Old Technology, New Vibe

Records?  Yeah, I've heard of them.

When I met my wife, Anita, in Hollywood in the early 1970's we began our relationship with much in common, not the least of which was our mutual love of pop music and the preferred method of music distribution in those days, the 33 1/3rd LP record album.  We already had a fair amount of these fragile vinyl discs between us when we first met. I had brought about 100 of my favorites with me when I drove to California to attend film school while Anita had several jobs within the recording industry and actually had a very nice career at Capitol Records when I came into her life.  She had already collected probably twice as many as I had. 

We were in our middle 20's and like most of those of our Viet Nam "conflict" generation, we spent a fair amount of money on phonograph records and the means to fill our living spaces with music from the great pop sensations of the day like the Beatles, the Rolling Stones, Buffalo Springfield, Jimi Hendrix, Aretha Franklin, etc. (the list goes on and on).

The best thing about using the LP (Long Playing) records was the stereo/hi-fi sound that could be attained if the record was cranked up on a quality turntable, through a quality amplifier, and out of speakers with at least a woofer and tweeter.  So, logically, if you'd spent all of that hard-earned cash on the LPs, you would try to get the best quality reproduction gear you could afford to play them.

Enter the Empire Turntable.

After our marriage in Salt Lake City in 1973, and before we began having children, I might add, Anita and I, since we had moved most of our collection of LP's with us to Utah, decided to buy the foundation of any audio system in those days, a good turntable.  After asking advise from some of our friends who were "audiophiles", the very best we could find in Salt Lake City was an Empire Model 598 Troubadour III, which cost us $325 in 1975 (or $1,358 in today's dollars).  Expensive for young marrieds for sure. But, what a beautiful thing it was and the sound it reproduced from our well-protected collection of LPs was impressive.  As the owners manual stated proudly, "This instrument, in conjunction with other equally high calibre components, will allow you with the press of a button, to hear the full sound of music so akin to the actual performance that only the most expert ear can detect the difference".

To make a long story short, as we began having children, the importance of keeping up with our LP record collecting waned over the years until we rarely pulled the black discs from their cardboard sleeves to listen to our favorite tunes.  We just couldn't justify the cost of the LP records, which did not get cheaper as time went on.  Plus, with the advent of audio CDs, we began investing into this new replacement technology.  And, so the beautiful Empire turntable sat on a shelf collecting dust and was very seldom put to work.
But, we kept it along with the speakers and amplifier we'd used with it.  We packed them, along with all the LP records, very carefully every time we moved and hauled them along with us, from Salt Lake City, to Spokane, WA, then back to central Utah, and more recently, to Asheville, NC where we now reside.

But, this story has a happy ending.

This week I replaced the aging, slipping rubber drive belt that turns the table and bought a new diamond stylus (needle), powered the old turntable up and cranked it through a new Sherwood tuner/amplifier with the old speaker cabs from long ago and our life in California.
The old LPs sound as good as new since most of them have not been played for over 30 years.  So, our new home is now rockin' to the oldies.

And, I guess the lesson here is simple.  It pays to buy good stuff because it really might stand the test of time.  

The trick is living long enough to prove it.

Finally Jammin'

Party of the Year

As I predicted, it took me almost a full year to finally get my music chops back up to the point that I would allow myself to subject others to my newly renewed electric bass skills.

My good friends, dancer Marta Martin and her beau, singer-songwriter Neil Laurence invited me to play at her annual Planet MartaNeil's gathering this past holiday at their home in Asheville.  Neil entreated me to jam with him and some of his other friends in his "man-cave" studio during the party.  I accepted without much trepidation since I felt I was ready to face the music (and an audience, albeit a small one).

And, I am very pleased that I did.

The other folks at the party were an eclectic collection of Marta and Neil's closest friends and they made me feel right at home.  So, when it came time to play some live music, many of them filed into Neil's studio ready to boogie.  Most of them also participated in the music-making since many of them are musicians.

With Neil on his uke and singing, me on my little Kala bass, Forrest Green on keyboard and melodica (yes, that's his real name), and a wonderful selection of others on digeridoo, djembe, other percussive impliments, and even some other singers, spontaneous dancing broke out several times during our three sets for a truly communal experience and a wonderful time.

All in all, a great time was had by all, especially me since I was able to make good on my intention to play in front of strangers here in Asheville before a year has passed since Anita and I moved here.

Onward into the New Year.  And now, the best part is, I need a new musical goal!

Small Package, Big Deal

The Little Axe

I just couldn't resist.

I've gotten so used to carrying around my little Kala U Bass (a diminutive but powerful bass guitar built on a baritone ukulele body) that I was prompted by the gods of music to go ahead and purchase a concert-sized uke to add to my growing arsenal of euphonious implements. The UPS driver brought it to my door today and, just as I had hoped, I'm not disappointed.

Another well-built instrument from the folks at Kala Brand Music, this KA-CG mahogany uke fits my need for a quality, practical learning tool without having to mortgage the house to get it.  It looks like a miniature classical acoustic guitar, has great tone, and is light as a peacock feather (and darn near as pretty). With its sparkling gloss finish, traditional white binding, and chrome die-cast tuners it radiates a touch of class that is well-matched to the cool vintage tweed hard case (complete with an attached Uke Crazy medallion) that I bought to go with it, also from Kala.

After excitedly removing the concert uke from its shipping container, I first looked for scratches or flaws in workmanship. Finding none, I proceeded to tune it (to G C E A for soprano, concert, and tenor ululeles -anyone out there remember "my dog has fleas"?), and took a quick look at the documentation that came with it. The first song I strummed out from the simple printed music lesson in the box was the old classic, Home on the Range. What better way to break in my newest musical tool/toy than with this unofficial anthem of the AmericanWest.

Sweet!

Next. I'll have to try one of the songs from the AC/DC for Ukulele song book. Dirty Deeds Done Cheap, oh yeah! Look out, Angus Young! I wonder how I would look in an English School Boy outfit?

Well, if playing a ukulele is good enough for Roy Smeck, George Harrison, and more recently, Ed Vedder, it's more than likely good enough for Billy Radd, eh? No worries, mates.

Can't wait to jam a few choice chords with my ukulele-crazy rehearsal buddies, Neil Lawrence and Will Corbet.

We'll have to see what's up next for Asheville's newest light-weight trio.  Matching aloha shirts anyone?

The Synergy of Sound and Picture

A little over a year ago, while my wife and I were living in the small central Utah burg of Ephraim, I decided to hang my proverbial butt out the window and enter a local juried art show at the Central Utah Art Center, narrative blogs about which you will find here and here.

Of course, making an ambient video about natural scenery which locals can access easily themselves within a few hours drive may be akin to preaching to the choir.  So, while my video's involvement in the art show did not produce any tangible rewards for me as the creator of the video, it did provide me with some insight into human nature.

I found that, by observing those who stopped to observe my HD video of scenes of Pleasant Creek slowly flowing through a desert wilderness, I noticed a kind of double take effect.  First, it appeared to appeal mostly to the very young and very old among the attendees, with the middle-aged only giving the large HD screen a passing glance.  My only logical conclusion to this phenom must be, unscientific as it is, that those of us in the middle years of our lives cannot concentrate our minds long enough for the few moments it takes to let the "willing suspension of disbelief" take over and focus our attention on images and sounds that have a calming effect on our psyche.

And please, keep in mind that this is merely a personal observation and not a criticism of humanity as a whole.  It's just the way it is.

I remember the feeling of being middle-aged myself.  That feeling of constantly living either before or after the moment of reality I was in (the now, the present).  Work, children, politics, taxes, health concerns, bills to pay all flooded my waking and sleeping moments in a never-ending torrent of sights and sounds, real or imagined, that kept me uptight, moving, planning upcoming moves or obsessing about past inadequacies. Most of my waking time was spent "in the moment" alright, but that moment was pretty stressful.

Jeez, I'm glad I'm past all that now.  But, back to my point.

The very young or very old can isolate their attention long enough to forget worrying about their past and future and "meditate" or experience the now of reality, which philosophers and even scientists generally agree is really all that there is.

So, my personal quest is to give peace to others through the use of the trick I've learned over my career to create a visual and aural "scene" that can become part of a viewers personal reality in the moment of experiencing it, if only they will take the time to give it a try.

So, as one of my heros, sci-fi writer Rod Serling used to say at the open of each episode his TV show, "imagine if you will . . ."  Please, check out one or both of the videos that I have posted at the bottom of this page.

Click on the video to expand the page to full screen, choose to let it load up at the 720 HD resolution, turn up the volume on your computer to a moderately high volume, and look at the screen, no, stare at the screen.  Let a hint of a smile cross your lips.  Then, breathe deeply and regularly.  Try to relax and concentrate on the scenes of water, rocks and plants.  Listen to the water sounds and the minimal musical score (on the Zion River program).

Give it a few minutes and see if your heart rate and breathing rate don't diminish.

Then, forward this blogpost to a friend.  It may give them a few moments of peace, even if they are middle aged.

The Color of Sound

Vibration is omnipresent.

And, every thing is always in motion.

Ask any scientist, artist, or kid on the street.

Their answer is the question.


Colors can be seen, heard, and felt.

All one must do is look, listen, and feel.

As humans, we are equipped to soak it up as sensory meaning.

Or, broadcast it as light waves, the motion of air,

or the on-offing vibrations of the fabric of everything.


Poets have been saying it for eons.

Musicians sing its praises in mantras of hope and love.

Sculptors reveal it from stone and clay.

The dance has no beginning nor end.


The humming sum of it is free for us to use at will,

but, many waste it without a conscious thought.


It emits beauty-in-motion,

and cannot be created or destroyed,

only used.


It is always everywhere forever.


-Bill Raddatz, Asheville

Notes From The Production Side

Anita with Anita's Diabetes Menus DVD

Working Class

While working closely with Anita (who also happens to be my wife of almost 38 years) does have its perks, our continuing investment of time and sweat equity in producing her cooking show together is an interesting exercise in diplomacy and tact, although I must admit that I'm still learning these skills.  Since I have years of experience in NOT telling her what to do in our day-to-day interactions, but have also logged an equal time period spent professionally directing on-camera talent, I realize that Anita must be cutting me massive amounts of slack during the challenges of shooting her show since my directions to her tend to be rather direct and to the point (which most likely could be construed by others as downright curt).

So, luckily for me, Anita, the performing artist, exemplifies forgiveness and professionalism, and it shows on the screen.

Music to Our Ears

Editing has begun on the second Anita's Diabetes Menus cooking show series of DVDs. And, like the first disc of five programs, I personally produced all the theme and background music myself.

I'm finding that composing and recording the music for the programs is one more appealing aspect of creating these shows.  Using GarageBand on my iMac is a hoot and gives me all the recording and editing tools I need to create multitrack tunes that can be adapted for Anita's series.  But, the best part is that we actually own the rights to all the music I make.  No needle-drop or license fees for us.  Nuh-uh. 

However, in the last year or so we have made a substantial investment in musical instruments, microphones and other recording gear needed to build a professional quality recording kit.  But, having creative control and ownership seems worth the expense.  Plus, it just feels right.

I can only hope that our accountant allows us to take deductions for my guitars, bass guitars, midi keyboard, claves, canjo, bowed psaltery, amplifiers and assorted other stuff used to make the tunes for our DVD series.

Our Artistic Bottom Line

Working on Anita's show also makes us respect and admire the work done by other media artists everywhere.  Original ideas flow from the heart and hands (and sometimes feet), and while many times they are not truly appreciated for their many hours of labor, musicians, actors, and other pro artists in all creative pursuits can usually sleep at night with the knowledge that they can get up the next day and personally invent something from nothing. Sometimes other people will even pay for it.

Most of the working artists that I have come in contact with during my career that eek out a living creating original, high-quality art/product don't do it for the money, per se. Neither do they do it because they hope to be famous.  Most do it because they want to give to others what they have to give, which is called talent.  It's the particular trick they do that makes them an individual, a one-of-a-kind phenomenon, and truth teller: an artist.  

I believe we need more artists in the world.

Can I get any thoughtful comments on this final observation?

In the Shadow of the Master

Bolokada Conde, Djembe Master

Last weekend drum aficionados from the Asheville area were treated to a great concert at Jubilee sponsored by Skinny Beats Drum Shop and Gallery. The performance featured notable West African djembe player Bolokada Conde, Chikomo Marimba, and Billy Zanski with his Skinny Beats Drum Crew (also featuring Billy's multi-talented musical partner, Linda Go). Attending with my wife, Anita, I was privileged to videotape the Friday night performance (a still image from the show is above) and experience first hand the power and beauty of this percussive feast. Besides the quintessential drum of the Malinke people of the Sankaran region of Guinea, West Africa, the djembe, the show also featured doundouns, krin, balafon, various small to large marimbas, and assorted other percussion instruments.

But, for this sound fest, no amplification was needed.

The most striking aspect to me personally of the experience of recording the concert was the vibrations produced by many large drums flowing right through my body with an almost electric intensity. Since I was wearing headphones which limited the intensity of the sound of the music to my ears, I was better able to sense the vibration effect as a tactile sensation rather that an aural one, especially in the center of my chest. I must say, it felt pretty good.

The rest of the audience of probably 100 or so fans could hardly hold their seats. At the end of the second song, Billy Zanski asked the crowd to go ahead and dance, or he'd have to come out to the audience and make them. That was all the invitation they needed to hear and they poured out of their chairs to wriggle, jump, and bop to the wildly energetic but tightly synchronized world beats.

And, of course, Bolokada put on a great exhibition of his rhythmic talents. As a world-renouned djembe player, he's got the "chops" AND his authentic Guinea, West African tribal costume to prove it. Bolokada Conde is known worldwide as one of the most exciting and dynamic djembefolas (a master of the djembe drum). While on tour with Les Percussions de Guinea, Bolokada and Billy Zanski became friends. The following year Billy traveled to Guinea to study with Bolokada, and has worked closely with Bolokada ever since.  Billy tries to bring Bolokada to Asheville once a year, and I hope he continues this tradition for many more years.

As an added bonus, Skinny Beats Drum Shop and Gallery also hosted djembe lessons with Bolokada last weekend.  Anita and I both attended a class last Sunday and were able to spend an hour with the drum master and a class of about 20 djembe students.  It was an enjoyable but too short hour that left all in attendance smiling broadly.

Some of Bolokada's CDs and DVDs can be found by clicking the link.  Check them out.  He's the real thing.