Most people don’t know that the song Spooky, made famous by the Classics IV, was actually originally recorded as an instrumental by saxophonist Mike Shapiro in the mid 60s. It was later rerecorded by the Classics IV in 1967 after guitarist James Cobb and producer Buddy Buie added the lyrics.

Apparently, Mike Shapiro had the same publishing company as Cobb and Buie, who heard the tune, liked it, and put lyrics to it.

The classic element of this story is that Shapiro ended up playing the great sax solo on the Classics IV version. I’ve always loved the tone and style of that solo, kind of jazzy and slightly edgy.

Here’s a version of the original recording of Spooky featuring Mike Shapiro on the tenor saxophone:

I’m on a Big Bad Voodoo Daddy ride! Sing along with me now:

My friend, Richard Searles, is a interesting guy and a remarkable musician. Not only is he an excellent guitarist, but the music he records is both fascinating and superb.  Here’s his bio:

The music of Richard Searles blends elements of Celtic, Renaissance and World Music styles using both traditional and modern instruments to create a sound at once soothing and evocative.

Primarily a guitarist, Searles developed a keen ear for the enticing sounds of the world’s many musical styles through travels to Great Britain, Africa, Asia and the Middle East. While studying classical guitar, he was first exposed to Medieval and Renaissance music through the recordings of David Munrow and Paul Odette. These experiences, along with an appreciation for the inherent beauty of the sounds and rhythms of the Earth, are the continuing influences on his music.

While most of Searles’ compositions revolve around the guitar, it is the mixture of instruments that defines his style. Using harpsichord and tabla together and joining synthesized and environmental sounds with classical guitar result in combinations that are not exactly traditional. In the context of his music, however, the unorthodox mix of East and West, Ancient and Modern helps to transport the listener into new realms bound only by the imagination.

When listening to his music, one can feel a concern for the planet and an awareness of the dangers to life in a shrinking world. But there is also a sense of hope and a positive life energy that balances these concerns. In a world facing complex and overwhelming difficulty, his music creates an atmosphere of calm, peace and understanding.

Here’s what Richard has to say:

“My style is an instrumental blend of Renaissance/Medieval, World and New Age music. In that context, I’ve recorded albums of original music (Magical Creatures, The Green Man, Ancient Isles, Earth Quest), music from the Medieval and Renaissance periods (Dance of the Renaissance, Dream of the Troubadour, Scarborough Faire, Jongleurs Dance), and early Celtic music (Celtic Cross, Emerald Castles).

While my main background is Classical Guitar, I also play Recorders, Hammered Dulcimer and Concertina. The albums usually have an ensemble sound with additional musicians on Harpsichord, Woodwinds, Strings and Percussion.

The recordings are now available as digital downloads from iTunes and on CD from Amazon.com as well as from my own website www.earthdancemusic.com.”

If you enjoy Celtic music, or would like to hear some as it should be played, check out Richard’s music. You’ll love it!

(This Guest Post is from an amazing keyboard player in my home town of Fort Wayne, IN, Dave Latchaw. He’s got an excellent website with lots of great music to listen to.  Check it out!)

Music should be fun! Players, educators, and students very often forget this fact about music. It is easy to be distracted by many things that have nothing to do with playing music. We all have a variety of circumstances or situations that may cause frustration, angst or anything else that gets in the way of having good time with music.

Some players are wrapped up with the “it’s a job” aspect of making music, either as a freelance musician or in a band. We all cannot be Sting or Madonna or play in their bands. Unfortunately, many musicians feel they will be successful only if they achieve something of a similar magnitude. We can all strive for that level of expertise, but there is just not enough demand to allow every artist to achieve that kind of success. Nothing wrong with attempting to have that kind of success, and very cool if one achieves it, but it is important that we have a good time doing it, and dig the fact that we can make music. Sharon Osbourne once said to me, “Ozzy would be Ozzy regardless of whether he was famous or not.” I am sure he prefers being famous, the money, and all that, but if he were not famous, he would still be out there somewhere rocking out, the way only Ozzy can. This is a cool space to be in for any artist, it’s liberating. Making music because you dig it is the only way to go. If you can make a living with music that can even be better fun for you.

Musicians have to deal with an immense level of competition. The competition that goes with making music can bring fragile egos and insecurities to forefront. Many times this can bring a dark vibe to the music making. The musicians who do not have their ego and insecurities in check play as if they have to prove something to the other musicians in the band and their audience. They are wrapped up more with themselves than the music, and this gets in the way of a band sounding cohesive and allowing the listener to truly have a meaningful experience. When a musician can be in control of their ego and insecurities it allows them to be selfless and submit to the music. Being selfless can lead to a higher level of music making, which makes for a better experience for player and the listener. Making the music experience more fun for everyone involved is a wonderful goal.

Some music educators are fed up with the tediousness of teaching. It does take an amazing amount of energy, focus and drive to do it well. The amount of training an educator has to have to know their subject matter is often not obvious to most, which leads to educators not fully appreciated. In addition, the pressures from some school administrations and parents to have a competitive music program can lead to potential burnout for both educators and students. When burnout happens, music educators and students end up preferring to do anything else but music, which will lead to a great deal of frustration for all involved. Convincing parents and administrations to be more concerned about having a positive enlightening musical experience is not the easiest thing to do. They try to make music into a sport; sports are more tangible to them. Winning competitions becomes more important than an enriching musical experience for the student. The more an educator can enlighten all parties involved with the school music program that it is about learning to love and appreciate the music, the more fun they and their students will have with the musical experience.

When teaching music, one has to be aware of their own abilities, limitations, and neuroses, especially in private teaching situations. A lot of personal teaching style is from one’s own teachers, which potentially means passing on both excellent musical knowledge and hang-ups from generation to generation. Sometimes private teachers are players that only teach to add to their income. Players who are frustrated about teaching should remember that it is not the student’s fault that one cannot make a living fully from performing alone. The time a teacher spends with the student is to help them to get further down their own musical path. Thinking that the student should only follow the teacher’s musical path is just the teacher being self-absorbed. The more confidence a private educator has about themselves, the easier it will be to help the student improve, which is more rewarding and fun for student and teacher alike.

Sometimes students of music forget that improving musical skills takes time and effort. If it were easy, everyone would do it! A student that is not willing to put in the time is not going to have as much fun, simple as that. Music students also need to learn not to be sensitive. The very nature of taking lessons involves learning to try things differently than the way you are currently doing it. If you are defensive rather than open to new ideas, you may miss a wide area of musical possibilities. Remember, if you make the appropriate commitment to music you will be a student of music all of your life. If you embrace being a life-long student of music, you can reach greater heights of musical satisfaction and fun. Have a good time all the time!

Dave Latchaw
Fusion For All

http://www.latchmusic.com/

http://www.live365.com/stations/latch_music

http://www.facebook.com/people/Dave-Latchaw/504140281

http://www.myspace.com/davelatchawfusion

http://twitter.com/LatchMusic

I want to introduce you to my fellow saxman and pal, DJ Wilkinson.

I’ve known DJ for some years; he and I are on the same circuit, selling our CDs at street fairs, art shows, etc.

DJ is a fun guy to know and be around, and his music really reflects his spirit.  His CDs cover a variety of styles, everything from rock ‘n roll to country to blues to gospel and then some.  Some of my favorite DJ music is from his CD, Night Train, a collection of Motown and boogie woogie tunes that he recorded in Nashville.  Check out this version of the old Jack Johnson blues standard called “Bootleg”:

Bootleg

Not only is DJ a talented sax player, he’s also a talented composer as well. Here’s a DJ song from his CD, Blow’n The Blues, called “Cruzin N Bluzin”:

Cruzin N Bluzin

DJ has, like me, been playin’ sax since he was a kid and comes from a music family. He recalls:

“I can’t remember when I was not around music of some kind. My mother played piano. She couldn’t read a note but man she could bang out some hot boogie woogie. Both of my older sisters played the piano also. Before I got my first sax, I had a flute, clarinet, trumpet and a cool fender guitar. None compared to my first sax. It was love at first honk.”

As I mentioned, DJ covers a lot of different styles. Here’s a listing of his current CD library:

• A Stroll Down Lover’s Lane – Easy listening 50s music offering a pleasing background ambiance that is perfect background music for entertaining or just kicking back and relaxing.
• Blow’n The Blues (With Blues You Can Use) – Blues music from the 30s to the 60s. Soulful and energetic, this blues just feels good.
• Cruzin’ With The Oldies – High energy, sax-powered rock and roll from the 50s and 60s. Always a best seller, from Blue Berry Hill to Proud Mary, this CD rocks!
• Classic Country Favorites – If you love the music of Patsy Cline, Eddie Arnold and Earnest Tubb (to name but a few), you are sure to enjoy this CD. It’ll take you back to when country was country.
• Night Train – Do you like Motown, Rhythm and Blues, or Boogie Woogie? If you do, then this is your CD! It’s HOT! Recorded live in Nashville with a little Memphis kick.
• Sunday Sax – If you’re looking for a little spiritual pick me up, then this CD may just do the trick. Sit back, relax, and get your church on while DJ plays some favorite gospel hymns.

So  if you like upbeat and spirited blues, country, gospel and rock n’ roll sax, you’re going to love DJ Wilkinson’s music.  Go take a listen, and enjoy!