The art of ensemble. It’s about bringing a group of musicians onto the same stage, or into the same recording studio and striking up a conversation. No genre has more conversation and interplay in it then America’s own jazz. Welcome to April, The Project H’s latest LP, is exemplary of this sonorous exchange as the jazz septet dances, in harmony, through 8 energetic tracks.

The album kicks off with a dissonant number entitled “Smokescreens”, in which this kind of ensemble play is at its best. It opens with Heinlein’s trombone and Jervis’s trumpet smoothly flowing a melody over a lazy rhythm section vamp, while in contrast, Jason Whitmore interjects deliberate bursts with his tenor sax. All at once, the next section arrives with the entire group coming together on offbeat, dissonant notes. Well executed solos over that groove follow, with the track closing in the same batch of contrasts it started with. The same character can be found in subsequent tracks “In Regards to Your Entitlement…”, “What They Don’t Tell You”, and “Gettin’ Down For Gettin’ Down’s Sake”. I really enjoyed how well orchestrated all of these tracks were, at times effortlessly purveying intricate, group riffs.

However, Welcome to April also higlights the versatility of the album’s musicians. Other tracks groove like funk tunes, while tracks like “Peerless City Struggles” really highlight Ryan Heinlein’s sensitivity and dynamic range. At times, some tracks are so different in character that they gently push outside the identity of the overall album.

There are a few things I would’ve done differently to really make this work shine. I don’t care much for the sound of the audio recording, as there’s a rather dry and hollow tone to it. Unfortunately, this exacerbates the fact that keyboardist Adam Walker is using synthesized piano and electronic piano sounds, a quality that, on its own, conflicts with the otherwise highly organic sound of the rest of the ensemble. (Being a keyboardist myself, I can really sympathize with not having a grand piano everywhere you go.) Also, while I really appreciate the confines of the unison sections of this album, I would’ve loved to hear some more interaction from the very talented Sam Hake during solo sections.

Overall, jazz fans will enjoy listening to Welcome to April. Its polished, unison moments outdo some of the same that I’ve heard from celebrated, all-star jazz records. That itself, is an accomplishment to be proud of. So, congratulations to The Project H for a well done jazz record!

Steve Jobs is done playing games. Following a whirlwind of speculation and debate in the technology community, he finally decided to add a plain terms account of exactly why Apple has decided to block Adobe Flash from its app store and mobile devices. The result is a pointed (at times incisive) letter with 6 distinct reasons for Apple’s latest move. The letter makes a couple of strong arguments, but does it ultimately tell of the real reason Apple has given Flash the mobile boot?

Jobs opens his appeal in a reminiscent tone, recounting the times when Apple and Adobe had a deep collaborative relationship. He then identifies something the whole tech industry already knew: Flash is blocked from Apple mobile devices. The remainder of his testimony expands on why they made the decision:

1. Adobe Flash is Proprietary – Apple has added to the open web languages, and poo poo on Flash for not doing so. While Flash is widely popular/up to date now, I’m sure Apple would hate to see it go the way of ColdFusion and result in a bunch of outdated apps in their store. VALID
2. Full Web – Here jobs merely states that he thinks full web can be defined as one where video is not served in Flash. This is not so strong an argument, though he does list a pretty killer list of brands that support the Apple mobile device compatible H.264 video format. SEMANTICS
3. Reliability, Security and Performance – Everybody (even people outside the tech industry) know that Flash is resource intensive. With the growing power of desktop/laptop computers, this has become less of an issue – but it can be understood as to why we might be experiencing a relapse as the popularity of mobile devices grows. As for “reliability”, we’ve all been to sites that serve up Adobe Flash error codes because somebody hasn’t quite mastered Action script. Sometimes said error codes even render the site unusable. VALID
4. Battery Life – The hard cold facts of software based graphics rendering vs. hardware based: 5 hrs of battery life running video from Flash vs 10 hrs of H.264 video (rendered by hardware). For those of us on the go in the long stretch, this is a serious figure. VALID
5. Touch – Here Jobs is arguing that you can’t do rollover effects with a touch device, and that it’s essential to Flash. I’d call this a drawback on the part of Apple devices, since many websites (of all coding varieties) rely on mouse rollover effects for essential interaction. WEAK
6. “The Most Important Reason” – Is a return to point #1: Flash is proprietary. Adobe updates Flash when it wants to and Apple doesn’t like the idea of a 3rd party software developer being between the developer community and its devices. Is middleman essential to the process? No? Then throw him out the door. Enter HTML5/CSS3/JavaScript – an open code, run by a panel of global technology leaders – updated based on the needs of the tech industry.

The Whamo Blamo Conclusion Paragraph

Steve Jobs wraps up his attack on Adobe with a few harsh final statements about their Flash product. Here are my favorites:

Flash was created during the PC era – for PCs and mice.

Perhaps Adobe should focus more on creating great HTML5 tools for the future, and less on criticizing Apple for leaving the past behind.

Zing! No but really, I’m glad Jobs took the time to put together a plain talk round up of why Apple is shutting the door on Flash. I found the article to be enlightening, though I’m still not completely sold on the fact that Apple is doing what it is simply for technological reasons. As big companies fight for control over our internet/mobile lives, we are the witnessing lines being drawn in the sand:

• Microsoft creates Bing and tattles on Google for privacy/business issues
• Google gets in bed with Adobe Flash as Apple forbids it from the future of its mobile devices
• Apple creates the iPad – in direct competition with Amazon’s Kindle

As a consumer – I can hardly complain. I was a little bummed when I dug into my first iPhone and navigated to some of my favorite sites only to find a blue square and a question mark in place of the Flash I needed to actually interact. Ultimately, I don’t miss Flash on the iPhone that much.

This is the way our economy was built: have the major companies compete for our dollars, keeping prices low and innovation fierce. As a designer, I’m a big fan of an HTML5/CSS3 web, rather than a web where the “coolest” sites are dominated by Flash.

In an Utopian society, I’m sure Flash and Apple could get their differences figured out. I mean – Google and Flash are in bed. But Apple has decided where to lead onto next, and I wouldn’t be surprised if this serves up a big hurt to Flash adoption in the near future.

The infamous Steve Jobs letter: http://www.apple.com/hotnews/thoughts-on-flash/

So I’m taking this beginner’s drawing course at CityArts, our local arts education center. My buddy JJ convinced me it’d be a good way to sharpen up my eye, in an effort to up my design skills. I was reluctant at first: while I’m proficient at playing the piano and designing websites, I’ve always been less than sufficient at creating visual art by hand.

I’m happy to report that, thus far, the class has been really engaging. I’m learning a lot about observing and recreating perspective, breaking objects into shapes, and how to navigate a pencil. Our homework assignment this week was to draw up an object in our home. So I put up some hip hop tunes on last.fm, sat down with a cheap candelabra Liz and I have at the apartment, and went to work.

Now, anybody who knows me knows that I’m not a lyrics a person. Even when I’m listening to hip hop, I’m drawn more to the action in the beat (no matter how repetitive) than the flow the mc is dropping. My girlfriend will tell you I’m bad at listening in general (haha). But here I was, focusing as much brain as I had on drawing this object, but for some reason everything around me in my environment came through really clear. While I felt like drawing had my complete concentration, I was also deeply engaged by Madlib’s lyrics. I found this even more strange because I can’t listen to music with lyrics while I code/design on a computer.

There’s something real therapeutic about drawing. I dig it.

Alright – so April fools, but I have to give Google cred for poking fun at Topeka’s silly (but as I argue in a previous blog post, valid) PR stunt. Clearly, they’re also poking fun at the media for picking up the story hard. What I thought was particularly witty on their part, is a blog post that explains their reasoning for changing the Google brand. I thought it especially clever of them to poke fun at our fair state capital’s history, including a note about the famous temperance movement leader Carrie Nation.

No doubt, the media will pick up this story (again), even further validating the Topeka Mayor’s bizarre name trick. Cheers to you Top-city.

Yesterday, I taught three free courses at BCC: two about web design and one about event production . It was a an awesome opportunity to share my experiences with people. I even ended up on the news:

It reminded me of how much I enjoy public speaking and teaching people new concepts. Everybody in my classes was really engaged and I really enjoyed talking to people about their specific interests. It’s a good feeling when you’re helping people understand something new. I hope they invite me back next year.

Event Production Discussion

Building An Effective Website Is More Than Just Knowing Code

Yesterday, I finished the development of WichitaJazzFestival.com, a simple website providing a profile for the 2010 event. Since the fest is barely a month away, the client was looking for something quick and simple. This was the inspiration for my design.

It’s a minimalist, intuitive interface, whose concept is basic: if there is a face that interests you, a silmple mouse over gives you a quick readout on who they are and what they do. If you want anymore detail, it directs you to the artist’s site.

WichitaJazzFestival.com

The Design Code

The sliding artist photos use a simple layered div technique, with a window div, an image div, and then the background/content. The slide is based off the jQuery library, with a mouse over animation that slides the image layer out into the hidden overflow area of the window, div, thus revealing the background content.

The schedule pop-up is a Facebook-like light-box, using AJAX to display over the top of the main content.

The <h1> “Wichita Jazz Festival” header is pulling on a font using CSS @font-face.

A minimalist event profile page in 4 hours.

It’s a Thursday night, and Commerce street, a long, dark, brick road just south of the downtown arena is quiet. Halfway down the street, two figures stand outside the Diver Studio art gallery, blowing plumes of cigarette smoke into the fresh spring air. They’re Scott Allan Knost and Derek Tucker, enjoying a quick smoke before they start filming with the producers of Wichita Sessions. I greet the two as I enter the dark art gallery and walk up the old, wooden steps to the second level.

In a large room that runs the length of the building, there is a gang of audiophiles, videoheads, and other creatives in a buzz as they setup the scene: cables are being unwound, tripods constructed, and video cameras calibrated. A single soft box (an overhead lighting rig, with bright lights diffused by a broad, white fabric) hangs from the ceiling, bathing subjects underneath in a clean, white light. On the far wall, a large crane (called a boom) is poised for pan shots, sitting on a track that traverses the edge of the band space.

Immediately, I get the sense that creating the high quality episodes of Wichita Sessions is no small feat. Rather, it’s a complex endeavor, involving the collaboration of some of the finest media minds the Air Capital has to offer.

Tonight’s shoot features a Wichita Favorite: Uche and the Crash. The band is excited (and a little nervous) to be filming for the KPTS hit series. They’re busy preparing their instruments and equipment for the big shoot. I ask Uche how he feels about being on the show: “I’m honored. I’ve seen Nikki Moddelmog, Sluggos, and Spirit of the Stairs. It was incredible.”, chuckling he goes on, “I just hope we don’t screw up. We don’t want to lower bar, because right now it’s all been top notch.”

—

I had a chance to speak with Leah Miller, publicist for the series: “It’s a lot of work, but these guys are really passionate about what they do.” Along with other members of the crew, Leah works at the downtown video firm digitalBRAND. Eric Zoller is president of the company – he shares his vision: “We originally set out to make a music concert show we would want to watch ourselves. More and more we are finding that there’s a great demand for showcasing the incredible and diverse musical talent we have right here in Wichita.” Zoller co-produces the show with local independent producer Lonny Quattlebaum.

Photos of Wichita Sessions shoot featuring Uche and the Crash @ Diver Studio

By the end of life, I’d like to be defined by what I did, the words I said, and the company I kept. I do not want to be defined by what I owned, and what accolades I received.

Recently, I had an exchange with a new record label owner about his debut artists. He has a roster of 3 solid singer/songwriters, with good recordings, and quality photos/artwork for each. The next step for his label is to break these performing acts onto the regional music scene. This is going to involve introducing his line-up to local venues, music reviewers, press, booking agents and the like. But before he started sending e-mails and making phone calls, I advised him to put together a comprehensive EPK.

Any serious performing artist needs a “resume” of sorts (and it’s more than just a tricked out Myspace page). A lot like a designer’s “portfolio”, the press kit/electronic press kit (commonly referred to as the EPK) is how you present your work to music industry heads you want to do business with. Relationships in the music industry are important, and more artists/managers – presenting a professional EPK is an essential first step. From my role as A&R of Madstop Records, to the manager of my own bands and my arts organization ROK ICT!, I’ve put many an EPK together. It’s what I did before booking shows, or promoting a major release. It wasn’t a needless exercise – a link to the EPK went out with almost every first contact. You can view my jazz EPK at http://www.JaredBrickman.com .

Here’s a checklist of must-have elements for your EPK (much of this list is applicable to a physical press kit):

• Cover page (brief letter of intent, quick quotes from press/reviews, artist photo)
• Artist biography page
• High resolution photos and artwork page
• Video page
• Music equipment/equipment needs & stage plot page
• Demo music page (3 tracks of contrasting style, maybe 1 live; in-browser streaming preferred [with downloads available])
• Press Clippings, review quotes and links
• Booking/Contact page

My Jazz EPK

Let’s get into detail on these items:

Cover Page

For those of you who aren’t doing a one-sheet (a single page with all the above elements [recommended for people with minimal information to share]), the cover page is like your hand shake at an interview. If it’s a wet noodle – your chances of scoring the gig or getting some press go down considerably. Post the freshest photo of your band, and write a quick paragraph that includes your latest accomplishments and some short term goals. If you want to book a tour, say so. Looking for press? Thank the reader in advance for giving your music a listen and considering giving it some ink. For bonus points, add some stand out quotes from recent reviews and press. Also, be sure to note any sponsors/endorsements on this page.

Artist Biography page

This a concise readout on the history of the artist and latest developments. This shouldn’t be a verbose, point for point review of the musician’s life – keep it to information that is relevant to their music career. Don’t forget basics like full names, instruments and (where applicable) origin of band members. Don’t be afraid to update this section often!

High Resolution Photos/Artwork page

On this page, post thumbnails and links to the high resolution versions (vector graphics for logos) of band shots and album/tour artwork. This is not an archive of every show poster ever, or your band photo from 8 years ago. Make sure this page features the photography and artwork related to your most recent album/tour.

Video page

If you have music, tour, or live performance videos, post the most up-to-date on this page. Don’t make visitors download videos to watch them, make sure they’re in some streaming format (Vimeo is my favorite).

Music equipment/needs

This is an essential section for the artist looking to book a tour or performance dates. Make an organized list of all equipment your planning to bring to a gig, and what you’ll be needing from the venue. This includes amps, PA systems, electronic gear, lights, microphones and anything else that will be joining you on the stage (I’ve even seen TVs and VCRs). What would also be helpful would be to create a stage plot, which is a graphic that gives an overhead view of the stage, detailing how your band sets up. Don’t forget to note your gear sponsorships and endorsements on this page (you don’t want your Marshall rep finding out a venue gave you a Peavey guitar amp on stage).

Demo Music page

The guts. The deal breaker. You’re EPK can be the meanest threads to hit the internet, but if your recordings suck – you’ll be passed up quick. If you’re a new artist who doesn’t have any recordings, but wants to start booking some serious gigs, consider dropping the four to five hundred bucks it takes to lay down three good sounding demo tracks. For usability, embed a streaming audio player where the user can listen to music in their web browser. For bonus points, overlay the audio player on each page so they can browse and listen. Don’t put anymore than three of your best tracks on this page unless you’re sharing an album for review.

Press Clippings/Review Quotes page

On this page, list (in descending chronological order) quotes from your favorite reviews/press, with credits. Also, offer up links to all press (listing the name of the publication/outlet) that you’ve received. Also consider listing high profile radio stations and podcasts that are giving your music some play.

Booking/Contact page

The basics: the name of the person who manages press and booking, their phone number, e-mail address and social networks (different people prefer different modes of communication). For maximum effect, list these items in the header or footer of each page in your EPK.

When Building Your EPK, Keep the Following in Mind

- Content is king. Make sure your navigation and content is clear. I’m a fan of minimalist designs that reflect the artist’s brand without distracting me from the content.
- Be concise. People in positions similar to mine may see 100s of EPKs a day. A quick and strong sell on each page is a must. Be concise, not exhausting.
- 110%. Sure, you may show up late on gigs, forget to return phone calls, or play out of tune – but DON’T half-ass your EPK. First impressions are often lasting impressions.
- Be direct. Save the originality and the artistry for your music. Important people who are viewing your EPK are expecting basic information presented in a uniform way. Don’t get creative with section titles or do something extraordinary. Even if it rattles every bone in your artistic body, conform on this one activity.
- Accessible. From a web designer’s perspective, create an EPK that’s going to display properly on all browsers. Your ideal booking agent might be using Internet Explorer 7 (FAIL).

For Musicians who want to create an EPK without the web design hassle:

I recommend SonicBids. It’s basic. It’s easy. People in the music industry are very much used to reviewing SonicBids EPKs.

What About A Physical Press Kit?

Sure! Especially if you’re going to do something creative that stands out (like something that can’t be added to a pile on a desk). However, be sure to clearly list your website, social networks and other facets of your electronic presence. You don’t want anyone to think you’re behind the times.

#1 Rule of Thumb

Keep it updated. Nothing is as foul as receiving an EPK from an artist that has old news in it. You’re sending me your EPK because there is something fresh going on.

In conclusion, the EPK is a quintessential part of being a professional performing artist. Keep it fresh and keep it close at hand in your interactions with the industry. Don’t be afraid to ask people for feedback! Most of all, don’t be afraid to put it out there – you never know who is going to dig it.

Anybody have an EPK they’re particularly proud of? Please share! Mine is:

http://www.JaredBrickman.com

The other day, I received a download link from a rep at CamaFlyArt, a new independent label out of McPherson, KS. The artist is Janelle Shae, a  piano-rock singer/songwriter, hailing from the same small town. The album The Janelle Shae is a debut bid by both the artist and the label. Despite some bugs, the overall recording breaks as a solid start.

The album opens with a progressive instrumental that grows to a thick collage of guitar, piano, synth and drums. On a landscape of synths, the rock ensemble rhythmically drives each song forward. Janelle Shae adds to the din with resonant chords and additive flourishes on the piano. Above it all, Shae navigates the thick texture with her breathy melodies. In this way, I found the ensemble and Shae’s vocal tone to be much like that of the indie group Eisley. Throughout, The Janelle Shae dutifully alternates between deliberate ballads and upbeat rock tunes.

There are a couple facets of this album that I felt like were unique. First, I found it interesting that though this is distinctly a singer/songwriter album, there were plenty of instrumental features, and like “Love’s Crazy Melody” there were moments where members of the band took solos (even the bassist). Second, there’s a diverse spectrum of elements that can be found in the thick textures of this album. In “Who We’re Made For”, there is the subtle addition of some electronic sweeps (maybe record scratches?) that add a neat effect, driving the track forward.

What’s really strong about The Janelle Shae is the songwriting. I have to credit Janelle for creating tunes that feature some interesting chord progressions and catchy hooks. While the lyrics aren’t “Tori-Amos-original”, they are easy to relate to and serve her melodies well. Additionally, the band is comprised of talented musicians that, for the most part, tastefully interpret Janelle’s work.

With that said, I think there are some pretty present hang ups that keep this album from being a “great album”. On the performance of Janelle, I think she has a nice voice, and she made some great choices melodically. However, I’m not sure her vocal facility quite meets her composer’s ear, as her tonality fluctuates at times, missing high notes and passing tones. On the parts of the recording where Shae doubles or harmonizes the melody, this issue is prominent. There are quite a few vocal mistakes that made it to the master; ones that may have easily been corrected with an alternate performance. As a side note: while I give the producer credit for not using any auto-tune, a brush here or there would’ve helped as well.

The recording itself has a lot of elements to reproduce, so surely the demands of engineering the sound of The Janelle Shae were high. For the most part, this task is met effectively. However, there are times in the album when the overall sound is crowded. Akin to this problem is having the instruments bury the vocals, which with a singer who has such a delicate tone – is a tough issue to fight. I’m not sure what the limitations of the recording setup were, but I think a little more targeting and imaging of the vocal track might have helped to really bring out Shae’s sound.

Overall, Janelle’s gift for songwriting and a solid performance by the studio band came together to create a good debut. I’m looking forward to hearing a new set of songs on her second release.

To learn more about this album, go to Janelle’s Bandcamp page.