Archive | February, 2018

Interview with Manitoba Hal by Nick Cody

What is it about the blues that you love?

I love that the music is all about the feeling and emotion. It’s built on a simple accessible framework that makes the music accessible and immediate. It’s also not important that you play well. Many great blues acts are not great musicians but they absolutely have the feel and the emotional connection. Of course, playing well doesn’t hurt.

What in your experience are the biggest misconceptions people have about earning a living from being a musician?

I think the biggest misconception is the “made it” myth. The reality in today’s music business is the new “made it” is just continuing to be able to have a job. There is no big “discovery” moment anymore, it’s a series of small discoveries and one-at-a-time marketing now. Your career is made on multiple small streams of income. CD sales, merchandise, touring income, workshops are just a few of mine. I’ve been blessed to make a good living the past 8 years from music alone.

How did your previous experience as guitarist help or hinder learning the ukulele?

It was useful in that the basic shapes and tuning are soooo related. But it took me a while to play a uke like a uke. (do I even do this now? Not sure.) Also, the fact that I knew a little about stringed instruments and scales has helped a ton with playing skills.

What’s the best advice anyone gave to you as a musician and who gave it to you?

The best advice I ever got was from my grandfather. He was a piano player in the depression years here in Canada. And he told me that being a musician is a lousy living but a great life. And he was absolutely correct. He also added that when you become a musician you take a vow of poverty and the better you stick to that vow the more you’ll enjoy the life. What I took from that is that you have to make peace with the idea that you can’t do everything. You can’t own the latest gadgets. Good things come but they come from planning and hard work.

If you could play with any musician on planet Earth that you have not yet played with, who would it be and why?

It would be my grandfather. He wasn’t famous or even influential really but by the time I came along he had quit playing publicly and by the time I could really play he was close to the end of his life. I often think how lovely it would have been to be a professional player with him and play shows together.

You are known for touring Canada, Europe and Australia. Do you have any favourite festivals that you look forward to playing and why those ones specifically?

Honestly, I love them all. They all have their special flavour and things that they do well and things they sometimes don’t do well. The bottom line for me is interaction with the fans. I am really into just hanging out with the people. I’ve never wanted to be the big “star” who hides away and then makes a grand entrance. I prefer hanging out in the pub or at the coffee shop with the folks that make it possible for me to have a living.

What are the most common issues students struggle with learning the uke and what advice would you give to someone starting out?

The most common thing I run into is the notion that playing all the songs in your songbook constitutes practice. While this is technically true, all you are practising is your repertoire. You aren’t learning anything new or building new skills. I run into tons of players who think they’re intermediate because they have been playing for several months but all they’ve done is play the same 6 or 8 chords over and over again with the same rhythm. I always suggest that students spend 15 to 20 minutes a day on pure skills development. Work on a hard strum pattern. Play the chords of a key you don’t know. Work on the chords up the neck. Learn a scale. Then after that, you can move onto practising your repertoire.

If you could go back in time 20 years and give yourself one piece of useful advice, what would it be?

The only advice I could offer my early self would be to stay positive and open to possibilities. I’ve been playing uke for over 20 years and for the first 10 I never took it that seriously. I was certain that the guitar was going to be my ticket to “making it”. In the end, it is the ukulele that has carried me around the world. I often wonder how far I could have gotten if I had spent more time with it at the beginning. That said we are where we are meant to be. So maybe I wouldn’t have even made it here. It’s hard to say I suppose and I’m just thrilled to be here.

 

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Interview with Phil Doleman by Nick Cody

Phil DolemanI understand you are currently recording in the studio, what can people expect from this new recording?

Well, the ‘studio’ is a nest of blankets and foam sheets at the bottom of my stairs! I’m recording onto my laptop with a single large diaphragm condenser mic into a Focusrite interface. With the exception of the laptop, the whole setup can be had for around £250. I think that people that know me for playing uke might be a little surprised as not only are there several 5-string banjo tracks on there, I’m also playing the guitar, bass, percussion, harmonica, etc. and there are some great guest musicians too (including my daughters!)
It’ll be released in plenty of time for me to take a box full to the Ukulele Festival of Scotland in April 🙂

What advice would you give to anyone wanting to record their own material?

Do it! Don’t expect amazing results at first, but just get used to how things work and how you sound. Recording yourself is a great way to improve as it can be really difficult to concentrate on playing AND listening critically! We’re all so spoilt now, many of us have recording technology in our phones that Abbey Road would have been envious of, so why not use it! Also, keep it simple. We have access to such amazing technology now you can end up with 48 tracks of nonsense in no time! If your song doesn’t work with voice and a uke or guitar, then it won’t work whatever you do with it. As it happens I’m going through all of my recordings at the moment and asking, “does it really need that extra instrument?”!
All that said, a great song well played but recorded on an answerphone is worth more than any expensively produced but soulless hit.

Phil Doleman

I see you are teaching at Sore Fingers as well as another retreat in the UK as well as a workshop in the USA. What is unique from each of these learning experiences for any student?

Sore Fingers is a bluegrass and old-time music camp, not a uke camp, so students get to mix with lots of other singers and instrumentalists, all of whom have some common musical ground. Also, the students stay with the same teacher for the whole week, so there’s a lot of opportunities to get really deep into the material. At the West Coast Retreat, people pick different tutors for different workshop sessions, but there are still workshops that continue over 3 sessions (one each day) so again you can take it further than a single hour-long session. Plus of course, both situations have plenty of time for extra-curricular playing & jamming! As for the Uke Room retreat, it’s brand new! I’m really looking forward to doing it and finding out what we can achieve!

What in your experience are the biggest misconceptions people have about learning the ukulele and other instruments?

That it’s about notes, chords, etc. or even what the best instrument or set of strings is! Of course, those are important parts, but music is about feeling, it’s about getting a reaction from you, your friends, your audience. It’s about connecting with other musicians as well as the listener. It’s about making feet tap, making people dance, smile or cry. That sounds really naff, but I don’t understand why anyone would want to make music if they haven’t been profoundly affected by listening to it at some point. There are songs I cannot listen to without the hairs on the back of my neck standing on end. That’s why we learn an instrument, and the technicalities of learning it are just so you can make that happen, even if it’s only to yourself.
Oh, and the ukulele is no easier than any other instrument if you play it well 🙂

What’s the best advice anyone gave to you as a musician and who gave it to you?

Wow! So many… The wonderful Seattle busker Howlin’ Hobbit once said (I paraphrase), “if your prime concern isn’t entertaining people, get off the stage” which I think is brilliant! Another one, which many musicians have said at some point but I got from Bob Brozman, is “Just because you can don’t mean you should”.

If you could play with any musician on planet Earth that you have not yet played with, who would it be and why?

I’ve been really lucky to play with lots of great musicians and some of my heroes, but sadly many of those I would love to play with are no longer around. I’d have to say Dom Flemons, he’s such a great performer who really knows his music and history. If I’m allowed to pick someone who’s deceased, I’d love to strum few songs with Pete Seeger.

How useful is it to play a variety of instruments in musical development?

It’s extremely useful to be able to realise ideas. If you play bass, for example, not only can you add a bassline to your song, you also understand how basslines work, how they can drive the song along, change the harmony, etc. All of the instruments you play cross-pollinate, so you’ll get inspiration for a guitar part from something you discovered on say, a banjo. Instruments are just tools, the more tools in your box the more jobs you can do!

If you could go back in time 20 years and give yourself one piece of useful advice, what would it be?

Play what you love, regardless of whether others think you should. The music I play now is music I have been seeking out and listening to for 30 years (and playing for myself, in private), but only in the last 6 or 7 years have I been playing it in public in any meaningful way. Don’t be afraid to be yourself. Oh, and get used to beans on toast and charity shop clothes!

Phil Doleman

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