The day a solid state guitar amp really worked, thanks to a crazy fuzz

 I have played a lot of transistor, or solid-state, amplifiers, but my relationship with them is somewhat troublesome. More often than not a feeling that my guitar-playing is without both sting, expression and inspiration, creeps up on me when I end up plugging into an amp without tubes.

Cut to a concert in one of my favourite establishments two weeks ago. For a number of years, I have had the pleasure of being invited back to play at what is maybe Sweden's best venue for free music, BrÖtz in Gothenburg. Since 1993 BrÖtz have insisted on presenting free music to a small, but interested audience. This evening I was especially happy to see several young people, taking a seat in front of the stage, that is, by the way, unpacked and mounted from a storage room somewhere in the house. The reason is that the venue is in use for other creative purposes the other days of the week. The pop-up quality of BrÖtz in my mind adds to the feeling of creativity and purpose.

The only thing I never liked is their guitar amplifier. The have one, and it is the simplest, most boring transistor amp I know. I once owned one and used it in front of people, but never lamented that I got rid of it, it must have been back in the early 90ties. Before now.

Having fist decided to bring my own app on the train ride from Oslo to Gothenburg, I finally decided to give the club’s Roland Cube 40 watt a last chance. I had decided to bring a couple of boost pedals, and see if one of them could extract some energy from the little orange amplifier. The train was severely delayed. This and the reason we decided to have something to eat before going to the venue, killed our last chance to get a sound check. This also resulted in my decision to go for my most radical idea. I unpacked only my Zvex Fuzz Factory pedal. Put it in the signal chain between my guitar and the amp, turned the gain down to almost nothing, adjusted the crazy pots on the pedal that are known to produce a number of sinister squeaking, howling noises, turned the volume on the pedal up, and was shocked. From that moment on my Aria guitar, with .09 strings, sung, wailed, and screamed vividly throughout the evening. 

When I got home I tried to create the same effect using a tube amp., to no success. Next I tried it on my old Ibanez solid state, an amp. I have never managed to a decent guitar sound out of but never the less did gig a lot with in the early 80ties. And it worked. Suddently there was life in the tone. I have not yet tried the same thing on a stronger tube amb with decent headroom but that's next up.

How to best learn music fast

Some weeks ago, in an attack of hubris, I said yes to joining a big band as their new guitarist. It has been a while since I had to read music. Honestly, I have, since a short theatre gig in 1986, not had to have paper in front of me much while playing. I know all the 1845 chords that need to be handled in a gig with the big band, but there are passages, for instance when Cherokee is played at 300 km/h, that I have to learn by heart. My preferred method of rehearsing this is to copy sound files (they gave me the sheets and mp3 of all songs) into Ableton Live, and loop especially difficult passages in order to play them over and over again until I can play along. The sequence is: first reading the passage, singing and playing it slowly, then turning to Live to play along. It works in a way, but I feel there might be a better way.

They are all alike

A friend and fellow musician through many years turned famous composer called. We were going to meet for beers that evening but since he was travelling to meetings in another country early the next day we agreed to postpone. I was already planning to go to a concert at the new date he suggested, but even if he signalled some scepticism he volunteered to accompany me to the event before beers. His scepticism was founded on his view that all artist in the genre of the planned concert sounded alike. Even if my loss of impulse control often makes me agree strongly with the last speaker, this time I managed not to comment or condone. For a long time, I have had the conviction that the reason for so many of my old music friends to develop strong, often fiendish, views of other music than their own stems from the simple fact that we are getting old and stiff-brained. However, this particular friend is not of the growing-old type. I know him as an admirably open-minded person that can apply his music interest to almost all kinds of music. Of course, there are limits also for him. Lately, I have developed the hypothesis that our tendency to write off other artists and musics simply has to do with an instinctive urge to survive. For every year we live the world expands. New trends evolve while the old ones simply refuse to die. In order for us to be able to do more than staying oriented it is necessary to discard of something. Pick a sizable chunk, preferably something there is a lot of, and that many people seem to show interest for, and simply write it all of together with all the style's performers. Of course, if asked directly, I guess all my music friends, many of who are highly educated and employed in teaching music or art students at the highest level, would agree to the principle that a genre that is bad from start to the end does not exist. There are good and bad contemporary art music as there is country, jazz and noise. Putting this principle into work whenever some music hits your ears is however very tiring. A much simpler solution is to say that country, disco or whichever music simple is bad music.

this view

she took his hand before he hit the traffic

he walks like a king and talks like napoleon

he keeps her alive and half dead from exhaustion

he’s a rollercoaster and royal entertainment

while she dreads the moment she will put the fish on the table

while they mount the stand where i could buy a leaner body

not for me as i sipped my dry cider on the other side of the street

remembering how old i have become

few of these people are history

no mooring of crying kids/blinding love/the cold hand of a dying mother

so good/sad/funny/half forgotten

Rehearsing Mugetuft

Yesterday we started rehearsing for a new show. As usual, we started from scratch. That is, since we got the gig, we have been collecting video, photos and sounds in order to use as raw material. Without that it would not have been Mugetuft. Even if the project has grown since Peter Knudsen and myself played our first duo guitar-projector gig three years ago, we still maintain the core idea; that the visual and the audial side of our final expression should be of as equal value as possible. 

June 14 at 11 pm, we are to perform a half hour long piece at the front wall of an old workshop building at the waterfront in the center of Oslo. As it looks now, the show will be a loosely told "story" about life when this shop-dine-and-cappuccino part of modern Oslo was still a big loud shipyard. However, at the core of all we do is improvisation. It is pre-meditated to various extent, but improvised in timing and what pieces of expression is used when, or not used at all.

Check out some of our earlier concerts at Mugetuft.

Welcome to Aker Brygge, verkstedhallen, Oslo, June 14 2015, 11 pm.

Some is more music than other, some is freer than other.

To say to a musician that what he or she plays is only almost music, can be perceived as an animosity. When I suggest that some free improvised music is more music than other, it is however not an attempt to alienate anyone, not least since some of the music i play and release myself can be said to fall into the "almost music" category.

To say that some improv is freer than other improv is also problematic, but maybe not so controversial, so let me start there.

This post is yet another of an endless row of attempts to find out what is what. Please bare with me.

I recently went to a concert here in Oslo with a British group (Watts / Weston / Lash / Day). It was great. If I was tell the musicians what I thought; that is sounded great, but that I did not find the set in any way provokingly rebellious they would probably find it ok and give me the only good answer to such a stupid remark. We play what we are and what we hear.

Never the less: This group is a part of a tradition in jazz music where every stretch (or tune) can be said to be a mimicking of when (if) the same group plays a composed tune with improvised parts (choruses). It did not sound as if they only played free versions of the chorus parts of those imagined tunes. It sounded, from the start to the finish of each stretch that they played tunes with heads, choruses and codas. It was great, but a comparative study of this group and Brötzmanns At Fresnes (with Kondo / Pupillo / Nilssen-Love) from 2009 would be interesting. Where At Fresnes is much more aggressive, sometimes almost one-dimensional, Watts / Weston / Lash / Day is sober and lyrical. In my ears and head the latter can be said to be less free than Fresnes is. Not that there is anything wrong with that.

Watts / Weston / Lash / Day is music. Even a person who only listenes to classical music from before 1910 will hear the almost romantic approach the group takes. This is not only because the "mimic" the playing of jazz tunes, but also because their approach is so lyrical and "romantic" sonically and energetically.

At Fresnes is also (and only) music in my ears. Fewer people will however find it pleasant. Those of us who woke up musically to rock music will not have any problems relating to the long set (no tunes here, only a log stretch).

But there are other groups that fall into the improv field that explore the bordes of the term music with their playing. Two words here: noise and sound art.

Noise music has been around for decades. Even if the term itself places it inside the music idiom, it is undoubtably a revolt against music that still provokes many music lovers.  ( In our time it is a blessing to be able to appreciate Marhaug and Mahler equally well.)

Another interesting attempt to enlarge the field of music is the mixture of free improvisation and sound art. One example is the band Lab Field that elevates soundscapes to an "instrument". The effect is striking. It does good to listen to it without thinking much. But since all music is in a certain sense problematic, it can also give food for thought (and endless attempts to find out what is what).

To catch the wind

Improvisation

The art of musical improvisation is hard to define. First: is it an art form? Since it is an important element in so many different forms or styles of contemporary music, it is maybe not right to say it is an art form as such. That does not make it less important. It can be argued that improvisation is the basis of all kinds of music making and performing since the beginning of time. In a sense it lies behind and is the starting point of all music, however composed, calculated or cerebral it may sound. Improvisation has always had a big role to play in traditional music, up until the romantic phase of the music history it was a natural part of any music piece and of course it created the fundament of the development of blues and jazz. In our time it is highly present, as well as highly esteemed, in jazz as well as styles of contemporary art music and some rock styles.

However, since the 1960ties  improvisation has also been elevated to being the aim itself in some styles. These styles can be divided into two: free jazz and contemporary improv.

1) Free jazz grows out of the “artification” of the 1950-ties jazz in the USA. The most important actor in this development, often named the inventor of the style, was the sax player Ornette Coleman. 

2) Contemporary improv can be said to have grown out of the performance scene of the avant garde movement of the same period. To a great extent contemporary improv also generated from the USA but soon spread elsewhere.

3) Gradually we see other improv styles growing out of also other established music forms. Country music is one example. Improvisation that borders to sound art is another.

The development of the three styles detailed above make it possible today to name improvisation as an art form and a music style in its own right.

In the later years, the part of my musicing that can be named improvisation, has evolved from free jazz in the direction of more contemporary/art music influenced forms of expression as noise, soundscape and not least electronics.

What happens during an improvisation?

Measured in decibels: sometimes very much, other times very little. There are different ways to approach an free improv session. The full-force approach is the punk of improv. It is loud and the “arrangement” of an improvised stretch, meaning who plays when, is intentionally very crowded. The result is that everyone plays hard, loud and all through the tune, sometimes during the complete concert. In other music styles this is often considered as a result of bad listening. In this context it is an intentional result of making music that tries to talk directly to the body by not being calculated or brainy in any way. Other times the aim is to explore the quality of improvisation of single notes or simple atmospheres. This is often done by playing very sparsely and by trying to avoid disturbing another musician’s improvising with ideas that conflicts too much. Often this last approach will follow an almost “romantic” pattern where one instrument sets the theme in a quiet way and the others follow by adding or (carefully) contrasting. Sometimes this will end up in an atmosphere of ambient qualities, other times elements of beat can be added.

The few (there are more alternatives) descriptions above indicate how an improvised performance can develop in a number of different ways. Often the improvisation can start from an ambition to create the impression of a composed piece. Some improvising ensembles, be it in free jazz or free art music, tend to mimic a piece from the tradition they came from when they improvise a piece.

In these cases one is reminded about the discussion about non-idiomatic improvisation. While it may be impossible to free the art of improvisation from musical idioms, the attempt to do so is in my view a strong and fruitful artistic aim. It is my tradition(s), compositions, listening experience and playing experience that creates the basis of what I play. Hence, I cannot escape tradition(s) that created me. On the other hand, the art of improvisation must revolt against those traditions to be successful. It is not hard to point to cultural trends preceding the hippies of the 1960-ties, but the hippie movement would not be as important as it became if it did not successfully revolt against the cultures it grew out of.

Enrica: What freedom is built in a improvisation? 

Freedom from time and traditional accuracy. Most young musicians are schooled in traditions where accuracy were the measurement dividing good from bad. Growing up, meeting the option of improvisation can give a tremendous experience of freedom. The yearly held RARA festival of improvised music on Sicily is an example of how strong the improvised scene in Europe has become. There 20 musicians from all over the world gather in order to play together. Most of the concerts are free improvised and most of the ensembles are put together by the curator of the festival, Alessandro Vicard. The result is groups where people who often never have played together must find a common path through a set. Often a group can be heard to reflect styles from free jazz, noise, ambient and free art music. When successful a set of highly inspired improvisation on a high level can be created.

Enrica: What rules are applied? 

There are rules and there are no rules. Let me give you an example. One main rule of improvised music is that it has to be music of the moment. In other words: you do not bring written music, you avoid pre recorded samples and you create the energy by listening to the other players as hard as you can.

But it would not be improvisation if such rules were not challenged. There is no sense in trying to draw clear lines between styles in any art form. When it comes to improvised music, the variations are limitless. I have recently started a project with the Swedish bassist Anders Berg that has resulted in several digital releases. Our recordings contain us playing our instruments, electronic manipulations of these instruments, radio soundscapes, passages of recordings from other projects that date often years back as well as pure computer generated sounds. But when you listen to it if feels natural to label it improvised music. Maybe sometime in the future those labels become obsolete.

Enrica: I care especially the look “legal" of the creative (wrongly, improvisation is considered free from all constraints)

In my view, as explained above, “free from all constraints does not exist”. The freedom is relative to something. It relates to earlier music, musicing and other impressions. In a certain sense “free from all constraint” or even “non-idiomatic improvisation” are themselves aesthetic concepts that the musician who tries to practice them must live up to or relate to.

In my head improvised music is a form of “stretching”. We start from what we are, what we played and what we listened to and dig and we comment it, sometimes so thoroughly that it is turned inside out.

At some point, practitioners of the art of free improvisation start commenting the idioms of free improvisation itself, and things start to become really interesting.

Wherever the development of improvisation is heading, I feel it has an important mission. It opens rooms in established styles of music, it opens the minds of the players and not least it can open the mind of the listener.

I have a friend who cannot live without music. But the music he listens to is narrative music, tunes with a singer singing a song with an obvious meaning. His music is there to make it easy to listen to the singer. At a whole, the music leads the listener pleasantly through the next four minutes. Being my friend and a curious social scientist he wants to understand the music I play. I tried to explain, but he still could not get anything out of listening to it. Not before I understood that he needed other listening methods than he uses when he listens to the artists he loves (and grew up with). He took my listening lessons quite serious. After a while he came back with a “I have no way to explain your music, Tellef, but at least you have taught me to listen to it. I think the key was not to look for one common timeline in a piece, but in stead treat it as a condition or sometimes a soundscape that surrounds you”.

Anatomy of a file-exchange album

Over the last months, I have engaged in a frantic file-exchange activity with Swedish bass player Anders Berg. The result has been 3 Bandcamp albums titled November, December and January. This process itself has given me food for some thought about the nature of improvised music: What is it? How free is it, really? Does it have a role to play in the music(s) of our time? What happened to melody? Can it be groovy? Do you need to be in the same room? How long should an improvised concert or album be? Will classically trained improvisors take over improvised music from jazz musicians? What will then become of free jazz?

These are not new thoughts. And they are relevant for many sorts of musicing outside the realm of free impro. Actually, that could be one answer to the question if impro should be banned. Its non-compromising nature can be a catalyst for questions about music itself, be it machined dance music or a gavotte.

Our duo's overall plan is to have no plan. One of us starts the recorder, plays a stretch over a number of minutes, and sends it over the border to the other player. Anders seldom listens to what he has recorded before he sends his stuff over to me. I usually play it back and sometimes replace it. That might be heresy, but it is what it is. In another group I play in our practise before performances ends up in a plan for a 3 or 4 sequence show where each segment has a signature sound or atmosphere. Still it is free music. But to call it completely free from idioms or each musician's background (or bag) would be false.


My collaboration with Anders Berg has so far resulted in 3 releases in 3 months

Go to:
simlas.bandcamp.com/album/november
simlas.bandcamp.com/album/december
simlas.bandcamp.com/album/january-2

Sketch from 2008

the drive from berkeley to santa cruz took us around 90 minutes. as my friend oivind, always the well oriented, already knew his way around town from earlier visits and I had directions to Rick Walkers house on my cell phone, it wasnt to hard to find Rick Walkers house. When we got there Rick was mounting some effects  into a rack with the rack placed on his work bench, a very old, big and rusty american car. As he was running a bit late for our improv session at Meta Records downtown he asked us to take a look around inside the house. Rick's house is a dream for any musician, and can be turned into a theme park for imagination and improvisation any time. Before we had had time to check out more than a very little part of his collection, Rick was ready. I packed the Fender Strat I was to borrow into a gig bag and off we drove to the main street. The Meta Records store is a small nice place filled with vinyl records. Rick put up is stuff in the corner, went one more trip back home to get some more, and was almost ready by the time people had gathered around him to listen. He gave us a set with the most varied and imaginative collection of instruments and sounds. This man is a true sorcerer of sound and colourful pvc. I went on an hour later and did a short stretch alone before Rick seamlessly made his way into my playing. We played for another half hour.

It became an evening i shall never forget. In may, Rick goes to Europe, and when he reaches the shores of scandinavia we will meet again to play. looking  forward to that greatly!