Showing posts with label bass. Show all posts
Showing posts with label bass. Show all posts

Saturday, January 4, 2025

Things I learned From Playing Guitar Live in Los Angeles

 

So what is it like, playing shows live onstage at small bars and clubs in Los Angeles, from the guitarists' perspective? 

First, you have to realize, that playing guitar live onstage in Los Angeles is very common. There are a million guitar players in Los Angeles. Why? Because its a warm climate and guitars do much better in warm climates than in cold climates. Therefore, there are a million guitar players in Los Angeles. So, you must realize that if you want to play guitar in Los Angeles, you are competing with a million other players, many of which, may be good, very good, so-so, and/or amazing. 

So you've decided to play a guitarist in Los Angeles? Okay, so here are the next steps in your sound once you get on stage in whatever capacity: in a band, in a cover band, or in an original band, or just playing a jam session. 

Second, the type of guitar you use is important. So when you get onstage, the type of guitar you bring to the performance matters most more than anything. You need a cheap but comfortable guitar that you can play at any moment's notice. Cheap, because most bars aren't the most safest for your good gear. And comfortable because you need to be able to play very well in any moment's notice. 

Third, the type of amp matters a lot too. Let's say you're playing in a metal band. I would recommend some cheap solid state amp [digital] that you could haul easily. If you're playing country and western then you want something older like an old small tiny Fender tube amp that you can really crank up. Classic rock? Well, you could do a solid state amp [digital], or a tube amp. 

Or, there's another option. You could run the guitar through the PA, and have the sound technician turn up the guitar loudly. But this is a last resort option, only if somehow you have no amp and you must perform. 

Fourth, you as the player matter. What kind of styles of music are you more inclined to? If you're a metal player, you might play fast three-notes-per-string scales like Malmsteen or Steve Vai. If you're more blues, you might be sounding like Jimi Hendrix or Jimmy Page. If you're more country you're going to sound more like Joni Mitchell backing up Emoulou Harris. So, you, as a player matter a lot. 

Moving forward, you must ask yourself, why am I playing guitar in bars in Los Angeles? Do you need money, do you play for fun, are you trying to be famous, or are you just trying to chill and have a good time? You must have a purpose to what you're trying to do. 

However, because there are a million other guys playing guitar in bars in Los Angeles, you'll find that its difficult to make it in the business. Especially because the music industry and music business has changed so much from when I was a kid [2011] to now [2025], so you'll find its tough no matter how good at guitar you are. 

So, you'll learn that guitar in Los Angeles isn't the most necessary or important, or required instrument in bars. Because the music scene here is so oversaturated with guitar players, you'll find out that its better to be a multi-instrumentalist instead. 

Next, you'll find that you'll have to wear many hats and know how to play musical chairs. 

In conclusion, what do you have to do in order to be a musician [guitar player] in Los Angeles? This will take all of your musical abilities start from whatever age you first became attracted to music. Most musicians get interested in music around the age of 9 or 10 years old. 

So you'll find that you'll have to be a multi-instrumentalist. Most bands won't need a guitarist, so you'll have to be able to be a singer [while also strumming piano or guitar or bass or drums at the same times], or a bass player [non-singing], or a drummer [non-singing], or piano [non-singing] and you must also have the ability to be able lift heavy sound equipment for your band. 

Lastly, you'll also want good old fashioned sound engineer ability as well. For, as you see, its very complicated playing guitar at bars in Los Angeles. 

Rent-Due, Still Playing Clubs



Wednesday, August 7, 2019

Jazz Band Projekt Tracks

Here are some latest tracks from my jazz project, which consists of myself on guitar, Orlando Figueroa, and Jason Thomas on alto saxophone. We met back in January 2019 and we've played with seven different third members including bass players, a guitar player, and a trumpet player but we've always enjoyed just playing as a duo the best. 

Straight ahead!

https://soundcloud.com/orlando-figueroa-17/the-gentlemen-minor-blues 
https://soundcloud.com/orlando-figueroa-17/mr-pc-paul-chambers 
https://soundcloud.com/orlando-figueroa-17/bluesmen

Saturday, June 8, 2019

End of May Jam Tracks

Hello everyone! Another month has gone by, and I've been playing a lot of guitar. Here are some tracks from the last open mic I played, at the end of May. We're doing the same material I've been doing, however, I like to think I've improved all these tunes a lot. I'm proud of my vocals, not because they are great or anything, but because I've learned a lot about performing rock and roll live through singing whilst playing guitar. We did the Wayne Shorter jazz standard entitled Footprints, and the usual Hey Joe [Hendrix] and Sunshine of Your Love [Cream]. One of the keys to singing slightly better for me was realizing that I should never hit those high notes [lol]. This was a better jam than usual because I got to play with this old timer, a great blues/rock guitar player. Enjoy the music. 

https://soundcloud.com/orlando-figueroa-17/footprints-live-may-20 
https://soundcloud.com/orlando-figueroa-17/hey-joe-live-may-20 
https://soundcloud.com/orlando-figueroa-17/sunshine-of-your-love-live-may-20 

Orlando Figueroa: Guitar/Vocals
Jim X: Drums 
Dan: Bass
Ken: Tambourine
Dave: Harmonica  
Old Timer: Guitar

Thursday, May 23, 2019

May 15 Jam Tracks

Ahoy shipmates and welcome aboard. Here I'd like to share some recordings from last week's open mic at Petie's Place, a local pub in the Valley, located on Reseda and Oxnard. 

I've played there over 40 times. Its become my de facto performance space. With a house drummer and bassist, it's very easy to just get up there and play with no strings attached. 

I did a two-song set that consisted of saxophonist Wayne Shorter's Footprints and Jimi Hendrix's' Hey Joe, tunes I've been playing for a while now. Been really working on my tone for the vocals. I've been practicing singing for a long time. I'm no Jack Bruce but I try. Petie's Place got a much better tube amp Line 6 full-stack amp so my tone has improved a lot. Enjoy! 

https://soundcloud.com/user-294063763/footprints-live-at-peties-1 
https://soundcloud.com/user-294063763/hey-joe 

Guitar, Vocals-Orlando Figueroa
Drums-Jim X
Bass-Art 
Harmonica-Dave
Tambourine-Ken 

Monday, May 13, 2019

Jazz Trio Recordings

Well, how-day! How's life been treating you all? I've been playing a lot of music lately. Here are a couple of jazz trio recordings from last week. I managed to find a bass player to join us but it turned out to be short lived, a one time jam session. Still looking for a bass player. They are very hard to find! However, I dig manage to get some good recordings out of it. Here it is. 

https://soundcloud.com/user-294063763/freddie-freeloader-jazz-trio-1 
https://soundcloud.com/user-294063763/blues-in-f-jazz-trio 
https://soundcloud.com/user-294063763/footprints-jazz-trio 
https://soundcloud.com/user-294063763/blue-bossa-jazz-trio 
https://soundcloud.com/user-294063763/all-blues-jazz-trio-1 

Friday, May 10, 2019

Guitar/Harmonica Jazz Quintet Performance

Greetings everyone! I'd like to share some tracks from last week's open mic I played at Petie's Place. I'm a regular performer there as I've played there over 40 times, over almost two years now. This was an unusual performance in the sense that I basically did a jazz set [other than Hey Joe-Hendrix] with a harmonica player. He asked to sit in with us and it turned out to be a great idea. The sound of the harmonica is like a human voice, very soulful, very human. I think my solos are becoming more melodic and thematic in a way. I'm getting a lot more confident about playing jazz. It's a rock and roll bar but its also cool being the one guy who can jazz up the joint, feel me? I wish I gave more solo room for the harmonica player, he sounded great. When he took solos I stopped playing and layed out like a true jazz performance :D
Enjoy the music.

https://soundcloud.com/user-294063763/footprints-live-at-peties
https://soundcloud.com/user-294063763/mr-pc-live-at-peties
https://soundcloud.com/user-294063763/hey-joe-live-at-peties

Jim-Drums
Art-Bass
Dave-Harmonica
Orlando-Guitar
Ken-Tambourine, Shaker

Thursday, April 18, 2019

The Tenth Sub Level of Suicide

The Tenth Sub Level of Suicide Cover.jpgBlack metal, dark ambient genre 


Here's an album review for the heavy metal music fans. I got into black metal the other day. I was at my friends' house watching a rockumentary about the glam/hair metal band Motley Crue. I saw a documentary about black metal and we watched it. I had already known about the 1st wave of black metal, even some second wave but I didn't know much about the third wave black metal bands of today. Then we watched a music documentary that was specifically about one man black metal bands. That's how I found out about Leviathan

Leviathan is a one-man black metal project under the direction of Wrest. He plays all the instruments and does the vocals as well. His main instrument is drums and it definitely shows, as the drums on this record are brutal. Levithan's debut release was this record I'm discussing, The Tenth Sub Level of Suicide, released in 2003. 

1."Introit"1:14
2."Fucking Your Ghost in Chains of Ice"5:40
3."Sardoniscorn"9:54
4."The Bitter Emblem of Dissolve"5:55
5."Scenic Solitude and Leprosy"6:45
6."He Whom Shadows Move Towards"6:38
7."Submersed"3:15
8."Mine Molten Armor"7:03
9."The Idiot Sun"9:33
10."At the Door to the Tenth Sub Level of Suicide"15:02
Total length:71:05


As you can see from the song titles above this is could be described as depressive suicidal black metal. It sounds like a joke until you hear the music. Then you realize it makes perfect sense. All the songs except for one deal with suicide. Art is supposed to represent something. This album is true horror. The music screams at you, takes you by force, shouting fire in the dark pits. Images from Dante's Inferno comes to mind, although that is to cliche and trite to truly describe this record. This record is more.

The guitar riffs are fast, loud, and heavily distorted. The drum tempos vary from slow to batshit crazy blast beats. There's ambient use of keyboards that appears throughout the album. The bass has euphoric moments where it's very loud in the mix.

The vocals are what makes this album so heavy, heady, horrific, and euphoric. The vocals at first sound like your typical high pitched black metal screams, something like Mayhem or Burzum. However, at some point, you realize that Wrest is doing his own style, but he knows the black metal tradition so well that he still screams along with the black metal ballpark. Some of the screams here are haunting. Wrest sounds inhuman, like humans trapped in hell, impaled on stakes. That sounds so terribly brutal but its also very metal. These kind of vocals are very hard to get used to at first. In fact, the main reason why I didn't get into black metal for such a long time is that I couldn't stand the vocals. The vocals in black metal take some time getting used to. But once you're accustomed to these raw, primal screams, you get into it. It doesn't stay jokey. Sometimes I used to laugh at black metal vocals. Now I find something emotional in it.

I can only sometimes catch what the lyrics are within the screams but I would be down to read the lyrics sometimes online on my next listen to this record. Knowing that I can't understand most of the lyrics makes the vocals that much more intense and surprisingly, more important. The fact that this is a record about suicide shows you a little bit about what Wrest had to struggle and deal with in his life. 

Wrest grew up with abusive parents. He was in and out of group homes in California, sometimes going homeless when not sleeping on friends' couches. Unsurprisingly, he tried to take his own life sometime after the making of this record. He also has controversy surrounding his personal life, as his ex-girlfriend accused him of assault. He's a troubled guy that doesn't own a computer, makes records, but works a regular job in California to support himself.  

What attracted me to Leviathan in the documentary I saw on YouTube about one man black metal bands is the fact that he's a good musician, he wasn't an edgelord black metal musician [not stereotypical, not wearing corpsepaint and hoods] and there are few great American black metal bands out there, let alone one man band American black metal. He's a fucking unicorn. I liked his personality in the interview for the documentary. I realized things about myself from that. I saw that I don't need validation from others for my music or art. That was huge. 

Wrest's guitar riffs are very good. Sometimes he reminds me of Black Sabbath but then he gets into more typical black metal riffs, not unlike Dark Throne. Some of the best moments on TTSLOS are the slow tempos, filled with doom metal guitar riffs and keyboards. This is something that an American black metal band would do a lot better than say Norweigian or Scandinavian black metal bands simply because Americans groove more.

Lastly, I can't state enough how nihilistic and brutal this record is. However, there is beauty in the darkness. The power of choice in our actions, whether to or not do, to be or not to be. This might be the darkest black metal album I'll hear for a long time. There's tons of chaotic ugliness here but the little bit of beauty goes a long way, I can feel that my own darker emotions have value, but I don't have to wallow in it. As one of the first black metal albums that I actually sat through the entire way, I'd say this is some damn good black metal. It isn't for everyone, but there is a release of feelings and emotions after listening to something like this. You're free when you're done. Free in the sense that this music will bring out different emotions in you, and its a release. In short, it makes me feel good.

I used to work with Martin Arevalo, a Mexican black metal drummer I met through open jams. After hearing this I'm ready to get back into playing metal music, focusing on a more doom and black metal sound, slow, and fast tempos. I plan on recording the guitar, bass, and vocal parts at my house, and having Martin record drums at his place. We're going to continue our metal project, called Mass, check us out on YouTube https://www.youtube.com/watch?v=e9Z7vL-Ccr8. That's the sound we're going for. I plan on writing more songs and putting together a super lo-fi recording. Maybe we could put it out for sale on Bandcamp when we're done. I've learned from black metal to keep my metal riffs simple and to play more rhythm. I've been able to come up with more catchy, doomy riffs that way. I've been playing straight-ahead jazz with a saxophone player but after listening to Levithan I realized I shouldn't give up on metal. I'll still be listening to tons of classical and jazz music but I still got heavy rock and roll in the mix too.

Thursday, April 4, 2019

Purple Haze [Live]

Here's a live rendition of Purple Haze, played and sung by yours truly. With the Petie's Place open mic house band. Petie's Place is a bar in Tarzana, CA that hosts open mic sessions every Wednesday night. This is the first time I've ever done Purple Haze live. Enjoy!

https://soundcloud.com/user-294063763/purple-haze

Orlando Figueroa-guitar, vocals
Art-bass
Jim X-drums 
?-keyboard

Thursday, March 14, 2019

Jazz Duo Project

Here I'd like to share some of my recent music projects. I've been doing a jazz duo, myself on guitar and Jason Thomas on alto saxophone. We're doing standards but we're also doing a lot of free form improvisational stuff. Check out some of our music. 

https://soundcloud.com/orlando-figueroa-17/all-blues-2 
https://soundcloud.com/orlando-figueroa-17/all-blues 
https://soundcloud.com/orlando-figueroa-17/st-thomas 
https://soundcloud.com/orlando-figueroa-17/improv-1 
https://soundcloud.com/orlando-figueroa-17/funky-improv-1 
https://soundcloud.com/orlando-figueroa-17/freedie-freeloader 
https://soundcloud.com/orlando-figueroa-17/blue-bossa 
https://soundcloud.com/orlando-figueroa-17/jazz-duo-metal-jam 
https://soundcloud.com/orlando-figueroa-17/body-and-soul 

Also, we performed last week at an open mic at Petie's Place, a bar in Tarzana, CA. 
https://soundcloud.com/orlando-figueroa-17/footprints-live-at-open-mic
https://soundcloud.com/orlando-figueroa-17/all-blues-1
https://soundcloud.com/orlando-figueroa-17/blues-jam-dminamaj7-vamp

I actually thought the live open mic recordings weren't so hot when I played it. However, when I look back at it I see that there was a lot of inspired playing there. My guitar tone was especially good during Footprints, that greasy chorus-infused synthetic sound adds a lot of flavor to the modern jazz guitar sensibility. Likewise, the alto saxophone sound is unique, clean, but full of all kinds of permutations. We played especially well on the improvisational blues jam vamp, where there was an extended alto saxophone solo. The drum solo really adds a lot of momentum to the jam. It was here rather than in the two jazz standards that this impromptu band started to sound like magic.

Wednesday, October 31, 2018

Blues Concert

Image result for billy flynn bluesOn Sunday, October 28th I went to the b.l.u.e.s bar in Lincoln Park, Chicago. We saw this cool blues band, the Billy Flynn band. Flynn is this older white gentlemen with glasses, who plays a mean blues guitar. He played this semi-hollow body Epiphone or Gibson that had a vibrato arm, whammy bar on it. He had another guitar playing primarily rhythm guitar but took a few solos, a bassist, and a drummer laying down the beat. 

The second guitar player was really good, although his solos weren't nearly as unique or characteristic as Flynns'. The drummer played the same beats for most songs. The bassist had a great tone, playing an Ernieball music man bass. They played a lot of what I would call Chicago blues, meaning that electric city blues with influences from BB King, Albert King, Muddy Waters, and John Lee Hooker, that unique city blues sound. 

Flynn's voice sounds nearly identical to aging Eric Clapton's voice, but I think Flynn is much more nuanced and careful with his guitar licks than say Clapton, who probably plays a lot more than this guy, a Chicago native. A lot of the songs were blues standards but a lot of them were also originals or songs going back to the 50s or 60s that were done by the greats of the blues tradition. 

The b.l.u.e.s bar is this small hole in the wall. Its even smaller and crappier than the bar I perform at open jams here in California. The mens room didn't have a lock, so that was kind of unexpected. The place is quite great though. The cover charge for the show was only $7 and there's no drink minimums. I did buy a Stella Artois which tasted great. There was maybe about 10 people there, the smallest audience I've ever seen for a concert. Well, this was a Sunday night in a college area so that's not too surprising.

I went to a classical and jazz concert during my trip to Chicago. I had to do a blues concert just to see three different genres, plus Chicago is a blues city, it would've been wrong not do see some great live blues. Flynn's guitar playing was inspirational, it takes me back to the roots of my playing, rock and blues. Sometimes all you need is one note to make a difference. 

Chicago blues! 

Saturday, October 27, 2018

Chris Madsen/Adam Larson Quintet

Chris Madsen/Adam Larson QuintetSo tonight I ended up going to a great jazz concert for only 12 bucks! Beat that LA. Chicago is a great town for live music, there's always somebody playing somewhere. The Constellation is a great, intimate venue. Its basically a warehouse converted into a studio space, looking like a basement but with amazing acoustics and natural reverb. Last year I saw my former UW-Parkside jazz teacher perform with a quartet, a trumpet player by the name of Russ Johnson (look him up on YouTube). 

Tonight I saw a double tenor saxophone quintet perform, the Chris Madsen/Adam Larson Quintet. They play modern straight ahead jazz. These guys aim to please, they never hit a bad note nor an ugly note. They play pretty. At their best I would say that they're a modern evolution of the post-Coltrane, post-Brecker sound. That is, a deep, throaty, emotive, and expressive tone. 

Adam Larson is a young tenor player from Normal, Illinois. At the concert, the music was split 50/50 Larson and Madsen tunes. Of the two I would say that Larson's music was more exciting. His melodies are very angular, which is my way of saying that its modern, and has that Giant Steps 'sheets of sound' aesthetic. At the end of the concert they played one of Larson's tunes, and it was so memorable that I was able to recall the melody on the bus trip home. His playing was great, in fact I believe that he could become one of the front runners in his generation (same as mine) for really great tenor sax players. 

Chris Madsen's (from and based in Chicago) tunes were more spiritual and expressive. He writes better ballads (if I can say they were ballads, they probably weren't considered such by the composer) than Larson, which is understandable because I believe Madsen is older and more accomplished, being apart of acadamia. He teaches jazz music at University of Chicago Illinois and lives here, whereas Larson is a Manhattan School of Music New York jazz musician. Madsen's onstage persona was more expressive and solemn as well, just like his music. 

On piano was Rob Clearfield, on bass was an older gentlemen (oldest guy in the band, probably the unoffical leader) named Curt Bley (who said it was great that I came from California to hear that), and Greg Artry the drummer and only black guy in the band. 

Clearfield's piano playing was one of accompaniment. He had one solo that stood out as virtuosic but not as expressive as the tenor playing. The comping was quite good though. He was pretty much comping most of the time the whole concert, laying out occasionly for extended sax solos. 

Arty's drumming stood out for me. Not only was he a drum and cymbals virtuoso but he played with emotive style and grace. Sometimes he would go into double and even quadruple time on the kit, stunning artistry. I would say he plays the modern Brian Blade style of drumming. Brian Blade has been the drummer for Wayne Shorter's band for a long time now and he's been a big influence on modern jazz percussion, and for good reason, he's one of the younger leaders of the style. There were many moments when I had to tap my foot to the swinging beats, and I would move back and forth in my seat to the sound. It was infectious. Him being the only black guy in the band gave the band more jazz credentials, after all jazz is a black American art form. The guy had chops to burn and the tenor players, presumably the leaders here, let him play with wanton abandon. He owned the rythmn, alongside the bassist, Curt Bley. 

Bley was obviously the oldest member of the band, tall, balding, with plastic rimmed glasses. He played as any great bass player would play, he filled the space with low notes, and mostly stuck to the chordal structures of the tune. He only had one solo per say, which was just an introduction to a tune. It was very short and he spent most of the concert comping. His bass tone was so natural and loud, using only a very small amplifier, which probably broadened the natural acoustic tone of his instrument, a acoustic double-bass. 

It was an eventful day and night. I spent the entire day talking with my music mentor Frank Abbinanti, a new music composer based in Chicago. You can check out his album Labor Studies on YouTube, also check out a tune he wrote for me that I recorded back in March called Poachers, which you can find under my YouTube channel name Megafigueroa007. 

Anyways, it was a great concert, memorable for my Chicago trip. I plan on checking out more music from Madsen and Larson when I get back home. Apparently Larson has an album from 2017 that got four stars in Downbeat and favorable reviews in Jazziz, two magazines that I read often. Its good to see that jazz music is alive and well in the windy city.

Jazz in Chicago! 

Friday, September 28, 2018

Electric Funeral

Here's Electric Funeral by Black Sabbath played at the open jam I play at regularly, on 9/19. We have Jim X (Ouii3) on drums and a jammer on bass, the bass player kills it here.

Enjoy!

https://soundcloud.com/orlando-figueroa-17/electric-funeral-x-drums

Monday, September 3, 2018

My Name is Albert Ayler


My Name is Albert Ayler is a fantastic record, sounds of the new thing (I first heard that term from Amiri Baraka's book Black Music), as it appeared early in 1963. This is saxophonist Ayler's debut record, recorded in Copenhagen and first released on the Dutch Debut label. 

Personnel
  • Albert Ayler - tenor saxophone (tracks 3-6), soprano saxophone (track 2), voice (track 1)
  • Niels Brosted - piano (tracks 2-5)
  • Niels-Henning Orsted Pedersen - bass (tracks 2-6)
  • Ronnie Gardiner - drums (tracks 2-6

The album has only three stars on Allmusic but what does Allmusic know? The fact of the matter is that although the band of Europeans (the two Niels) and the one American (Ronnie) is quite the typical straight ahead band, what Ayler does over the usual jazz construct, is create his own sound, playing himself, and creating a wondrous lyrical blues, a shout, a cry, a whisper if you will. This seems to be a response to Coltrane, Ornette Coleman, similar to Archie Shepp and Pharaoh Sanders, other great sax players of that revolutionary musical era. Its great that he went to Europe to play free jazz because his fame wouldn't have gone as far if he stayed in America.

What makes the record especially engaging for me is that well, I love jazz standards. I've heard most of the standards way more than a few times so when he plays all these tunes there's a certain legendary aura to them. I know all the melodies, all the chord changes, and when he plays what is unexpected I get quite a kick out of it, he's playing the standards we all (jazz fans) know but ultimately doing something different with them. That's the genius of this record. 

The Tunes
Bye Bye Blackbird
Billie's Bounce
Summertime 
On Green Dolphin Street 
C.T. (Ayler composition) 

On quite a few of these tunes a typical jazz fan who knows all these standards might say, "Well, this is a good band but the saxophonist isn't really playing the melody." In fact, what Ayler does on a lot of these tunes is use the basic harmonic framework (chords) for the tunes for improvisation of his own melodies, playing himself. His harmonies speak for themselves, sometimes shrill, a cry, this is what Baraka means when he says that free jazz is only spectacular when it stays close to its blues roots and doesn't get all intellectual. Of course I disagree because a lot of my free jazz heroes (The Art Ensemble of Chicago and other AACM musicians) are quite intellectual, even to the point of studying modern classical composers, serialism, etc. 

In a way you can only see the genius of this record is you're a free jazz acolyte. My favorite tune here is Billie's Bounce, a Charlie Parker tour de force. Even I know the head (main theme) to this tune on guitar. Here Ayler gets more straight ahead, and you can see the John Coltrane influence in his sheets of sound, long winded riffs played very fast. Its quite stunning.

As much as I like Bille's Bounce here the number one tune here would have to be Summertime, the Gershwin classic. The opening is such a blues, a wail.  I can assure you you've never heard Summertime like this before. Its a haunting, shrill cry of a saxophone sound. It sticks with you once you hear it. This is the blues

Another tune I dug very much was On Green Dolphin Street. I've heard this tune a million times and it always delivers with its driving melody. Here Ayler goes to Mars, almost like Coltrane's latest period stuff, he mixes 50s, early 60s style bebop phrasing with the new thing. Its my cup of tea. This particular tracks reminds me of Eric Dolphy a lot. Some of Ayler's phrasing doesn't even sound human, it sounds like an animal, like a bird, with the rhythms of frogs jumping in and out of pond.  

The Ayler original is pure free jazz at its best. No melody, no theme, mostly just call and response from the musicians. Given that this was his first original tune on a record, I would say its quite a great introduction to his music. This is where some people would scratch their heads and say,"What?"  In a way you either get it or you don't. For most jazz fans there is a fine line between straight ahead jazz and free jazz. In 1963 that line was very much quite apparent.

The rhythm section on the record is quite good. They play in a typical 1963 jazz fashion. It wasn't until later when Ayler teamed up with American musicians like Sonny Murray, Milford Graves, and Gary Peacock, that he started to develop more of the free jazz thing with a rhythm section that was more hip to his personal sound. But what can I say? These Europeans did a great job playing with an innovator. The drummer keeps time throughout the album. 

I recommend this album to anyone interested in the so-called new thing or free jazz. Or if you like Albert Ayler and never heard this particular record. Its on YouTube, and its quite good.

Monday, May 14, 2018

Metal Band Recordings

Hello everybody, 

Thought I'd share the studio recordings I made with my short lived metal band, Wolves to the Slaughter. They're pretty much recorded live, I'm just glad that some recordings exist of the three tunes we played a lot. 

https://soundcloud.com/orlando-figueroa-17/heroine-vs-the-band-introduction 
https://soundcloud.com/orlando-figueroa-17/dethroned 
https://soundcloud.com/orlando-figueroa-17/serpent-king 

Personnel included 
Alex Martin Vocals, Songwriter
Dmitri Bass/Recording Engineer
Martin Ruffalo Drums
Orlando Figueroa Guitar/Arranger

Saturday, May 5, 2018

Open Jam Tunes

Hey, what's going on everybody? Here are two tunes from last week's open jam. First we have Hey Joe, a Hendrix cover.

https://soundcloud.com/orlando-figueroa-17/hey-joe 

I did my best to cover the vocals, I'm still working a lot on my singing. When it comes to the solo I do my best Hendrix-esque guitar licks. I think I do a pretty job of keeping it in that 60s rock guitar vein. 

Surprisingly the solid state Line 6 amp used for the jams sounded pretty great here. I really like this drummer on this one. He's a guy that comes occasionally to the jams. Its funny, he wanted to do Manic Depression but when I could barely play the riff (I forgot it) we had to stop and play Sunshine of Your Love instead (laughs). 

However, I did learn Manic Depression and I'll be ready to play it the next time he's there. 

Anyways, I think that this is my best cover of Hey Joe I've ever done live, so there's that. 

And then for the next tune we have Sunshine of Your Love by the Cream, a song I've been playing at the jam for a while now. 

https://soundcloud.com/orlando-figueroa-17/sunshine-of-your-love-most-recent-version

Hearing this back now I think I've done a lot better with my vocals. Still needs work (better tone) if I want to be more professional but its not bad as of right now, at least to my ears. The Hendrixian guitar licks are plentiful and are sounding good as usual. One thing I need to work on is singing louder and with more oomph, ya know. Add some more power and energy into it. 

With this solo here I think it sounded pretty good. Not too much wankery (shredding a la guitar pyrotechnics from the 80s), focusing on hitting the good sounding notes, bending the strings, beginning, middle, end, and then back to the vocals. I like it. 

Enjoy the music! 

Wednesday, April 25, 2018

Hey Joe, Musical Update

Hello ladies and gentlemen how has life been treating you all? Life has been great for me. I've been really refining my jazz guitar chops. Unfortunately the metal band I was in broke up, now its just me and the drummer still jamming together. Yesterday I jammed with a jazz drummer and we're going to keep getting together to work on standards. He said he didn't want to do a band with me but that he wants to continue jamming. His reasoning? Said I have to work more on my time, especially my swing feel. 

That was a bummer but I think I'm going to take this opportunity to play with a real jazz drummer and improve my chops, particularly my swing feel and time in general. The metronome has become a true friend now. 

I've improved a lot and my music mentor, a new music composer named Frank Abbananti (find his music https://www.youtube.com/results?search_query=labor+studies+cd+baby) has been teaching me music from across the country, via email. He's taught me many things about chord voicings, music theory, and practicing to become better in general. We exchange email often and I think about everything he says as if we were in an academic setting. 

He sent me a new music (avant-garde) piece meant for me to perform on electric guitar with distortion. I played through it today a couple times and my dad said it sounds like Robin Trower if he did new music. Pretty great compliment from pops. He's going to send me more pieces to work on and perform and my goal is to record it for my Soundcloud. 

In addition, he said the next time I go to Chicago I can perform these pieces with him on a concert. 

Anyways, why am I sitting here when I should be practicing?! 

But before you go check out this cover of Hey Joe, the guitar solo was especially inspired. Dig the Jeff Beck reference at the end of the tune!

 https://soundcloud.com/orlando-figueroa-17/hey-joe 

Thursday, March 22, 2018

More music

Here's some more music from the open jams. Its pretty crazy I have something like 24 weeks of tunes I've played at this open jam at Petie's Place, this low-key bar in Tarzana on Reseda and Oxnard. If you live in the Valley you should come check it out sometime. Anyways, here I played with the house band, we did Sunshine of Your Love (a favorite of mines) and John Coltrane's Mr. PC, a jazz standard I learned from the Real Book. Enjoy the music! Leave a comment, let me know what you think. 

https://soundcloud.com/orlando-figueroa-17/mr-pc-coltrane 

Saturday, January 27, 2018

Last Week's Jam Tracks IV

Here's the tracks from last week's jam tracks from the local pub. 

The first track we played was Sunshine of Your Love (a staple of ours-me and martin my drummer friend), but this time it was performed with Jim, the house drummer at the open jam and an unknown bassist to me. The bass player is very good, as is Jim, which makes the guitar playing and singing very easy to do. I'm pretty proud of the solo I did here on Sunshine, a mix of straight up blues rock Hendrix-esque licks with a bit of shred. I like how when we ended the song I played the riff to Day Tripper retardando haha. That cowbell though! 

The next tune we played was Steve Vai's Bad Horsie. I still haven't gotten the hang of playing this so off the cuff and never practicing it with the musicians I play it with but I tried it again. Here it sounded pretty good with Jim's drumming and Bassist X's bass sound. I went for a super fast shred solo here. I really dig that melody and that metal riff. Steve Vai is a pretty big influence.

This week my drummer friend Martin couldn't make it so I played with the ace drummer Jim and this mysterious Bassist X dude with long hair and glasses, it turned out pretty well. My guitar sounded really great here, it sounds really in tune!  

https://soundcloud.com/orlando-figueroa-17/sunshine-of-your-love-cool-bass-and-drums
https://soundcloud.com/orlando-figueroa-17/bad-horsie

Thursday, January 4, 2018

Last open jam set of 2017


Here's the last open jam set I played of 2017 at Petie's Place, on Reseda and Oxnard Street. I'm pretty happy with the recordings, mostly because my vocals are a lot better than they've ever been. I've really come a long way with my singing starting last year. I'm really glad I started singing rock and roll. It's a lot smarter and easier, as I don't have to rely on other people to do vocals.

We started off with Sunshine of Your Love with this dude named Allan (a typical blues rocker long hair w/ a Strat). He did a great job jamming with me for the first time ever, I especially liked his leads on Spirits of the Dead, the second song we played. I really liked my solo on Sunshine, I was going for my Hendrix style there.

On Spirits of the Dead Allen's leads really give the piece a new dynamic melody. And then there's me doing black metal style coarse/scream style vocals. Pretty funny! A lot of people say to me that they don't expect that when they see me play. It's cool to have one death metal song, and this is my only one as of now. We played the song a lot faster than we usually do but again Allen's leads really pave the way for a great tune, especially when I repeat the chugging bridge riff and he takes some bluesy leads over it. Spirits of the Dead!

And the last tune we have for you is Blues Improvisation no.1. This tune was just a blues Allen and I called in A. I stuck to dominant and ninth chords in the key of A. I might have switched it to minor ninths near the ending too. Added a little bit of the power chord blues shuffle in there too for contrast. I think my blues solo really hits the heart strong. When I do a blues solo I always try to go for the Hendrixy emotion.

Allen's blues solo on this tune was quite something, as you can hear. He hits a lot of the common cliches but it always sounds good. He's a great player and I'm glad to have jammed with him on the last open jam of 2017. I'm going to do even better to sing better and become a better performer in 2018!

https://soundcloud.com/orlando-figueroa-17/sunshine-of-your-love-2
https://soundcloud.com/orlando-figueroa-17/spirits-of-the-dead-2
https://soundcloud.com/orlando-figueroa-17/blues-improvisation-no1

On AI, Existential Threat, and the Collapse

Good evening ladies and gents. Hope you all had a good Sunday. I wanted to write here a bit more about AI, existential threat, and the Colla...