicago. The show was filmed on November 22, 1981 (31 years ago). The Rolling Stones had stopped by to gig and see their friend and hero Muddy Waters.
They are accompanied onstage by such blues luminaries as Junior Wells on vocals and harp, Buddy Guy and Lefty Dizz on blues guitar. Mick Jagger, Keith Richards and Ronnie Wood were like three sons returning home to see their Father at Thanksgiving time. Muddy seemed really happy to have his children by his side.
The club was very small. I watched in amazement as Keith Richards and Ronnie Wood climbed on top of the tables and took the stage. Muddy Waters was in great form performing many of…
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As I walked into an old underground jazz club,
I didn’t know to expect,
My heart was racing with excitement,
The place was smoky and dark,
The energy is wild,
Captivating you right away,
A singer is telling a story about love,
Drums that set the beat,
The sounds of saxophone that breaks you heart,
Everyone dancing as if they are..
Possessed by their sins,
Men wearing there gangster hats,
Nodding their heads to sweet painful sound of the music,
Women wearing their short tassel skirts,
That sway as they swing their hips,
It feels as if I have walked into a different time..
I listen to people tell their stories of old times,
We all take our turn to dance,
To lyrics that only those who have loved,
So hard that they felt their hearts bleed,
Love that brought them to their knees,
These are the…
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I have thought to myself on more than one occasion that my frustration as a Guitarist must be similar to what a writer would call writers block.
The hours that I have spent so frustrated with not seeing improvements in my skill, or speed, that for days or even weeks, I’d just have no interest in playing. Then maybe I pick it up for a couple of moments, lose interest at playing the same old, same old and put the guitar back down again.
I think most musicians hate doing endless repetitive scales or arpeggios and yearn to be able to improvise like Miles Davis or Grant Green. Those same musicians most likely know the importance of these exercises in the grander scheme that is Music. It would be like writing your first book with a vocabulary of a five year old.
Conversely, i have heard from many guitarist friends of mine that the drive to play better and faster becomes almost an obsession. I myself have periods when I am not satisfied until I go through my drills and make no mistakes. And if I make a mistake, I just start over again.
I constantly think that I should be farther along in my development than I am, that maybe I should play in a Jazz band or push myself more. But, I just have to remind myself that I have many years of learning ahead of me, and when I am ready, I will do these things.
I also get constantly frustrated with what I call ‘Frankensteins Hand Syndrome’, where it sometimes feels like one (or both) of my hands feel like they have loose wiring between them and my brain. My brain seems to be very capable of learning fretboard patterns and chord shapes, but I sometimes feel let down by my fingerwork.
When guitarists block kicks in, it is tough to keep to a daily practice schedule. Everything becomes a chore, scales become lines on a blackboard, fingers feel sluggish, your brain just can’t be bothered. You know that if you don’t play for a while, it is going to be a pain in the butt to get back to where you are.
Luckily, the remedy for guitarists block is to get inspiration from something or someone in the form of a mentor. Inspiration can come in any form.
So, in the event that you find yourself in the grip of this horrible affliction, I would recommend copious amounts of trawling for inspiration. I found Youtube very effective, but live performances are best.
I started to take Clarinet lessons a few years ago, and so it seemed a logical (?) step to now try Jazz Improvisation. It seemed to make sense to stretch my ability a little further and improvisation appeared to offer lots of creative possibilities for me. I hasten to add that this was just one of the new endeavours that I had decided to embark upon now that I had left full-time employment. The flexibility of being self-employed presented me with the opportunity to do a variety of things that heretofore were difficult to fit into that limited time available outside work. I had a romantic notion that improvisation would be a free-flowing, relaxed, laissez-faire sort of playing. That’s how it looked whenever I saw Jazz musicians apparently just going with the flow and making it up as they went along.
I got a big shock. Four weeks of…
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