Entries Tagged 'Music' ↓

Musicians and studio bookings out of the way, the next big task loomed – this one for Ramona. By this time we were into Feb 2008 and Ramona had about five tunes close to complete. Now was the hard part – writing new music, putting all the charts into Sibelius and finishing up the arrangements, printing out parts for the musicians. We had only scheduled two days to rehearse all the music, so it was important for her to get the charts to the musicians earlier on.

Who’s Your Mama, Resident Alien, Garden Of The Gods and Rio Alegre were tunes that she’d written earlier and that we’d played in some form or the other at gigs, so we had some idea about what they would sound like. Eight Winds was the newest of the lot. Clearly we needed more music for this project. She locked herself into our studio and wrote the remaining music for the album. Did I mention she is prolific?

Chinese Whispers, Listening To Love, One Of Us, Gaia, Retrospeak. Song titles for most of these came later – we lived with amazingly creative titles for these like ballad 1, ballad 2, Untitled, Waltz all through way past the recording and mixing sessions Sometimes it works to let songs name themselves themselves after the finished product.

Around the end of March, Ramona was done. She transferred her pencilled scores to Sibelius, part extracted and printed off the final scores and sent them to the musicians. I was impressed!

One Of Us: Rehearsals →[next]

Having decided on the musicians the next hurdle was to figure out where we were going to record the project. I had already decided that I was going to mix this project in SONAR by this time, but I didn’t have the studio setup or know anyone who had the gear to record an acoustic jazz project with our requirements. So we would have to rent a commercial studio at least for the tracking.

Most studios still track CD sessions at 16 or 24 bit and 44.1 KHz. One of the goals I had for this project was to future proof this recording and record in high definition audio format, so that we could consider releasing it in hi-def DTS format or even as a surround mix later. Another requirement was that we needed a place with an excellent piano as well as an engineer with experience recording acoustic jazz.

We also considered the logistics of rehearsals. All the other musicians lived in NYC - we’d have to have them come to Boston for the entire duration of the rehearsal and recording. Studios in Boston are relatively less expensive, but we concluded that it would be better overall for us to scedule the recording session in NY.

So I went about researching studios in NY. I had a few choices of my own and Johannes also gave me some leads. Most of the places I called either didn’t have a decent piano, charged close to $200/hr,  couldn’t/wouldn’t do 24/96, or had engineers who had no clue about recording, jazz. Hmmm… Boy studio rates in NYC sure are exorbitant for what you get! I was running out of options. Finally, I tracked down Paul Wickliffe who recorded several of Kenny Werner’s CD’s. He had a studio in NJ (Charlestown Road Studios) and had most of the requirements we wanted – 3 iso-booths and a Steinway. He also said he could do 24/96 – not before he tried to convince me that it was worthless though Anyway I persisted and he agreed to “rewire” his ProTools HD setup to do 24/96. I would have loved to have tracked in SONAR to make my life easier later, but honestly as long as the audio was being recorded in hi-def with nice mics and through good converters I really didn’t care much.

We booked the final dates for April 27 & 28 2008. Phew, one more milestone done!

One Of Us: The Music →[next]

Perhaps the most important ingredient next to the music itself, are the musicians on the project. We play with some amazing musicians from time to time, but don’t have luxury of having a working band that is familiar with her music. Given the inevitable time constraints we needed to be able to rehearse and record this project in a very short period of time – two rehearsals and a two day recording session. A somewhat daunting task given some of the music she had written. (Ramona’s music is deceptive – and that’s putting it mildly!)

The first person Ramona contacted was Ingrid Jensen. Ingrid is one of my favourite trumpet players anywhere – she has this soaring sound and melodicism that blew us away when we first heard her many years ago in Montreal. We were thrilled when she replied saying she was excited to be part of this project.

Next was the rhythm section. We’d always wanted to play with great bass player and friend Johannes Weidenmueller, who was our first choice since we’d heard him play similar music before. When rehearsal time is a constraint, it’s always a good idea to have a bass player and drummer who have worked together, so we asked Johannes to recommend some drummers he thought would be a good fit on this project. He gave us a few names some of whom we knew and others we didn’t. I went about looking for their work on the web and Rhapsody, my favourite music research source. We were looking for someone who sounded great at swing, but could also play some ECM and Latin influenced music. I was very impressed with Adam Cruz, a drummer who had also played on Chick Corea’s Origin – Live At The Blue Note recording. He had this light yet driving sound that we liked a lot. We were very happy when both Johannes and Adam agreed to do this project.

Excited with the finalized lineup we moved on the next step. Where do we record?
One Of Us: The Studio →[next]

For many of us independent musicians who don’t have the luxury of funding via a record deal, a CD project can be a long, labor-intensive process that takes a lot of planning. It can be exhilarating exhausting and not so fun, all at once, so it’s something you have go into with your eyes wide open. The technology available to us all today might make some aspects of this process more accessible to the independent artist, but this can be deceptive. Statutory Warning: CD production can be injurious to health among other things. It takes a huge commitment and learning curve to follow through with all the aspects of producing a CD, so don’t do this at home unless you have some tolerance to pain .

Around the middle of 2007 Ramona and I started discussing her next project. We had been playing around a bit and she had already started writing a bunch of really cool tunes, some of which were sketches of things to be. Ramona is really prolific as a composer (unlike me – I can procrastinate over a song forever!) and some of the new writing sounded very through composed. She already had about 4 new tunes that we had played experimentally at a couple of gigs so we figured it was time to think about a new recording project. Nothing like putting a stake into the ground to force creativity out when its hiding

Growing up the 70′s, I always admired how records were made then, where albums were cohesive and told a story. Today too many jazz records end up being “blowing sessions” (sadly a lot of this has to do with budgets). While I enjoy listening to records with great solos, few of them bear repeated listening for me. Given the depth of Ramona’s new compositions, I thought this would be a perfect opportunity for us to do a project that was more cohesive and worthy of the term album. 

Sooo…  to start with we contacted the record label we’d worked with before - nice people and they liked the last project we did a lot. Sadly, with the economy the way it was back then things didn’t look very promising that this would work out in the time frame we wanted to do this. So we had two choices – defer the project until better times or take on the responsibility of producing it all ourselves. We chose the latter.

I have worked for Cakewalk for over 10 years, writing audio production software. While I’ve done various smaller scale projects over the years, I have always wanted to do a full blown CD production from start to finish in SONAR, which has some amazing tools for mixing and production. So this project was going to be a trial by fire for me in more than one regard! Its can be a good thing to eat your own dog food once in a while

We had a lot to think about, but the next big thing would be to decide on one of the most important ingredients – the musicians on this project.

One Of Us: The Musicians →[next]

Here are some links to various articles on Windows 7 that I have contributed to.

Cakewalk Windows 7 Resources
Our official Windows 7 resources page

Obsessive Windows 7 Under-the-Hood Guide for Music; Can You Finally Dump XP? 
This is an interview I did for Peter Kirn from Create Digital Music

How Windows 7 Will Affect Your Music Production
Similar material to the Create Digital Music interview

Windows 7 Improvements to Help Audio Recording
CNET blogger Matt Rosoff, posted his thoughts on how Windows 7 will make the art of audio production on PC easier. Quotes my blog post.

 Windows 7: Should You Upgrade Your Music PC?
Music Radar’s Ben Rogerson takes a look at Windows 7 to determine whether or not it’s a sound investment for people using their PCs primarily for music creation. Also some quotes from my Win7 posts.

The most out of Windows 7 and optimizing Windows for music
Another article from Peter Kirn from Create Digital Music that I contributed to

Cakewalk has been in partnership with Intel for more than a decade now. Here are some latest links on our engineering collaboration with them to make music production even more efficient on a PC.

http://software.intel.com/sites/billboard/digital-content-creation-gallery/sonar-8.php#/videos

http://software.intel.com/sites/billboard/pdf/Cakewalk_SuccessStory_LO.pdf

Upcoming gigs with the Ramona Borthwick Quartet with Noel Borthwick (g), Karl Peters (b), Adrian D’Souza (dr).

Saturday, Nov 15, 2008 @ 8:30PM
The Bombay Gymkhana
MG Road, Fort.  Mumbai 400001. India

Thursday, Nov 20, 2008 @ 8:00PM
Shisha Jazz Café
ABC Farms, Koregaon Park,  Pune 411001. India

Thursday, Nov 27, 2008 @ 7:30PM
Gordon House Hotel
Sahar, Mumbai 400059. India

 Thursday, August 09, 2007 | Two sets @ 5:30PM & 7:15PM
 AHA! | www.ahanewbedford.org
 Centre Street,  New Bedford, MA

Ramona Borthwick Quartet with Noel Borthwick (g), Esperanza Spalding (b), Mauricio Zottarelli  (dr)

An article about Windows Vista from Keyboard Magazine that includes some quotes.

http://www.keyboardmag.com/article/the-vista-from/Apr-07/27456

My guitars: 

• D’Angelico Excel EX-DC: a great semihollow guitar and my most recent acquisition
• D’Angelico NYL-2: a lovely archtop – also bought recently. I replaced the stock pickup with a Kent Armstrong floating humbucker and really love the sound. It can sound delicate or more modern if you want it too. I’m glad I got one before D’Angelico stopped manufacturing these.
• 1982 Gibson ES-335TD.
• Godin LGX-SA – my primary solid body guitar these days. Its a really versatile axe.
• Paul Reed Smith PRS CE-22: A classic solid body from PRS.
• Ibanez GB-10 – my oldest axe, bought this one in 1982! I don’t use it a lot these days but it still has sentimental value to me
• Taylor 810CE: This is actually a custom guitar I ordered -a cross between the 810 and 910 series with an Englemann spruce top and the electronics outboard (the fishman pocket blender). Its a great instrument but I sadly don’t use it as much as I should. Haven’t quite figured how to get around feedback problems with an acoustic guitar live.
• Baby Taylor: The little travel guitar that I take along with me occasionally when I travel. 

Here’s a pic of my D’Angelico NYL-2 and Excel EX-DC:

More pix coming soon…