I know I’m not the only one of us who thinks like this.

The problems of the world, problems that lead to this kind of act, are huge. Too big to even wrap my mind around most days. As such, huge things need to change in order to fix them. Things that go well beyond laws and government action. After every recent violent tragedy, I’ve thought that where change really needs to begin is in the heart – for real and complete authentic love for each other (that I believe comes through faith in, and the example of, Christ) to change us individually and as communities of people here in the United States and around the world.

And in that I find my answer.

Musicians, we have more power to change hearts than anyone. More power than the president. Than congress. Than any judge, commissioner, mayor, or police officer. These people are important and needed for writing, interpreting and enforcing laws that help keep us safe and create order. In times like these we need to know they are doing their jobs vigilantly and well. But laws and the criminal system have rarely, if ever, changed a heart.

You know what has? Music. Because music is quite possibly the most powerful force in the universe.

Yesterday afternoon, there was a tweet in my timeline from a musician I don’t even know. He had a singer/songwriter gig last night and tweeted the following to another singer on the lineup: “Looking forward to swapping with ya tonight. We’ll just do what we do after we get good news and bad news, play a song.”

This reminded me of a very poignant scene from Sting’s 2000 All This Time video. Sting and his band were set to play a show in Italy on 9/11. They got the news of the terrorist attacks in New York and suddenly were confronted with the question of whether the concert should go on. Sting gathered the band around a table and put the question to them. The conversation went like this:

Sting said, “What was to be a joyous occasion now simply can’t be. If anybody says to me, ‘Sting, I can’t play.’ I’ll say, ‘You’re right.’”

Chris Botti, the trumpet player, quietly responded with a question, “You don’t think there’s a positive display of hope in playing music? Still playing music, because, for me, it’s just more devastating the emptiness of everyone coming together and just… nothing happening.”

There were a few more tentative responses… then something changed in the temperature of the room and Chris spoke up again, this time more emphatically, “All I want to do is play. I think we should play. Because sitting around sucks.”

Singer Janice Pendarvis joined him, “You guys know I am really freaked out by this but I NEED to sing something. As tired as I am, as freaked out as I am, as horse as I am, I need to sing SOMETHING.”

As musicians, our first response when good or bad things hit is to grab our instrument and play or sing. It’s just what we know. It’s our emotional release, it’s our way of expressing that which we can’t express with simple words. And, while to outsiders that may seem narcissistic and useless, it’s really the most powerful thing we can do.

So, musician, I’m telling you. Get out and play. Anywhere. Play songs that remind us what beauty is. Play songs that remind us that we can change this world. Play songs that give us hope. Play songs that help us to cry and experience grief. But, for the sake of the world and the responsibility of your calling, do what you do after you get good news and bad news, play a song.

The “breaks” I took from school were things like playing in an acoustic band or going to the beach with my roommates (also jazz school students) and arguing our favorite guitar solos. But my absolute favorite thing was Monday nights at Tobacco Road. That’s when Iko Iko held their open blues jam. My friend Mike played in the band and I’d hang out with him until 4am and play as much as they’d let me.

My favorite “break” from jazz school was a blues jam.

When it came time for my senior recital, I put a couple of blues tunes in the set list. I still remember my professor saying, “I had no idea you could play the blues like that” afterward. My extracurricular influence had found its way into my studies and been a standout aspect of my recital.

Fast forward to now and my outside influences aren’t what I wish they were. I haven’t played music purely for fun except for the occasional one off gig here and there. I don’t spend time discussing music in the deep ways I did back then. I don’t go down to the basement studio and just create for no reason. I don’t devour books and documentaries about my favorite artists anymore.

Why not? Well, life I guess. At some point my work as a musician became something I needed real breaks from – probably about the time we decided it was time for a change. So I started doing non-music related things with my free time. Late nights once consumed with listening to music were taken up by Netflix or other mindless activity. Not a bad thing for a while, but not a great way to sustain a creative soul. And once that becomes routine, it’s like eating Taco Bell. You know you don’t want to but once you start you’re in the drive thru three times a week.

I’ve been making a list of things I want to change in the things that influence me. Here are a few of the items on that list:

• Read more. I’m not talking about the Bible; I do pretty well with daily scripture reading. But I want to read books about creativity and music, bios like Cash and Miles (two of my all-time favorite books), and books about theology. I’d do well to start with my “to read” list which has about 12 books on it right now.
• Listen better. I listen to a huge variety of music. I mean huge. And I love it all. But lately it’s been all too easy to forget about more demanding listening – jazz and classical and deeper singer-songwriters – music that used to hit me in the face and force me to pay attention. Without that in my life, everything slips.
• Play and practice more. My playing is not where I want it to be. And there’s no reason it shouldn’t be.

I know that what influences me in my down time profoundly affects everything I do in every area of music, work, and life. So I don’t just want those things to be better, I need them to be.

I’m not alone in this, right? What have you let distract you from your passion? How are your outside influences working out? If the answer is “not that great,” what needs to change? Let me know in a comment.

When I read what he said, I was reminded of a story that came out around the beginning of the year about the growth of the ‘nones,’  the group of Americans that no longer self-identify with any religious group. It’s a group that contains many “spiritual but not religious” people.

I get all of this. Completely. When talking about my own belief in Christ, I’ll often use the phrases “Christ-follower,” “disciple,” or even quote the Robert Robinson hymn, “Come Thou Fount Of Every Blessing” and say I’m “prone to wander.” To me, all of these are more descriptive labels in this day and age than simply “Christian.”

But what this article and the surrounding commentary have really got me thinking about is the importance of committing. I may choose to use a different phrase to describe my faith in order to promote more thoughtful discussion but, if asked, I’ll say yes, I am a Christian. I’ll say so even though all of the baggage around the word gets me down too, especially in this country with our code words and ways of weeding out those who aren’t from our tribe of Christianity. I wince every time I see something ridiculous in the news that is attributed to a Christian church, be it from Westboro Baptist, Pat Robertson, or any red or blue politician on any day of the week. But what can I do? I believe in Christ. I’m a Christian. I’ve committed.

I feel the same way about the United Methodist Church, of which I’ve been a part in some way for almost 20 years. I didn’t choose this denomination. I grew up (nominally) Catholic. But God chose it for me and the more I learned about Wesleyan theology, the more I realized why. I identify and agree with what we are (supposed to be) about. The UMC is one of the most fractured and messed up denominations right now, and going to an Annual Conference and seeing the politics and the lack of strong leadership and direction at times makes her worthy of all the criticism and looking down upon that she is often given. But, again, what can I do? This is who I am and this is what I believe.

I don’t think my wife would be too happy if I told people that I don’t really like to call myself a husband because, you know, our marriage isn’t perfect and sometimes it’s hard to do and we both mess it up so there’s a lot of baggage. She’d probably smack me. She’s funny like that. We made a commitment to each other in front of God and family and friends and so we both wear our rings and are proud to call each other husband and wife despite the baggage.

I love Mumford & Sons (who doesn’t). I think they are exploring some amazing depths of honesty with regard to life and faith. And I don’t really have a problem with Marcus Mumford’s position. It’s where he’s at and I make it a habit to never question anyone else’s journey. But, as much as I find it appealing, I can’t say the same thing even though I hate the same baggage that he hates. It wouldn’t be fair to the Jesus who openly claims me in spite of my ugliness for me to not claim him and his church despite theirs. So, my only option is to commit.

My son just finished his last season as a Mite in ice hockey (kid hockey divisions have the best names: 8-year-olds are Mites, 10-year-olds are Squirts, 12-year-olds are PeeWees, 14-year-olds are Bantams, 18-year-olds are Midgets, and only after that do you get to be a Junior at age 20).

At this age of development, a lot of time is spent teaching how to stop chasing the puck and spread out on the ice to create options for teammates’ passes. Coaches spend most of the season yelling “options!” from the bench, a reminder to get open for a pass or look for the open player to pass to. It’s a very important part of the development of a young player.

It’s no different with music. Being a music director, creative director or worship leader is often about looking for, and creating, options, whether you are in a church or music director for a major artist on an arena tour.

Give Your Band Options
How’s the key? Tempo? Is everyone singing or is this better off as a solo? How many guitars are playing during the verse? The chorus? What options can you give your band to set them up for success? If the song has a tough piano part but you have a novice player in that chair, work around it for him. If the singer is struggling to hit the high or low notes, change the key. Even during rehearsal. Paying attention to these options can be the difference between your band struggling through a song or set and killing it.

Give The Congregation Options
Along the same lines, how many times have you presented a song the same way? Do you just pull the chart out of Planning Center and go for it or do you think about the song’s role in your set? You love the opening guitar riff and could play it every day until you die but if you do it the same way one more time your congregation might just make that day come sooner. What options can you come up with to change up the arrangement of an old song and breathe new life into it?

Give Your Pastor Options
As creative leaders, our role is to use music and other art forms to support the pastor’s message. We believe the word of God has something to say to everyone. How it is communicated is up to us. What creative options have you offered your pastor in support of the message he or she is trying to deliver? Do you come to meetings prepared with a few ideas or just the one you think is best? The more options you give, the more likely you are to find the right one.

What other options are there in music that you have explored or need to explore to make your band and your sets better? Let me know in the comments and if you haven’t subscribed, subscribe via RSS or email.

(good, too many to name, all kinds)

Why do we always label music into compartments and genres? I get that it was necessary when record stores were the place to buy music. Pop, Rock, Jazz, Country, Bluegrass. But we search now. We tag. Music has always transcended genre labels anyway.

At least this sure does…

On our BUMC Blog, I wrote some words about our heart behind it a while back and want to repost them here:

I met my wife Theresa in 1999. We were both new to Nashville, working in the music industry, and were introduced by some mutual friends. I was a guitarist who wanted to sing better and she was a singer who wanted to improve her guitar playing. You could say I used those circumstances to my advantage and to spend as much time as possible with her.

I had come to Nashville for a new beginning after a particularly difficult time in my life. I was raw and holding on to God tightly. And the best way I knew to do that was through music. I spent a lot of time in my apartment with just my guitar, my voice, and worship songs. Theresa joined me there and we spent many hours together singing, playing and writing songs that were for no purpose other than to offer to God.

Around that same time, UK worship leader Matt Redman wrote one of his most well-known songs, “The Heart Of Worship,” the lyric of which says:

“When the music fades, all is stripped away, and I simply come / Longing just to bring something that’s of worth that will bless your heart… / I’m coming back to the heart of worship, and it’s all about You, Jesus.”

There’s a powerful story behind that song. The pastor of Matt’s church, Soul Survivor in Watford, England, felt that their church community had gotten too much into the “extras” of worship – a great band, a big, loud sound system, and the concert feel that went with it. He felt God prompting him to do a very brave thing and told Matt that, until further notice, there would be no band, no sound system, no instruments. The church would get together and just sing without any accompaniment. He asked the church the question, “When you come through the doors on a Sunday, what are you bringing as your offering to God?” Matt wrote “The Heart Of Worship” alone in his bedroom as a way to capture their experience. That song, and the accompanying question, resonated with Theresa and me as we committed our lives and music to God. And, ever since, we’ve connected with God most deeply not on a stage with lots of other musicians but through a guitar or two, in our living room, singing whatever comes to mind.

While I don’t think we at BUMC have become distracted by all the extra “stuff” that goes into our Sunday services, you’ll soon be hearing details about a new Sunday evening worship service that will aim to strip us to the core of what it means to worship simply. Just some acoustic music, great songs of faith, and our voices and lives. What will you bring?

Guitarists and pianists have always had a complicated relationship. When describing a band, we’ll often call it “guitar-driven,” “piano-based” or even “synth pop,” as if a band can’t exist which relies on both equally. And there’s good reason for this. While drums and bass have well-defined and unique roles, guitar and piano occupy the same space – harmonically and timbrally. These two instruments define not just the root of a chord but the quality and color – major or minor, 7ths, 9ths, 11ths, 13ths. So it’s easy for them to get into each other’s space.

Often, the biggest challenge for pianists in a band is showing restraint with regard to the sheer number of notes at their disposal. Having 88 keys spans a LOT of sonic space. And if they aren’t careful, pianists and keyboardists can quickly find themselves stepping into and on other band members’ roles. There’s a time to explore the full range of a piano – but not all at once in every song. So, pick your spots, find your parts, and realize that you’re part of a larger sound, even though a piano is fully capable of playing everything at once.

My favorite thing about a piano is how incredibly dynamic an instrument it is. From a delicate intro to pounding, relentless chords, pianos can do so much. When I hear a musically sensitive pianist choose the perfect part, whether restrained or all-out, it takes a song over the top. I love to cover a lot of sound with my guitar but I will gladly play rhythm to a creative piano part.

Synths are great for setting a mood and holding things together, though they can do much more. The right pad or filtered string patch are like glue to a song – filling in the cracks between the rest of the instruments. It’s all about appropriate use of a powerful instrument. But, synth players need their own form of restraint. Most synths come with what seems like a million sounds. They are fun to play through in a music store but the reality is that in a band setting you’ll be better served knowing your ten best sounds really well and sticking to them (as well as learning to edit and tweak them to create a more lively and organic sound).

Finally, there have been a lot of classic piano/keyboard sounds throughout pop music history – pianos from grand to spinet, Rhodes electric pianos of every era, B3s, clavinets, Yamaha CP70s, Wurlis, and on and on. Pianos players are smart to learn how these instruments really sound and are used as well as how they were played so they can authentically recreate not just their sound but their vibe.

Pianists and synth players, you have a huge instrument. Play it with restraint and your band members will love what you bring to the music. Bang every key from 1 to 88 without regard for your bandmates and you’ll soon find yourself back in your practice room playing alone!

-History Of The Bass by Tony Levin

Bass players are often the unsung heroes of the band. What, and more importantly, howa bass player plays his or her part is often the difference between a forgettable band and a band that is totally locked in. Here are a few tips for bass players that will help make that difference:

Stick with the kick. Most of the time (and by that I mean about 99%), a good bass part will mirror the rhythm of the kick drum. The rhythm that the kick drum and bass play are called a pattern because there needs to be a repetition to them that is consistent from section to section of a song. This means that the drummer and bass player need to communicate the pattern to each other. If your drummer is playing a different kick pattern every other measure, stop the band and get it sorted out. It will immediately make things tighten up.

Be deliberate about note cut-offs. Just as important as where you attack the note is where you cut the note off. Bass is a big sound in a band and can make things muddy very quickly. Thinking about your cut-offs will also really help tighten the groove. For example, cutting notes off just before the snare hits on 2 and 4 will make the backbeat on the snare pop and crack a lot more. This also goes for straight 8th notes. There are many ways to play 8ths on the bass and it’s more about where the notes cut off than where they begin.

Tone. Deep, growly, thumping, punchy. These are all common descriptive words for bass tone. But how do you get there? Again, a complimentary tone with the kick drum is important. A good bass guitar tone isn’t just about being deep, fat and round. The upper mids (around 5k) of a bass guitar can really make the bass more defined in the mix of a full band. Also, just a bit of overdrive, even on ballads or music genres you wouldn’t think would call for it, can give your bass tone some character, as can playing with a pick. Do a YouTube search for “isolated bass track” and listen to some bass tones – they might surprise you!

Embrace your role. Bass is not guitar with fewer strings. The best bass players love being bass players. They get off on playing the right parts – often simple parts – that create a foundation for the song. Back to The History Of The Bass, here’s what happened when the bass player got too busy:

“Now God’s wrath was great. And His voice was thunder as He spoke to the man. And He said, “O.K. for you, pal. You have not heeded My word. Lo, I shall create a soprano saxophone and it shall play higher than you can even think of.” “And from out of the chaos I shall bring forth the drums. And they shall play so many notes thine head shall ache, and I shall make you to always stand next to the drummer.” “You think you’re loud? I shall create a stack of Marshall guitar amps to make thine ears bleed. And I shall send down upon the earth other instruments, and lo, they shall all be able to play higher and faster than the bass.”

“And for all the days of man, your curse shall be this; that all the other musicians shall look to you, the bass player, for the low notes. And if you play too high or fast all the other musicians shall say “Wow” but really they shall hate it. And they shall tell you you’re ready for your solo career, and find other bass players for their bands. And for all your days if you want to play your fancy licks you shall have to sneak them in like a thief in the night.” “And if you finally do get to play a solo, everyone shall leave the bandstand and go to the bar for a drink.” And it was so.”

Bass players, what other things have you learned that have made a difference in what you bring to the band? Let me know in the comments and if you haven’t subscribed, subscribe via RSS or email so you’ll know when the next set of tips is up!

I started seeing them show up in my Twitter feed some time ago and followed them. I then unfollowed because, to be honest, it was a little too feel-good for my taste. But I have recently been noticing the movement again and was floored a couple of days ago by this incredibly powerful image from their Labels Lie series.

“It’s better to have no drummer than a bad drummer.”

Click here to view the video on YouTube.

There’s a lot of truth about the importance of drummers in that video. Here are a few more tips that I think make the difference between good and great drummers:

Just lay down the groove. It’s not the fills that will get you noticed. It’s the groove. If people’s heads aren’t bobbing that’s a problem. This means being okay with playing simply. Simplify your kit. If the groove won’t happen with kick, snare, and hi-hat, it won’t happen with 4 rack toms, 3 floor toms and 5 crash cymbals either (unless of course you are Simon Phillips, but he could groove with a trash can and lid I’m sure). And groove will never happen with roto toms.

Know your metronome. I don’t just mean practice with one all the time or listen to it on the bus like Paul said above, but I mean know the difference between 85bpm and 90bpm. Songs live and die by the perfect tempo. One or two clicks in either direction will make a difference. I have a metronome app on my phone called Tempo Advance and since it’s always with me I practice guessing tempos of songs I hear and checking them on the app. We can be trained to match tempo just as we can match pitch.

Be creative but be appropriate. I just LOVE when a drummer offers an idea for a unique and different groove on a song. I also love it when he’s OK if we don’t use that groove. To me, what makes a live performance (whether a concert or a worship set) really connect with people is that it doesn’t sound like the recording. Drummers who have spent time in the woodshed working on different ideas have the ability to take a live arrangement to a whole new place. This also means making sure your stick bag is stocked: sticks, Blasticks, Hot Rods, brushes, even yarn mallets.

Help the rest of us remember that tempo and groove aren’t ALL about you. I’ve noticed something- when a song is feeling really good, we all like to take credit. When a song is rushing or dragging or just not in the pocket, we look at the drummer! Don’t be afraid to tell us that we aren’t keeping up our part of the groove. If the five other players in the band want to rush, no drummer is going to hold them back. Keep us honest. We won’t like it, but do it anyway.

Be the funniest person in the band. This is your job. Please be funny.

Drummers, what tips would you add to this list? Non-drummers, what are some thing that you have noticed about your favorite drummers? Let me know in the comments and if you haven’t subscribed, subscribe via RSS or email so you’ll know when the next set of tips is up!