New Stonewood mandolin case from Protec Music
We're always interested in reporting new and cost-effective ways to protect and mobilize mandolins, especially when a case is versatile to fit many different body Read more»
08.30.10
New Paul Glasse Videos
Video treats from one of the planet's most amazing jazz mandolinists, Austin Texas stalwart, Paul Glasse. The first is a rare opportunity to witness a Read more»
Sponsors below have truly incredible products
you should explore. Click banners and enjoy!
"Good improvisation communicates harmonic progression melodically. Effective melodies manipulate harmonic content through the use of guide tones and preparatory gravity notes, masterfully woven in systematic tension, release, and transparent harmonic definition."
April 30, 2009 | Donations to the Cool Mandolins for Kids Program
We're excited to report a total of $370 donated to the Cool Mandolins for Kids program, generated from "Getting Into Jazz Mandolin" book sales from the JazzMando Merchandise Center. Project coordinator, Laura Leder of Cool Mandolins reports, "Cool Mandolins for Kids is going well. I have gotten more mandolins out to children. I have attached some photos of some young mandolin recipients. The oldest recipient is an Autistic young man who I met at the Mayville Guitar and Stringed Instrument Show in NY. His case worker worked with me to get him a mandolin.
"Due to Scott (Tichenor)'s efforts on Mandolin Cafe, Eastman Mandolins donated 4 mandolins (new) to me. It was so generous. I have donated two of those mandolins to Sore Fingers Summer School in England. They will be selling them and the monies will be used for scholarships at both Sore Fingers as well as Mandolin Symposium. This year, I am sponsoring a young Irish gentleman (whom I met a few times at Sore Fingers) to attend Mandolin Symposium. He is a wonderful player and travels with a "River Dance" type of company providing music."
Laura has a small waiting list on the Cool Mandolin website, so more donations are encouraged. Check out the photo gallery of other mandolin and scholarship recipients.
We couldn't resist, and now we're glad we didn't. The recent acquisition of a Sea Foam Green (Aqua) JL Smith 5-string electric mandolin is something to rave about--and now in print. Not many 5-strings have produced a successful C to E string balance, foregoing the traditional low C flop. John Smith has it figured out and in a ground-hum free Tele panache and as easy on the hands as it is on the eye.
April 26, 2009 | Chris Thile: Bach Mandolin Project
Sometimes you see a performance that just reminds you of what it is about the mandolin that is so captivating. Nothing better to do that than a good Bach Partita and the reigning king of mandolin himself, Chris Thile. Also, check out the URL link further down with the performer's personal musings and refections on Bach.
April 24, 2009 | River of the West Mandolin Camp, June 12-14
Beautiful scenery, beautiful instruction, beautiful picking. If that doesn't sound like fun, we don't know what does. You can get a great visual taste of the June 12-14 event in Corbett, Oregon (12 miles east of Portland in the Columbia River Gorge) from the camp's promotional video. The event features clinicians Brian Oberlin and Don Stiernberg and is held at the Menucha Retreat Center overlooking the spectacular Columbia River Gorge.
According to website information, "The Columbia River (formerly known as "The River of the West") is the largest volume river flowing into the Pacific Ocean from North America. It travels an impressive 1,234 miles from its headwaters in British Columbia, cutting through the Gorge, before it empties into the Pacific. The Gorge, which is 4,000 feet deep in some places, stretches for 80 miles and contains some of the world’s most beautiful scenery, as well as the greatest concentration of waterfalls in the Pacific Northwest--just right for playing mandolin. The Menucha Retreat Center offers a pool, tennis courts, and lovely walking trails."
Clinic details are on the website, and since the event is limted to 34 students, you'll want to get your registration in soon.
April 22, 2009 | In case you missed it: Dorian/Minor FFcP
Last week we just added to our FFcP library something to get very excited about: Dorian/Minor FFcP!
We've been asked many times what to do about the minor keys in the FFcP strategy, and until now haven't had much of an answer. The Minor/Aeolian mode is already there somewhat in the regular Major Scale drills, but there is nothing to reinforce the world of minor in a harmonic context. The traditional study of the three minor scale modes (natural, harmonic, and melodic) betray contextual function in jazz. More often than not, you'll use some kind of Dorian, which offers the "minor-ness" of the lowered 3rd, but maintains a harmonic neutrality in the 6th and 7th scale degrees. We've inserted a four-measure taste of harmonic function in the 'i VI ii7b5 V7' patterns in this recent addition to lend fingers and ears some familiarity within a chord context.
Since the release of "Getting Into Jazz Mandolin," we've come to the conclusion the mandolin world could use a supplementary FFcP studies book, and we'll register right now it's on a very short list of long term projects. Until then, take advantage of the free onsite exercises already in our comprehensive, six-part FFcP summary.
Who would have thought it, Chicago's infamous gangster, Al Capone, was not only a notorious mobster but a mandolinist, and a bit of a composer/songwriter, as well. "He did have a human side after all," according to an ABC news article. "But maybe it took several years in the harshest prison in the country for him to turn it around. After years of being under the federal government's watch, he was finally nabbed for tax evasion in 1931 and was serving time at the famous Alcatraz prison off the coast of California. From his prison cell more than 70 years ago, the story goes that Capone requested the warden to start a band. Capone got his wish, with other prisoners who knew music too, but this cold killer's love of music came long before his crimes caught up with him."
Capone was a big opera and jazz fan; he was known for hiring famous jazz musicians to entertain at his clubs and speakeasies. You can catch a performance of his original song "Madonna Mia" in the news video report.
Had the chance to stop in for a personal tour of Acoustic Vibes Music yesterday morning. Owner Jeff Looker has a fine storefront; business has been so good, he's having to expand display space 50% into a third room, so we had to dodge saws and slatwall to see some of this amazing collection of instruments. March was indeed, a record-breaking month.(Makes one wonder what the fledgling two-year old business would be able to do in a good economy!)
Click images for closeup
High end boutique instruments, guitars, banjos, and mandolins (now ukes!) are this architectural company owner's specialty. Collings, Bourgeois, Baden, Weber, Breedlove, OME, Santa Cruz, Phoenix, all are examples of the world's best acoustic products adorning his interior. Interestingly, this last two months have offered him a huge influx of used instruments in trade; he was in the process of photographing the latest catches. Always worth a few minutes to browse his website and click on the "candy" there.
We were captivated by a few Weber specialties, a custom Gallatin, and this beautiful F-body OM
The storefront is only 15 minutes away from Sky Harbor Airport in Phoenix, Arizona.
April 16, 2009 | Maybe this feedback can give you some insight into using FFcP
We have a standing request for feedback on the resources here on the site, as well as response from the "Getting Into Jazz Mandolin Book." Time to share with you; we trust this can be an encouragement in your studies. Let us know your thoughts, too!:
"It's not so much that the concept is new, it isn't, it's that the concept is articulated in FFcP more clearly and logically than ever before. It's a dynamite instructional concept and aid too. Student fear of "the dusty part" of the fingerboard is put at ease. Ted's genius lies in the presentation of concepts, making the instrument accessible. For this I am grateful." Michael Bruce Crocker.
"I'm sure you get this pretty often, but your book has helped me tremendously! I've only been doing the ffcp's for a month, but at least one hour every day, seven days a week. I've played mandolin for about a year and a half after discovering bluegrass and leaving 15 years of rock bass behind. I felt like my speed and fretboard knowledge might be getting a little better, but at band practice this week I took a break on a new song. Afterwards, everybody said 'where did that come from?' I didn't know either, but it sounded great and just kinda came out, without thinking. FFCP! I've advanced more as a player in a month than I have in a year and I'm only on page 16.
Sorry the long message, but I just wanted to thank you (thank you, thank you thank you!). I'm finally, slowly becoming a better player, which obviously makes playing much more fun. Thanks for writing such a great book and helping newbies so much! Chris Willingham
"I've been starting practice with around 20 minutes devoted to GiJM as well. I've gotten to page 30. I'm determined to play all the FFcP and arpeggio studies near perfectly before I move on. (I've played Lydia a few times, but I'm trying not to move further forward.) So far I have noticed similar benefits--greater fluidity, better tone, confidence that I can start a run on any finger. That alone has been well worth the price. My plan is to take the time it takes, do the work, and not have specific expectations. I think it can't help but to improve my playing, but I am curious to find out what my fingers and brain are going to be able to do with it as I progress thru the book.
Good luck to us all. Maybe our secret sign can be a pinkie finger wave." Name withheld
"This is a trivial bit of feedback from a rank amatuer mando player, but I want to thank you for the jazz book. I've been seeing good progress with the exercises, finger and pinky strength improvement. Never thought I'd be in a position to decide whether to play a string open or use my pinky. Where I still had been troubled was how to apply these exercises. So in an act of real insight, I "read the instructions". Instead of diving into playing as I usually do, I went back and read all the text accompanying the exercises and low and behold a light went off. And maybe that's part of the book's beauty, it's like good music, when you go back over it you pick up a little more each time. Enjoying the hell out of this book! Thanks. Rich Young
"First, the scale exercises are the second thing I do after a little modal exercise I do to wake my fingers up. I don't do them particularly fast (anywhere between 84 and 102 BPM) because this is a time for concentrating on technique (I feel). So, I take great pains to be sure every note sounds musical, that my fingers are properly lines up (or at least making strides toward great hand position) and that there is a flow to the exercise. I think that this alone has greatly improved my tone.
Second, I am using my pinky much more than I ever have (save when I studied classical guitar). It is coming naturally now. When I'm improvising, the riffs I hear (in my head) do not exclude notes reached by the pinky. In fact jumping 4ths has become routine." Brian Claffey
April 14, 2009 | Eight is (not) enough: JP Charles BAC-10 Ten-string
We've enjoyed the 5-string electric, the mandolin and mandola, so it only seemed logical to commission the talents of Jean Paul Charles, Brazilian Luthier and repair technician and include the individual benefits of all those instruments into a single one. Having a great personal experience with his BSA-4 four-string beauty, we knew the builder had hands-on access to some of the world's best woods and the craft to pull tone out of them. Jean Paul is also a stellar jazz musician himself; it only seemed natural to call on his talents.
Ten it will be...
Preliminary pictures of the work in progress are below, with an ETA of sometime this summer. Our appetite is primed; very much looking forward to heaping on the extra "course."
We've just been introduced to another amazing electric mandolin builder, J.L. Smith. John hails from South Carolina (Myrtle Beach) and specializes in this amazingly comfortable, tone-rich Tele style instrument. Of course, the Sea Foam Green (Aqua) finish caught our eye immediately, and we'd already noticed its recent appearance in a review by fellow webmaster Martin Stillion over at eMando.com, midst other internet praise and chatter.
The instrument has a unique country "quack" to it, the Alder wood body capable of a bold aural spank, a character completely different than our revered Jonathon Mann 5-string. Both are welcome components of the JazzMando staff tone arsenal. We're anticipating a full written review very soon documenting the Smith's playability and extended sonic prowess, so stay tuned.
Scott Tichenor, MandolinCafe Site Adminstrator reponds publicly after seeing initial pictures, "Woof! Where's the sunglasses and 57 Chevy with fuzzy dice hanging from the mirror?"
It's ours, now; we'll have fun, fun, fun, 'til her Daddy takes the T-bird away.
April 10, 2009 | They're BAAACK! JazzMando Family Flatwounds for Mandola.
We had been without a supply of JD13 JazzDola strings for about two months, but now that's in the rearview mirror. Good supply; ready to warm up your CGDA! Thanks to the many folks who've been patiently waiting for this shipment. We had no idea how popular they've become. (You don't know what you've got 'til it's gone.)
So what is the story behind these strings? They say necessity is the mother of invention, and certainly that's the scoop on the development of the JazzMando JD13 "JazzDola" mandola strings. Those who know the warm, silky sound of the Thomastik flatwound strings understand that even though the initial price tag is high, they pay for themselves many times over in longevity. Flatwound steel strings should last 4-5 times as long as phosphor bronze, so if you like the sound, price is no excuse; these are value.
A good share of you who liked the TI 164M Dola strings have encounter frustration in the length of the playing area. The signature silk wrapping that makes string changing a breeze often crosses over the nut, and we knew that going into development of the JD13. We added two inches to accommodate 95% of the 16 and 17" mandolas. Problem solved. We should also mention that wrapping prevents use on longer scale instruments (OMs & Zouks) even though the strings are long enough, the playing area of the string won't accommodate anything greater than 17" scale. (We're working on that, though...)
What else makes JazzMando Family Strings special: You already knew strings will wear from playing. Skin oils, picking, and longterm vibration cause the string to decay and lose tone over time. What you may not be aware is oxidation in the package has the same residual effect! Other brands of strings hanging on a store shelf can be purchased new, but suffer the hidden effects of months, if not years of deteriorating right in the package. Labella's proprietary four-step process, including "Tarnish Proof Technology" means your strings are delivered factory-sealed, freshness second to none. JazzMando ordering protocol takes this a step farther, ordering in smaller case quantities to assure maximum string vitality.
$59.50 for two (you always want a spare, right?), or $32.50 each. Give them a try if you haven't already.
April 8, 2009 | April Mandolin Sessions: Lydian Part 2
In the latest Jazz Mandology article at MandolinSessions.com, we wrap up our final entry on Lydian improvisation. This time we focus in on the use of a very familiar Folk/Bluegrass tool, the Pentatonic Scale, incorporating FFcP fingering. We show how using the Pentatonics based on upper notes of the chord, you can create some intuitive and "intentional" improvisation. The Beboppers did this 50 years ago; why can't we?
MandolinSessions is a bi-monthly online resources, free and brought to you by the dedicated folks at Mel Bay Publishing. Read Jazz Mandology, and some of the other fine contributing columnists.
Just out from Groveland Software, the creators of Mando ModeExplorer: JazzCittern ModeExplorer!...
Sound crazy? Not to us; it actually sounds progressive and preemptive. We field all kinds of new questions about 5-string mandolin, and are just about to take on personal study of a 10-string acoustic. These materials will be embraced by a multitude of leading edge performers and hobbyists. The jazzCittern ModeExplorer is a powerful software tool for improvising cittern players, bouzouki players, Octave Mandolin players, AND those innovative New Standard Tuning (NST) guitar players out there... As well as 10-string bandolim players, 5-string electric players, and pioneer fan-fret mandolin players. You already know the endless advantages of fifths tuning; the jazzCittern™ ModeExplorer makes these benefits available in the rich voice range of the guitar.
The jazzCittern - The 10-string long-scale bouzouki is really the happy offspring of a Mandocello and a Bouzouki. This instrument, when tuned CGDAE, becomes an extraordinary jazz instrument - the extra course illustrates the wonderful symmetries available in fifths tuning. Chord building and scale visualization is a breeze.
Also, recent enhancements on the latest version of the Mando ModeExplorer include specially sanctioned JazzMando FFcP support, too, as well as violin positions, like the jazzCittern.
The chart playback is very much improved on both products, Mando and jazzCittern.
The Groveland Chord DNA Laboratory is in both products.
The ChordWatcher's Field Guide and ScaleWatcher's Field Guide are in the Help files too.
The Help files are 80+ page .pdf files, viewable in Acrobat, print-ready.
We've had the privilege of a week-long visit with an intriguing demo C# mandolin from the woodbench of retired chemistry professor, Dr. David Cohen in the JazzMando Research Lab. The good doctor is world renown for his exhaustive research on the fundamentals of sound and mandolin construction, but what you may not already be aware of is his ability to craft a premier instrument. We explore that amazing link between science and soul in our latest review in our "Builders of the 21st Century" feature.
April 2, 2009 | Play to your instrument's strengths: Worship Musician Magazine Interview
We'd like to thank fellow webmaster Martin Stillion (www.Emando.com) and columnist from Worship Musician Magazine for a terrific interview. The following is a reprint (by permission) of the March/April column:
Playing the mandolin: Play to your instrument's strengths
(No more excuses, part 2)
For today's column I'm joined by my friend Ted Eschliman of Lincoln, Neb. Ted operates JazzMando.com and also plays in a worship band at Lincoln Berean Church.
Martin: What are some of the barriers facing mandolinists in worship music?
Ted: One typical barrier is that it's not particularly loud, and is easily buried. That can be helped somewhat by having it set up so that it's easy to play. But the biggest barrier is that your typical worship team leader doesn't know where to plug it in--pun intended. Musically, where does it fit?
M: I don't have a universal answer for that. When someone asks, "What's a good 'strum pattern' for such and such a song?"--I can't answer that definitively, because it's determined by the instrumentation and the arrangement. Your strum pattern--or whether you should strum at all--depends on what else is happening.
T: The biggest mistake I see with guitar players who pick up the mandolin is that they play it like a guitar, and do this chunky rhythm thing. If you're not coordinating that exactly right, it sounds awful. It needs to be its own thing. The mandolin player should find a backbeat or do something that the guitar is not doing.
M: Such as?
T: Look at what a mandolin does that no other instrument can do: Tremolo. The mandolin shines during those meditative moments when you have a lovely tremolo I can play chords all I want and nobody notices, but a well-chosen tremolo just takes a song to another place. Think in terms of what it can do to add intimacy in a quiet spot. Or on a faster song, percussiveness can lend energy and timing.
M: Right, the mandolin can function like a snare drum or cymbal. Timing can be more important than a full, ringing chord.
T: Mandolins are also ideal for crosspicking.
M: Yes, and it doesn't have to be complicated. Like eighth notes, F#-E-D over a D chord--I call it "jangle." Let's say you're playing and you see a chord you don't know. What do you do?
T: I hope there's a note in it that I do know!
M: Good answer! Even if you don't know the fingering for every chord, you should be able to pick a note out of it. For instance, take the sixths and sevenths and suspensions and so forth. Each of those chords has a "color note," and it's almost always a strong choice for the so-called "color instrument"--i.e., the mandolin--to play that note. So if the chord is Gsus, play a C! If it's G6, play an E! If it's G7, play an F! If it's G9, play an A! Go for the note that defines the chord, and emphasize it.
Before we wrap up, I want to put in a plug for the exercises and instructional materials you've gathered over at JazzMando.com. You have some skill-builders that are applicable to all kinds of music, not just jazz.
T: Thanks! Worship music is the most important music that I do in terms of its significance. When you're doing stuff in church, you're doing stuff that has impact on an eternal scale. So it's worth doing to the best of your ability.
M: Amen.
Multi-instrumentalist Martin Stillion, a 15-year veteran of worship bands, plays at Seattle's Bethany Presbyterian Church. In his other lives he's a husband, father, writer, editor, Webmaster, composer, recording artist, and instrument dealer. Learn more than you wanted to know about Martin at www.stillion.com/martin or www.emando.com.
Disclaimer: In the 'Information Age' of the 21st Century,
any fool with a computer, a modem, and an idea can
become a self-professed 'expert." This site does not
come equipped with 'discernment.'
Subscribe to this feed
April 30, 2009 | Donations to the Cool Mandolins for Kids Program
