RICHARD MAXWELL

It's been a good while since I have posted anything here.  Trust me, the irony has not been lost on me.  Given my proclivity (oooh, that's a good word) to ramble on generally, I have clearly been, it would seem, holding back.

In truth lots has been going on and I really cannot account for why I have not taken the time to write more here.  So for some odd reason, late at night, tonight, when I should well be asleep, I have decided that it's time to remedy that.

The family is great and I am as ever the luckiest man in the world.

As for projects, that has been quite a ride lately.  For a good bit now the main thrust of my "free time" has been to deal with the perfecting the EARS™ concept and the unreal amount of work that goes along with the related intellectual property issues.  On the whole it is going very well, but wow, lots of work.  EARS™ has taken on a level of legitimacy that I cannot fully express.  It is a unique feeling to know, with 100% certainty that something works as it should.  Wonderful, but unique.  At least for me.

 I have also, after what seems like far too long, really gotten a sense of my next musical project. It's called "With One Voice" and it will very much feature my lovely Michele.  I don't wanna give too much away just yet, but I have been quite captivated by a band from my past called Jellyfish - you should check them out - and when combined with my love of the Beatles, Queen and a few others, it got me thinking...and then my friends George and Nils (seriously, how lucky am I?) both gave me, without likely realizing it, some great ideas for how to go about creating the music.  Very very VERY excited.  Anyway, more on that later....

Right now my other push is a book about CMAS.  Or maybe more accurately, my sense of what I have learned from creating and facilitating CMAS.  I am not kidding. A book feels like a good idea right now. Even if only as a kind of cathartic exercise, it might prove useful.

I already have some of the chapters/major topics worked out:
(in no particular order at this time)
1.  The Music Eduction World is NOT Changing.  It's Already Changed.
2.  Seriously?  You're saying I should do my job less effectively to keep you from having to do yours as well?
3. Money isn't everything, but you cannot expect to run most music programs on very much these days
4. There are only two kinds of music: good and bad.
5. Arrogance is the enemy.
6. Education decisions should always be made based on what;s best for kids, not adults.
7. Yeah.  You heard me right.  It's not just a music program, it's a legitimate record label.  Get over it.

There are surely to be more, but that's what I have so far.  My real issue is the book's title.  I suppose I will eventually stumble upon it but for some reason I feel like until I have it I cannot truly write. As of now, I am leaning towards:

"I've Come to Kill Your Music Program"

but I am open to other ideas if you have any.

So I am required to do a year end self evaluation for my "day job" with CMAS, and for some reason, despite it being a bit unconventional to do so, I felt like posting it.  I figure some day I may look back at it and be glad I have the record of it.  Or at least have a good laugh.  Which is fine too.

Note: If you read this and wonder how in the world I can possibly stay employed, rest assured I often have the same question.  On the other hand, while teaching doesn't pay that well I have the best "day job" there is.  regardless of compensation.  Period.  I am very, VERY lucky.  Ok.  Here ya' go...

So I am required to do a year end self evaluation for my "day job" with CMAS, and for some reason, despite it being a bit unconventional to do so, I felt like posting it.  I figure some day I may look back at it and be glad I have the record of it.  Or at least have a good laugh.  Which is fine too.

Note: If you read this and wonder how in the world I can possibly stay employed, rest assured I often have the same question.  On the other hand, while teaching doesn't pay that well I have the best "day job" there is.  regardless of compensation.  Period.  I am very, VERY lucky.  Ok.  Here ya' go...

It always amazes me how, no matter my intentions, projects seem to always get more and more involved, time becomes harder to allocate as the complexity increases, and invariably I get to feeling a bit lost in the process.  On a lot of levels the truth is that is not necessarily a bad thing, but in matters of a creative nature (whatever that means) there are so many times that I just wanna be able to get lost in the creation, not the process.

So lately, I've bee taking stock.  We've already done a total revamp the main website, which was surprisingly cathartic; and my pet project for the last several years of seeing how far I can take the notion of making music live, from nothing, with multiple lines/textures all going on simultaneously has started to see some real progress as well.  In fact, the truth is that it was largely my recent progress on that method of music making that kind of got me really thinking of this idea of simplifying.

I plan to write more about the specifics very soon - hopefully to coincide with video of some performances to show it in application - but, if nothing else, the "break through" seems to have occurred when I had finally gotten reasonable hold of the open-source technology elements required (programming pedals to talk to other gear to talk to computers, etc. without any of it being relegated to any of the gears' proprietary or design limitations)

The fact is that this took so long in no small part because it took me quite some time to develop a musical approach let alone conceive of a manner to actually do it to say nothing of execution.  Anyway, as I made all this recent progress at some point I took a step back - something I should do more often - and noticed that while it would all work in theory, in practice I could see it lacked the necessary simplicity (can I say "elegance" instead?) to really work without requiring a counterproductive level of focus.  I saw it as leading to getting far too lost in the process and not the music - not at all my intention.

So once I realized that, it's been a matter a retooling and simplifying.  Once the musical concept was clarified it seemed like a good idea to branch out, so the website was the next logical step.  Obviously there is more to do, and though I am not entirely certain how far I can take this, it has felt very therapeutic in general, so I am highly motivated to continue.

There is a lot more and as I reread this post I am clearly writing even more ambiguously than usual - which is certainly saying something.  It's also very possible that this is all related in some manner to my upcoming birthday causing me to take stock of life in general and this is just the current manifestation.  Or maybe I need a nap.  Or both.

I just came across an report saying that "Guitar Hero" is being pulled from further development.  Apparently the same goes for "Rock Band."  The article (http://news.yahoo.com/s/ap/20110209/ap_on_bi_ge/us_earns_activision_blizzard) is interesting in that it points to the fact these games at one point truly revolutionized the gaming industry, but have proven to be consistently unprofitable.

There is some logic to that notion that even I can follow.  The games had a huge rush of initial sales and popularity in the mid-2000s, but the problem is that unlike almost all other games they require multiple and, by industry standards, expensive additional controllers (guitars, drums, etc.) in order to operate.

The initial business model seems to have been based around the idea that the consumer will spend enough additional money purchasing more songs to play on the game to offset the rather high costs of producing them.  I suspect that licensing rights for many of the artists also were costing quite a bit - which certainly would not help things.

I wonder if some of the issue is also due to the fact that for the most part you cannot really learn to play the instruments from playing the game.  A lot of my students - and granted, my students are a unique bunch with regard to this kind of thing - have frequently told me that they find the games interesting and fun to a point, but that ultimately, it feels like a simplistic toy.  They tell me that in the end they'd rather just play the real thing.

Now, to be fair, I have a well deserved reputation for being the "King of the Epic Fail" when it comes to playing these games.  I can no better navigate through the game versions of any number of songs, regardless of the "instrument" I'm playing - which is kinda funny since I can play many of those same songs on many of the real instruments required.

In any case, a while back I wrote how I thought that a better use for all this would be something I called "Guitar Troll." If you wanna read the details from back then they can be found here: http://crossfeedthemix.blogspot.com/search/label/Guitar%20Hero.  Essentially, the concept is to use the games' guitars and other instruments more like battle axes.  (Yes, I know that for a self-proclamed "uber-pacifist" this seems a bit violent, but bear with me, ok?)  Level one you go up against maybe, I don't know, some punk rocker; level two is Kirt Cobain; then on to Heldrix and Townshend - you get the idea.

Anyway, the way  I see it, if "Rock Band" and "Guitar Hero" are ending, unless someone comes up with a way to integrate real instrument technique, I figure there is a huge market for what to do with all those game controllers just kinda sitting around once all the tunes have been played.  Just a thought.

Guitar Troll  FOREVER!!!

I was recently asked to apply to become an Apple Distinguished Educator. Basically the program, which is facilitated by Apple, is a way to connect nationally, and internationally, with like minded educators each of whom are changing the old educational paradigms for the better.  I have no idea if I will be accepted or not, but I very much love the idea behind the ADE program.  My preference for Macs and related products aside, I think the notion of getting teachers like this together - even just helping to put them into contact with each other - is very cool.

I recently received an email from a former student who is doing very well now studying in Los Angeles, and it struck me as such a kind thought that  wanted to write a bit about it.  There was also an underlying message about the effectiveness of CMAS, and his comment made me feel very proud of what we've created.

Cory wrote: "I was in my studio guitar skills class today and my teacher wanted to teach us about compressors and all i had to say was 'I already learned it in high school.'"


Thank you, Cory.  I cannot express just how good that makes me feel.

We've been putting together a new web archive for CMAS and as that has been going on, it has grown into something more - a kind of repository for everything the program does.  There's a lot still to do, but the basics are up and over time it'll continue to grow.

As part of the new archive several people asked me to write a bit of the history of CMAS as part of things and so I thought I would include some of it here.   The entire story is on the new site, along with a lot of recordings and videos, and, if you get a chance, we'd love to know what you think.  So check it out at:
ex.susd.org/rmaxwell

A History of the Arcadia CMAS program
(as told by Richard Maxwell, CMAS creator/facilitator - October, 2010)

Tonight was the first ever CMAS stadium show, and it was just beyond wonderful.  I am so proud of the entire program, that I really do not know where to begin.  There is so much to cover that I think it likely that I will do a series of articles to get it all out over time in the, I hope, not too distant future.

A few years back Michele and I released a CD entitled "Fade." The songs were good - really good, in most cases - and her vocal performance was absolutely brilliant. But the truth is that the album was not well promoted, much less heard by many, and more importantly, as the producer, I really did her a terrible disservice. The material was great and the vocal performances fantastic, but the arrangements and the production were, at best, flawed; and it has bothered me for quite some time.

I don't say any of that lightly. The fact is that over time, it became very tough for me to be able to listen to the disc because of what I felt were all the unnecessary flaws in the production. I always thought I should go back and rework the material - if only to satisfy the "itch," but by the time I was ready to do so, it appeared that all the original session data had been lost due to a bad hard drive. And so for a very long time I had to simply live with it as it was.

And then, in the Summer of 2010, something very unexpected happened: on a bit of a fluke - and with a lot of dumb luck - I was able to revive the hard drive long enough to transfer the data to a new drive. This meant I could now go in and do what should have been done in the first place, and make the album right.

Beyond some minimal piano and percussion, nothing has been re-tracked. And while a few of the songs from the original "Fade" simply did not make the cut, for any number of reasons, the overall end result is something wonderful, I feel. Something that is worth the time of the listener. I'm hopeful you'll agree and pass along the link to your friends so that they can hear the music as well.

I would have thought that the Summer would be a time when I got fewer questions about what CMAS is and such.  On the other hand, all interest is good interest as far as I am concerned.  So for anyone curious about this crazy music program that I am truly blessed to run, here...ya'...go:

The CMAS (Contemporary Music and Sound) program is a 4 year high school program that allows students to work with music industry professional grade equipment while learning how to take their music from the stage to the studio and beyond. Largely funded through Federal grants, in CMAS there are no musical restrictions of any kind, nor is any prior experience or training required. CMAS I is rooted in music fundamentals, emphasizing a comprehensive understanding of instrumental technique and music theory.  CMAS I students declare and musical emphasis of guitar, bass, drum kit, piano/keyboards, or lead vocals, and begin the process of learning the fundamentals the recording studio utilizing Pro Tools - industry standard software. CMAS II takes those fundamentals and expands them into the harnessing and refining of musical instincts with the creation of original musical ideas, as well as more advanced aspects of the recording studio process as well as live music technology.  CMAS III introduces detailed studio production techniques as well the further refining writing and performance skills.  CMAS IV culminates the program with advanced studio production, writing and performance skills, as well as internships and other specialized musical experiences.

Along with frequent guest artists and clinicians, approximately every six weeks of school the CMAS program produces a full 90 minute concert of original student music.  These “Songwriter Nights” are fully CMAS student produced, utilizing a massive 20,000 watt PA and full 16 channel ProTools recording rig, all of which is designed, set-up and run by the students.  CMAS also offers numerous other performance opportunities, all fully CMAS student produced, at various locations and events both on and off campus throughout the year.  All performances are mixed and recorded by CMAS students and many are available as downloads off the program’s website.

Beginning in the 2010-2011 school year CMAS will further change the paradigm of music education by producing CMAS student artist original music performances at all home Varsity football games with productions inspired by recent Superbowl halftime performances.   Additionally, students will be eligible to receive as much as 12 credit hours of college credit for their work in the program.

CMAS has been proven to reach many students who would otherwise never be involved in music; and in many cases provides the motivation to not only keep students in school but provides a path for them to achieve at much higher levels academically than might otherwise be expected. With literally hundreds of students involved in the CMAS program, and graduates moving on to work professionally in numerous capacities within the music industry, as well as partnerships with, among others, Arizona State University, Scottsdale Community College, and the Conservatory of Recording Arts and Science, CMAS continues to evolve and break the mold of standard music education.

The CMAS program was designed and is facilitated by Richard Maxwell.

"Lift" will be (is?), in some ways, a departure, and in others, a kind of musical reunion. For a while I felt I needed to move away from my more Art/Prog-Rock tendencies. I was having a very difficult time aligning my sense of being a singer/songwriter and those more "artful" musical interests. That's not to say I am particularly artful - though I'd like to think so - but I certainly have a great affinity for many of the Prog-Rock genre.

I am huge fan of musicians like Asia, Genesis, Yes, Peter Gabriel and so many others. For the longest time I have always wanted to be able to create that kind of musical atmosphere, but always felt I was coming up short. Actually, I should also mention that I am a big fan of the intricate orchestrations of bands like Iron Maiden. The orchestral nature of their music has always been very inspiring to me. There are of course countless other bands and artists (The Beatles, Queen, Toto, Flecktones, The Who, etc.) that are significant to me; but it would take me pages to get through them all.

In any case, with "Lift" I have decided not to worry at all, on any level, how the material might or might not translate to a live performance. Not only has this been very liberating from a creative standpoint, but it has also allowed me to somewhat rethink my entire creative process. "Lift," like much of my work, has its share of love songs and ballads - can't get away from who I am in that regard (and don't really want to) - but there is also a fair share of other subject matter as well.

The project is still a work-in-progress, so to some extent everything I write here is really just speculation as I am still waiting to hear what the final result really will be; but what I am confident in is that "Lift" is strong on all levels. Very strong. Only time will tell if others agree or not. Either way, as long as people are listening, it's all good.

Over the past several years since I have released any new music, several significant things have happened. Beyond the more important ones like lots of Gray-and-daddy time and Tanner arriving, I have also made some very serious changes in my entire approach to to producing music and general audio engineering. A lot of those changes have coincided with the formal adoption of the Contemporary Music And Sound (CMAS) program, and a lot have evolved out of what I feel is just a very natural progression towards such things. The other major factor has likely been my development of a very strong sense that the real beauty of being an independent musician, is just that: the independence to do what you feel is best. Certainly there are endless drawbacks, but if there is one true benefit it is the complete artist freedom I am afforded.

The fact is that I have never been truly pleased with the end result of many of my past recordings. Much of that dissatisfaction can easily be attributed to my, admittedly not always helpful, refusal to ever be satisfied that anything I do is "perfect." (I have a pretty hard time "letting go," but that is another topic) but much of if is also rooted in aural reality. Songs are good, songs are bad, but the production has tended to get in the way and not, in my view consistently, allowed the music to stand on its own - good or bad.

So as I began to finalize the writing of my next project of original material (working title is "Lift) I started to take a look at the older stuff as well to see how I wanted to apply my new production techniques to the new recordings. While doing that I found that it would not take too much effort to go back and "redo" (Redeux?) the production and get many of those old tracks into the aural shape they deserved to be in. It's kind of a going-back-in-order-to-go-forward kind of thing, but it has already proven very useful.  "Redeux" is not really about re-recording or re-tracking, it's more about re-thinking the production.  Certainly this may cause arrangements, and some other aspects, to change but I think on balance it will all be for the better.

The "Redeux" project will actually be a series of releases. I am not entirely certain how "Lift" will fit into the overall time line, but it'll be along soon as well, and if nothing else, will certainly be worth the wait. I feel the material on "Lift" is the strongest I've ever written, but in truth, as I said above, I am not convinced that I was ever able to give the earlier material its proper due to allow it to stand on its own. Again, the Redeux project is now making that possible.

The first release of Redeux will be from the more recent material that appeared on "Ties" and "Pulse" and a few others. The second will be the entire "Fade" CD from back in 2004 that featured Michele on vocals. For many reason I cannot wait for you to hear those tracks "redone" (Redeuxed?) For a very long time I thought that all the "Fade" sessions were lost forever do to a failed hard drive but just recently I was able to restore the session data and so am really excited to hear what comes of it - Michele's vocals alone are gonna just blow everyone away. There is a possibility of a third release as part of "Redeux," which would be going all the way back and examine the sessions for a "bootleg" from many many years ago that actually still sells well for me called "093003." If we get lucky, as we did with "Fade," to find a way to restore the sessions from the old hard drive, then we can make that third release happen as well. I am cautiously optimistic.

As ever, things all seem to be happening at once, but it's all good. Very good. And now it's back to work...

Two weeks ago tonight CMAS held its final concert of the 2009-2010 season.  It was, in a word, amazing. I don't say that lightly at all.  It was a culmination of so many factors into a single, successful evening of music that I am still a bit dumbfounded over the entire thing.

The evening consisted of over 120 minutes of all original. all student produced and performed music; and the show itself (also, all student produced) was about as over the top as anything I have ever seen anywhere.  I suppose the most notable addition was a 25 foot high, 40 foot wide, video projection system behind the performer - thanks once again to Harkins Theatres for all the continued support (Dan Harkins is, as always, beyond kind - Kirk Griffin, their chief engineer, as well - more on them another time).  It was stunning.  Just stunning to see it all come together.  And it was an absolute triumph for all involved, and an certainly a  huge honor for me to be part of it.

But here's the thing - and I have been justifiably accused of destroying some professional relationships over this kind of thing - to me, as high as the bar has now been set, we can still do it far better.  I'll save the specifics of how for another time, but it's the general concept that got me writing here: the potential Pandora's box of expextaitons.

While the show on 5/20/10 was beautiful, it was also the first time we had put in so many of the elements that I know we can do all of them far better if we simply are willing to not only look objectively, but also take the needed, and in many cases, fairly simple steps to significantly build upon what we have already done.  And this is the part that has been a death-knell for some of my professional relationships: perfection is a great goal, but it is not actually attainable. Being satisfied is akin to promoting the status quo, and I simply do not believe in status quo.  Things are either getting better, or getting worse.  Those are the only two options.  No exceptions.  Staying the same is akin to getting worse as far as I am concerned.

Yes, acknowledge the accomplishments and revel in the successes as they happen; but I firmly believe that every time you take another step closer to "perfect," the bar of that perfection moves that much further up as well.  At the point at which the bar stops moving, or worse, you are satisfied, it is time to stop.  Needless to say, many of my professional acquaintances over the years have not been able to hold a similar view.  My "arrogance" on this topic makes me feel only bad for them.  To be fair though, the relationships that suffered the most over this kind of thing were with people who I would describe as very "unmusical;" very non-creative - though, and again, I freely admit the arrogance of this statement, they think they are musical and creative, but clearly are not.  That said, I am not sure I am actually a "pure" personality of music and creativity either - even though I'd like to be.  But, as usual, I digress.

Back to the Pandora's box:  The further we push these shows, the greater the expectation is from our audience.  That is not a bad thing - not at all.  But as we start the 2010-2011 season in a few short months I wonder if the audience will allow for the learning curve that is needed over the course of the total season on the part of the students. The audience, perhaps ironically, and perhaps without realizing it, is actually in line with my view of perfection.  The question is will they allow the trials and time needed to get us to take those next steps.  If they do, the truth is that despite this amazing last show, they have not seen anything yet - I can safely say that there are at least four more major evolutions to the show coming in the not too distant future - not that I will give any details away here and/or now - to saw nothing of the studio progressions that will soon eclipse the shows.

If the audience does not, well there's the Pandora's box for you.  The only way to ensure we make it happen and give the audience what they not only want, but deserve, is to consciously keep moving forward.  Can't allow ego or arrogance to get in the way.  Call it like it is and move forward.  Keep pushing.  Always.  It's not about besmirching the efforts or reputations of anyone - like I said, revel in the well deserved successes as they come along - but if you stay there too long (and I define "too long" as the moment a single element is found to be vialbe for specific improvement) then you are back to status quo.  And then, really, what's the point?

I am so proud that the bulk of the CMAS program's students resist status quo - whether they know it or not.  They resist taking the striving for improvement as arrogance.  They seem to see it for what it is: the continuing search for bettering the end result.  Maybe the lesson really is that the Pandora's box is really just that: a box.  Keep yourself "outside the box" and the box really cannot have any impact.

I never got the chance to meet Ronnie James Dio, but I was still very struck by his passing earlier this week.  To some extent, my heart has reached out to the family of anyone who succumbed to cancer after my mom passed from a brain tumor in 1997.  Personally, I cannot claim to be the biggest Dio fan - I think I might have a few singles in my collection but that is about it.  What struck me most these past few days was, in retrospect, his sense of self.   In interview after interview he seemed so in tune (no pun) with the realities of his life and career.  How he was aware of his importance in the world of Metal, but never really got too caught up in it. He had this mighty voice and incredible stage presence and seemed pretty down to Earth, generally.

Now, who knows.  Maybe that was all a facade, but as I thought about his passing, I started to think about how so many musicians of more aggressive musical styles get dumped into these categorizations that portray them as bad people.  Evil.  It just seems like too easy of a target to me.

Sure, there are plenty of examples of "Metal Gods" doing very bad things; but that seems more to be a potential trapping of the industry than a result of musical genre.  Want proof?  Go check out some of John Denver's moments off stage.  Nothing against John either, but, seriously, blaming music for anything seems like taking the easy way out and not really meeting the issue head-on.

There are far too many examples to name, proving just how ridiculous the the entire thing is.  I have been lucky enough to have spent a small bit of time with Alice Cooper - the Godfather of shock rock - and I can tell you he's about as well grounded as anyone.  He, much as I suspect Dio was, is just a really good guy.

And for those who would claim that aggressive music creates more opportunities for Sex, Drugs, and Rock 'n' Roll abuses than other occupations, simply has not been paying attention to the news.  Nothing against The Church specifically, but, uh, there's a real concern.  Sorry, but a musical genre just is not going to be worse than that.

Yes, there are bad people, who deserve the negative reputation they get; but they wouldbe bad people if they were accountants too.  Don't make music the scape goat.  I have yet to see a musical playback devise of any kind that did not include an "off" button of some kind.  If you don't like it, turn it off.  if you don't wan your kids to hear it, turn it off. But that's it.  That's all you get.

Look, I'm hardly the biggest Metal fan.  I pretty much don't get into too much of the real hardcore stuff - I need more melody.  That does not mean it's bad. Actually, I can really appreciate the energy - it's just not my thing.  But if it makes you feel good to listen, who am I to tell you not too because of some stupid story that the guys in the band once made a pact with the devil, rooted in a promise to only eat butter and never margarine (stupid butter1)  Come on!  People who buy into that crap also likely fall for every marketing trick in the book and buy tons of stuff they don't need but see in ads on TV.  They likely also thought John Lennon was blasphemous when he pointed out the obvious that the Beatles had become more popular with the youth of the day than Jesus (he did not say that was a good thing, by the way, he was more commenting on the industry's control of culture).  At the very least they have a serious cholesterol problem from all the margarine they are consuming to avoid their own devil-butter pact.

So God bless Ronnie James Dio.  Rest in peace.  You brought a lot of joy to a lot of people.  The rest of us should be so lucky to be able to make such a claim.

...you know all this talk of classic Metal reminds me that Iron Maiden is coming to town soon.  I wonder if I can score some tickets...

Thursday was an amazing day.  Nils (http://www.nilslofgren.com) came by and spent several hours playing and talking to CMAS.  It was beyond incredible.  Aside from his obvious talent, he is also one of the most grounded, kind, and generous people I have ever met.

I found myself way too star struck with him.  You'd think being so close to "Uncle George" as Gray calls him that I would act like less of a boob around someone like Nils; but no, I was kinda "Captain Wonderputz."  I hope he doesn't think me too dim after all is said and done.  I don't even wanna think about it.

Ok, now past all that, there were several things that really struck me in the time he was with CMAS.  The most significant was his humility.  Not just the obvious and almost cliche kind of thing that you'd expect from someone who has "made it" and done so much - in truth, he's probably best known for playing in the E Street Band with Springsteen; but even if you take that all away, his resume is staggering - but more about how he kept emphasizing his love of the song as his driving motivation.

With Nils you get the real sense that he loves playing with Bruce and all the work he's also done with Neil Young and so many others; and he's clearly grateful and appreciative for all he's been able to do in music; but he talks of smaller gigs in small clubs with the same kind of affection.  He has a kind of musical Joy about him that I don't see very often. It reminded me of Robert Billups (see an earlier blog about that true genius).  Even in the CMAS main hall, which is pretty cool for a school facility but not really a big deal in the pantheon of places Nils has played, he was just clearly in love with the music.

And I don't mean in an arrogant sort of way 'cuz it was his songs.  I mean he just loves music.  You can see it, palpably, in his face.  The Joy of it seems to take on his entire body and informs all the energy about him - he literally radiates it.  I learned more from Nils in those few hours yesterday than I could possible recount here, but his joyous playing and sense of self within the musical lines was just indescribable.

Full disclosure, I feel I did him a disservice in the sound I provided him - not that he complained.  I'm hoping passing along George's contact info to him, as well as  the mixes I'll create of his performances for the show that was being taped, will at least make up a bit for that and all the rest of my gaffs.

Ok, time to go and find some of my own musical joy.  So this is Captain Wonderputz, signing off...for now...

This past week I was asked once again to be a clinician for the Arizona Band and Orchestra folks. In short, it was beyond terrific; and to work, even if just briefly, with these amazing young orchestras, was great fun for me.

With all the studio work and training I do; and the songwriting, etc, etc. that makes up the CMAS program, I sometimes forget how much I still love being "inside" that kind of sound.  It is a very different world, and in some ways I miss it.  Not enough to go back, but...that sound...no matter what else I ever do, I still love it.  Frankly, it's been creeping back into my own music in some ways lately, so maybe it's a kind of musical synergy coming to fruition. Who knows.  Anyway...

Lately when I am lucky enough to be a part of these kind of things, inevitably the conversation comes around to CMAS.  Many times I cannot tell for certain at first if I am being investigated or envied.  The truth is liekly somewhere in between.

While it's my job to promote the paradigm shift that CMAS represents to music education, people usually seem so surprised to learn that I have a very real and strong affinity for traditional ensembles.  It just seems odd to me.  Music is about something more than the specifics of the ensemble.  More than a tale of who is playing what instrument.  It's about getting inside yourself and life and the world and God and whatever else you wanna connect it to.  The organic, pure nature of music is not limited to any specific parameters.  I find it odd that this strikes so many as a "new" concept.  Many will feign agreement only to privately scorn the music CMAS now fosters in people who would otherwise have no interest in its exploration.

It seems very simple to me and was really reinforced for me while at this recent festival with all these grand orchestras: either all music is viable or none of it is.  Sure, you cannot do it all, and everyone will have their strengths and weaknesses in execution; but at it's heart music - of all genres - reaches beyond.

Does it really matter which path you take to get there?  Traditional ensembles are hugely important.  Truly.  But, in the end, it's music that is the important entity.  Get it however you can and encourage others to do the same, no?  Band, Choir, Orchestra, Jazz, Rock, Country, Rap - that's all just superfluous details.  Music is what matters.  All music.  Sometime I really wonder if CMAS is really that big of a change.  I swear, fundamentally, I am only able to approach music one way - I know of no other - regardless of the specific ensembles or genres.

I may not be a "traditionalist" but I am certainly a "purist."  And I am very, very lucky to have a life that is 100% family and music.  It's just that simple.  Really.

So lately I've been having lots of conversations with people about the CMAS program - how it started,where it's going, why I structured the curriculum the way I did, etc.  Inevitably, one of the questions is about how the current "traditional" program at the school is dealing with the success of CMAS.

The truth is, not well.  While CMAS is certainly going through some pretty massive growing pains, overall the general path is forward.  Fast.  So much so that I have been wondering if I need to reign it in just a bit to ensure that we maintain the level of quality I feel is essential -bit that is another topic.

The point is, I was recently talking with some folks from the Conservatory of Recording Arts and Sciences (my buddy Brock, and the school's Administrator Kirt Hamm - also a great guy) about how CRAS could do more to reach out to other music teachers in the community - to say nothing of their support of CMAS, generally - and we got to talking about my transition from the traditional program to full implementation of CMAS.  The context was more about helping other, interested teachers do something similar, even if on a smaller scale; but in the course of that discussion something so unbelievably obvious struck me that I am kinda ashamed I have not talked about before whenever the topic of the current traditional program at the school comes up:

(I wanna preface this by stating clearly that this is definitively not a commentary on any other teacher - just a statement of some facts.)

In the years just prior to the full transition to CMAS I was simultaneously running what would become the bulk of CMAS as well as the complete band and orchestra at the school. There was also another teacher facilitating several other classes that would eventually evolve into part of CMAS as well while also running the choir program at the school.  Full disclosure: for many years this other person was my wife Michele, who to be frank, is a far better teacher than I in all areas, but I digress.

The point is that during this time there were big numbers of students in the CMAS -like classes as well as strong numbers in the band, orchestra and choir.  All working together somehow.  All viable educationally - despite the compelling argument that I was at best a mediocre band/orchestra teacher.  So if the numbers have diminished since in the traditional classes, I just don't buy it that it was CMAS's fault.

Look, the job of the traditional music teacher at the school - at any school -  is very tough; and having done it for years, I can vouch for the fact that it stretches the traditional teacher far too thin to possibly succeed at their best level all the time in all aspects.  But blaming CMAS for the drop in numbers is not only unfair, it's untrue.

OK.  I just wanted to get that out.  My personal goal, if I am very lucky, once the CMAS curriculum is fully implemented and running (likely within the next 18 months or so) is to help revitalize the traditional program.  Who knows, maybe reinvent it a bit...if they'll let me.

Truth: I was never any good at being the "Band guy."  Though I was always thrilled to be able to guide students toward a common musical goal (marching band shows, festivals, and such) I never felt like it was really me; and I am not certain I was very good at it either.   As I completed the transition to the full CMAS program, despite all the seemingly endless variables with creating a new type of music program, at least I could be assured that, at its core, CMAS was more a true reflection of myself than all my previous work in education.

I suppose I need to admit that in some ways I live with a continual urge to offer a kind of apology to all my former band and orchestra students.   I wonder if the experience I provided them was really as viable as it could have been.  This is not false modesty - my experience with CMAS has shown me that the right environment (musical, educational) makes so much possible.  Makes it simpler, more direct, and frankly far easier for the students to achieve.  But, as usual, I digress...

Here's the thing.  When I left the "Band guy" behind for CMAS  I assumed that I was also leaving behind all the trappings of that moniker.  In particular, the football game halftime shows.  Oops!

A while back, as we were discussing all the aspects of implementing the CMAS program at the school, I had a conversation with my Principal (Dr. Anne-Marie Woolsey - as an aside, if CMAS is at all successful, it is in no small way do to her support.  More on her and Dr. Mitch Simmons, our other key supporter, later) about how, in theory, CMAS could produce some pretty cool halftime shows, similar to the Superbowl, given the right circumstances.  Over time, whenever we would meet to talk CMAS, the topic would return, and eventually it moved from a theoretical future possibility to a reality that begins this fall.

Certainly this marks a serious change in the community dynamic at the school - the band program has been on the decline for a long time - nationally the trend is similar, if not as pronounced, for what it's worth - and CMAS's success is likely not helping the situation (a discussion on why CMAS is only a small part of the equation, not the root cause, at another time) and there is simply an historical connection, and expectation, that there will be a marching band at the game; but it also marks an opportunity to further extend the paradigm shift that CMAS has precipitated, generally, in music education.

We're still very much in the planning stages, but the premise is basically a full on, albeit short, rock concert in the middle of the football field, with complete lighting and sound.  Yikes!  Is there a stronger word for this than "crazy?"  I'll write more on the details as we work them out, but for now the point is that a) it really is happening, b) we are lucky to be able to tap in to some serious grant money to make it happen (ironically, CMAS is far less expensive, even with this new aspect, to operate than a traditional music program) and c) I am back to football games.  Hmmm....careful what you wish for...

We're still finalizing all the last details, but it appears that my songwriting and recording studio production students will, starting this fall, be able to receive as much as 12 college credits for their work with me, through SCC.

This is obviously a pretty serious step forward on my quest to further legitimize the CMAS program as the new paradigm for music education, and in truth without the support of Ron Marschall, and the efforts of Paul Langworthy, both from SCC, none of this would coming to fruition.  On a personal note, it has been very gratifying knowing that not a single element of the curriculum I created needed to be altered.  In fact, CMAS seems to have more than exceeded all parties' expectations, which is certainly no small matter.

So what does this really mean?  Well, aside from the legitimizing I mentioned already, it is also a potentially big motivating factor for the students.  It not only is going to be a huge selling point to parents and students to take part in the program, but it also means we can enforce an even higher standard of work ethic from the students.  I suppose it also puts a bit more pressure on us to produce even more significant results, as this will further increase the attention the CMAS program gets, but I, for one, feel that to be a good thing.

In the end, CMAS is still about giving students an opportunity to pursue their musical instincts, and frankly that will not change.  Nor will the notion of self-reliance be diminished - probably increase in truth.  For me the most interesting part of all this is how, at each evolution of CMAS (original curriculum adoption, ASU Music Ed collaboration,  now the credit from SCC, etc) the general experience has been pretty easy on our end.  We just keep doing what we do, and others jump on board.  That might be the most legitimizing aspect of all.

Earlier this week we hosted another great artist: Becca.  She came in and did a great acoustic set and was really great with all the students.  She's signed to Sony Japan and had a lot of great stories and advise for the classes.  A very talented musician, she related especially well to them as she is close to their age herself.

It was particularly interesting to learn of her rise to fame at such a young age - signed to Meredeth  Brook's production company, lots  and lots of showcases, endless working, till a friend of a friend got Sony JP to take a listen- and the rest is history.

By her own admission, she still has a long way tp go, but it was clear that Becca works very hard, and I suspect that she will go quite far.  So if you can, check her music out. (www.beccaofficial.com) Some really good stuff.

This past week, while on a break from teaching (ha!) I had three very cool musical experiences.  Well, actually, there were five, but I will leave for later the discussions about the awesome new preamps in the studio and the massive progress on some very exciting new songs for the CD.  So back to the three I started with...

The first, is actually thanks, yet again, to Michele's Mom's club.  Through her connection to that group I have become friends with another dad in the group, Brock.  Brock is one of the lead teachers at the Conservatory of Recording Arts and Sciences here in Phoenix.  Needless to say, he is musically on a level I cannot even explain, much less equate myself to - simply, Brock, is a master, in the truest sense of the word.  He's also a very cool person, just generally. Though I had heard of CRAS many times, Brock's tour was the first time I had actually spent time in the facilities.  I have been in many studios, but this was really incredible - especially for an "educational" institution.  The level of skill of the people who attend this school, much less the instructors, is pretty staggering.  This is not your 4th or 5th tier audio specialist getting $20 per hour.  There are so many gold and platinum albums on the walls, earned by CRAS students that they have to rotate them out into storage every few months.  Same goes for the movie posters from all the post production work they have been responsible for.  It was simply mind-numbing to walk through.  The rooms were just full of so many cool audio "toys" I felt like a kid in a candy shop.  This place turns out 48 students, only about 10% or less from Phoenix, every 6 weeks.  It's an intense year for them.  The most telling thing is that there are only something like three places in town that CRAS feels are acceptable for the required internship each student must complete.  Three.  That's a pretty high standard.  Every know and again I meet someone who is clearly so many steps beyond my skill set that I cannot believe I get to call them friend. Brock is definitely in that category.  He's also being kind enough to come speak to my more advanced students about the Conservatory and what the "real" music production world is like.  Very cool.

The second was guest speaking at ASU for some Music Ed. classes (one undergrad, and one grad) about the CMAS program I created, for a prof. friend of mind, Dr. Evan Tobias.  Evan is a brilliant guy, vastly more forward thinking than most people,  and a big fan of what we're doing with CMAS.  The opportunity to talk to some of his students about the program was really quite fun.  It also forced me to really consider how the program's details are presented just generally.  Clearly, I need to address this issue, but I am glad I was at least partially effective as after both classes I found myself talking for quite some time to numerous students about ways to push the music educational envelope.  I'm eager to see what the future holds with ASU.  Evan already sends me several interns/observers each semester, and I am hopeful that we can create a scenario whereby ASU students might be able to work with me directly as CMAS teaching assistants or something similar.

The third was a brief stroll through a local Zia Records store.  It has been a terribly long time since I have been in a record store of any kind.  I get almost all my music, as most people these days. on-line.  The experience of walking amongst all those rows and rows of actual, tangible CDs (no it's still not the same as the days when I could walk through shelves of vinyl LPs, but still) was really cathartic. It was very freeing to just brows, something that you really cannot do with the same kind of feeling to it online.  I plan to do it more often.

It was quite a week.