By Eric Normand
At the August Nashville Berklee Jam we were fortunate to have an expert in the field of music for television and film – songwriter and CEO of Song Placement International, Kate Taylor. A native of Michigan, Kate has been in Nashville since 1999 and has had her songs placed in shows like “The Young and Restless”, “Teen Nick”, CMT, and countless others. Through her song placement company she has placed songs for hundreds of artists and is currently working with shows like “Grey’s Anatomy”, “Nashville”, and “Duck Dynasty”, to name a few. Here are a few highlights from her in-depth talk about the ins and outs of getting music placed in TV, film, video games and commercials. (A video of Kate’s entire talk can be viewed at the end of this article.)
“Adam Zelkind, a dear friend of mine and a mentor to me once said ‘Kate, if you can make a penny in music, take it. If you can make a penny it will become a dime. Eventually all those dimes will add up to a million dollars.’ I don’t know if you know who Adam is, but he’s a millionaire just from making TV music.”
Adam was Kate’s mentor early on in her career of making music for TV and film and was pivotal in her advancement in this field. Eventually, Kate would team up with another Adam, Adam Stengal along with another music industry veteran, Howard Rosen to form her placement company “Song Placement International”. Together, this trio has created a formidable force in this elusive field.
Regarding some basics about song placement Kate had a few words of wisdom to offer:
Advertising provides the most lucrative opportunities for song placement, for example, a car commercial might pay $25,000 upfront. Next in line would be TV, with major network nighttime show placements starting in the $4-$5000 range for indie artists.
Regarding genres – “They want everything…hip-hop, singer-songwriter, orchestral, driving beat…the more variety you have, the better chance you have of getting placements.”
She also added that lyrical content doesn’t matter so much when it comes to TV music…“it’s all about the dialogue over the top of the music”.
Kate expanded on many of these points at length and by the end of her talk it became clear that music placements in TV, film and video games are a largely unexplored area for many songwriters and artists. As most songwriters are striving for cuts with major artists or trying to achieve their own success as artists, many don’t realize that this angle can be a means to an end while they’re working towards other goals. And, perhaps even more importantly, making music for tv and film can be a more easily obtainable goal.
If you think your music is worthy of being placed in tv or film, Kate would be more than happy to hear from you. You can contact her at firstname.lastname@example.org – please send links only, no song attachments.
Kate Taylor performing her original song “homecoming Queen”
It’s the first week of this brand-new year of 2013 and, not that I believe in New Year’s resolutions, one of the things I’m going to try to do differently in this new year is to get back to blogging more regularly. In that spirit, I also want to learn how to write shorter blogs. Let’s see how I do at my first attempt.
2012 was an interesting year, a lot happened in our world. A long-winded, and divisive election season came and went, it was one of the most extreme years of extreme weather since record-keeping began; our military is still in the midst of several conflicts around the globe; the tragic Sandy Hook shooting in Connecticut terrified us all, gun control is now a national conversation, and Facebook is still here after a disastrous stock market ploy.
I also had a few big moments. I played a handful of shows with The Peach Pickers (Rhett Akins and Dallas Davidson) on the sold-out Luke Bryan Farm Tour (you can read more about that adventure here), I hosted a monthly Berklee Alumni Jam, got to play music with Jack Pearson (read “Jack Pearson at the Nashville Berklee Jam) and Reese Wynans (read “Stevie Ray Vaughan keyboardist, Reese Wynans talks at Nashville Berklee Jam”), I ran in my first-ever 5K road race, met a lot of cool people, listened to a lot of great records, and cooked and ate a lot of good food!
I’m not sure what lies ahead in 2013, I’ve got a lot of big ideas and plans – we’ll see what happens. One thing that’s on my 2013 to-do list is to get out on the town little more often. After 23 years of being a professional musician I found that it’s still easy to get myself off the couch for a gig, but much harder to just go out and hang. I’m going to try to change that. I plan to still host the Berklee Alumni Jam (we are now going to be doing it quarterly). Thanks to my wife, Kelly, I’ve learned to enjoy running, and we are both training for our first half marathon in April. I’m trying to reassert myself into my musical craft, to take another step, and therefore practicing the guitar and vocals daily and learning new material is a top priority. Basically, I’m trying to stay healthy, inspired, and viable, while trying to help a few folks along the way.
So that’s about it for now. Let me know what you’ve got going on and don’t be afraid to drop me a line. I hope this New Year brings much happiness and success to you and your family. Thanks for reading!
Guitarist, singer, songwriter, producer and session-musician, Jack Pearson shared some unique perspective about his musical journey with a room full of Berklee alumni and others from the Nashville music community last Tuesday. The Nashville Berklee Jam, held monthly at the Fillin’ Station in Kingston Springs, saw some new faces and old friends on this special night, and Jack’s decades of experience as a world-class musician provided a rare peek behind the curtain for all those in attendance.
Jack’s musical career began in the mid 1970’s, when he played in multiple bands and logged his first recording session at age 16. In 1993 the Nashville native began his relationship with The Allman Brothers Band as a sub for Dickey Betts, eventually becoming a member of the ABB from 1997-1999 and also touring with Gregg Allman & Friends. Over the years he’s also worked with Vince Gill, Delbert McClinton, Jimmy Buffett, Earl Scruggs, Bobby “Blue” Bland, Amy Grant, Faith Hill, Gov’t Mule, Buddy DeFranco, and countless others.
Jack began his part of this night by playing some beautiful sketches of “I Can’t Get Started”, and for those who have never heard him play, his ability to transport an audience through time and space with nothing other than an unaccompanied electric guitar became quickly apparent. Following the spontaneous applause, Jack cut straight to some Q & A. One of the first questions asked was about his guitar, and I found it interesting that the deep, rich tone coming out of our backline Fender Deluxe originated from a Fender “Squire” Stratocaster, which he had recently bought for $100 at a pawn shop. Plugged into nothing other than a lone tube screamer, this drove home the point that great tone comes from within.
Learning from his oldest brother, Jack was exposed to rockabilly and blues as a teenager and explored the music of Chuck Berry, The Ventures, and Carl Perkins at a young age before eventually discovering jazz greats like, Wes Montgomery, Django Reinhardt, and Charlie Christian. Learning from friends, other musicians, and records, he slowly pieced together his musical vocabulary. He shared some thoughts on how to approach a II-V turnaround, demonstrating some different voicings and melodic approaches, underscoring the importance of putting song and melody above the technical understanding of modes and scales.
“It takes a lot of experimenting… a lot of guys come to me that get out of school and they say, “when I hear this chord I’m supposed to play this mode and scale”, and it locks them up. They can’t make any melodies because they’re told to play a mode or a scale.”
This simple, but prophetic thought resonated, and I had flashes to a time in my life when I over analyzed the music I played. Jack drove this point home with “…it comes down to the chord and the melody and where it’s going to…”
He went on to talk about the blending of styles and how he went through different periods of his life where he would be deeply immersed in a singular style for a few years – Delta blues, jazz, etc., and that after a while, all these different styles started coming together. Not afraid to take some chances musically, he demonstrated how he might go from a Howlin’ Wolf lick to a Charlie Parker lick within the same phrase, and that while some players will say this is wrong, he believes that “the main thing is to get the music out, and play with feeling.”
In response to a question about some of his best and worst gigs, Jack said that some of the worst gigs are when people don’t listen, and the music that you play with somebody is more important than the venue, or how famous somebody is.
He explained how learning all of the Allman Brothers songs as a kid helped put him in the position to sub for Dickey Betts on an early 90s Allman Brothers tour, which led to some recording with Gregg Allman and eventually to a phone call from Greg in which he was asked if he wanted to join the Allman Brothers band.
He candidly shared how this landmark gig damaged his hearing, causing an already existing case of Tinnitus to worsen, ultimately forcing him to leave the gig, perhaps sooner than he otherwise would have.
“There’s really no way to describe how loud it was on stage…Dickey Betts wasn’t in the PA…he was 135 dB side stage…”
As a fellow tinnitus sufferer I completely related to this portion of his talk and gained some new perspective as he explained that, despite wearing earplugs, extreme SPL’s (sound pressure levels) can still do damage, as the sound can affect your inner ear by entering your nose, mouth, and through your bones.
In response to a question about life lessons learned through music he answered, “Try not to take music for granted, it’s so special, and you can reach so many people…lyrics can encourage you, relate to your pain, but you can also do it with notes.” He demonstrated this by showing how the same group of notes can sound happy, or sad depending on where the emphasis is placed. He talked about the endless possibilities of how you can play even a single note, demonstrating this concept by playing a huge range of variances on a high “G” note.
After Jack’s talk concluded he played a short set with our Alumni House Band, the air becoming filled with the sounds of spontaneous applause after each inspired performance. Jack left shortly after his set, and the other alums in attendance continued jamming into the night. I, and everyone else in attendance would like to extend our appreciation and gratitude to Jack for sharing his music and journey on this special night!
Today I want to tell you all about an exciting monthly event I have been hosting – The Nashville Berklee Jam, and its new accessibility to everyone in the Nashville music community. The beginnings of this idea came to me a few years ago when I first attended the annual Nashville Berklee Alumni Reception. On my way home that night, I remember thinking how great it was to meet so many musicians in one night who were so passionate about their musical ambitions and so hungry for knowledge. These musical comrades were a mix of Berklee alumni residing in middle Tennessee and Berklee students who came down for the annual Nashville field trip. At this reception I made connections with other like-minded alums and students who came down on the field trip, the latter peppering me with questions about my experiences in Music City. This event was a very stimulating night as the energy of three hundred musical minds meeting and conversing seemed to create an air of camaraderie and untapped potential! Then I went home and another year passed before I got this fix again.
So this past winter I decided to create a monthly event to try to emulate this musical networking hoedown on a smaller scale, and The Nashville Berklee Jam was born. Held on the first or second Tuesday of the month from 7 PM to 11 PM at The Fillin’ Station in Kingston Springs, TN, these events start out with an informal meet and greet, followed by a Nashville music industry guest speaker, and end with an open jam. So far the reception has been very positive, here’s a recap (with links to their corresponding blogs):
February – A-list session bassist, Mike Chapman gave a great talk about being a session musician, outlining key concepts in what he calls, “the essential slices of the session player pizza”. He also jammed with several alums after the talk.
March – award-winning vocal coach, producer, and hit songwriter, Judy Rodman gave an insightful talk about career paths for vocalists. She also performed a couple of songs with the house band and then critiqued and coached several vocal performances, helping vocalists make instant improvements.
April – Stevie Ray Vaughan keyboardist, Reese Wynans shared his fascinating story about being a lifelong-career musician, the life-changing moment that came on his last night with Delbert McClinton that landed him the SRV gig, and the whirlwind years that followed. After his talk, he joined us for a few inspired performances.
May – fellow alum, musician, and author of “The Nashville Number System”, Chas Williams gave an introductory class on this subject. After the class, he charted one of alum, Sarah Tollerson’s originals and performed it with Sarah and the house band with everybody reading the chart off a dry erase board.
June – drummer, producer, and clinician, Rich Redmond gave an inspiring talk on “Navigating the Nashville Music Industry” speaking candidly about his early “lean years” in Music City and different approaches to finding success here. After his talk he sat in for a few tunes and stuck around to chat with others in attendance.
For our next event, to be held on Tuesday, July 10, I will be giving a talk that continues last month’s theme – “Navigating the Nashville Music Industry – Part Two”, during which I will explore some of the concepts I write about in my book “The Nashville Musician’s Survival Guide”. And, this just in, for our event in August we are proud to announce that the guest speaker/performer will be none other than Nashville guitar ace, Jack Pearson, formerly of the Allman Brothers, Vince Gill and many others.
All of the guest speakers have given great talks, sharing their knowledge and providing inspiration, and these talks have been interactive with many great questions and comments from alums. My band, Skinny Buddha (comprised of Berklee alumni and others from the Nashville music community) provides backline and a starting point for the laid back jams which have covered everything from originals to classic rock to blues tunes to two-chord jams. All of these events have been great friendship building and networking experiences for all involved, as well as educational. So far, the attendance has been mostly comprised of Berklee alumni, but as there seems to be a growing interest from others in Nashville, we are now officially making this event open to the Public. Nashville is a diverse and complex music community in which a Berklee alumni community also resides, and it is my goal to help these two worlds intersect and meld together.
So come on out to our next “Nashville Berklee Jam” On Tuesday, July 10. I hope to see you there!
P.S. if you have any comments, thoughts, or questions, please feel free to e-mail me at email@example.com.
The latest Nashville Berklee Jam last Tuesday was a great success, thanks to all who attended! The weather was beautiful, so we had a very laid back talk outside on the patio at The Fillin’ Station, our usual location for this event. Rich Redmond, the guest speaker on this night, has worn a lot of hats during his 15 years in Nashville – session/touring drummer, producer, clinician, public speaker, and his hour-long talk gave all in attendance some great perspective into different ways to navigate the Nashville music industry.
Rich spoke of the need to aggressively market yourself to find work in Nashville and how in his earliest days he obtained work by handing out demo cds of his drumming abilities to almost everyone he would meet around town. He candidly talked about those ‘lean years’, and that long before he was recording on hit records, touring the world with Jason Aldean, and producing acts like ‘Thompson Square’, he was hustling gigs on Broadway, playing in corporate party bands – whatever was necessary to insure survival.
For those who are just starting out in Nashville, he recommended that musicians “take every gig that’s offered”, as every new gig can potentially lead to new relationships and different career opportunities and that “If you give more to people then they expect, if you consistently exceed expectations, people are going to want to work with you.”
He spoke of the need to be ultra-professional by “always returning phone calls in a timely manner, always returning e-mails in a timely manner, being professional, being flexible, having the right gear to do the job and never mailing in a performance…”
Regarding the importance of reputation he said “You can have a great website, you can Tweet 1000 times a day, you can have a fantastic business card that’s got the really good paper, you know the really firm stuff that you have to pay extra for, and it’s still going to come down to word-of-mouth. In this [digital] age it’s so easy to be talked about in a positive or negative way, globally.”
During one part of the talk he mentioned a concept he refers to as “CRASH” a phrase he coined that stands for Commitment, Relationships, Attitude, Skill and Hunger – the five key ingredients he believes are necessary to succeed. He also spoke of the importance of defining your own success, a concept I talk about in my book “The Nashville Musician’s Survival Guide” (coincidentally, Rich contributed to the writing of this book).
After fielding several questions, he finished his talk and we all headed inside to make some music. Everyone who wanted to jam got a chance to sit in, and several great performances took place – ranging from classic rock covers to blues jams to originals. Rich stayed till the end making himself accessible to anyone who wanted to hang and chat, and during the middle of the jam he got behind the drum kit and played a few songs with me and several other alums. Here’s an MP3 of us playing a spirited version of the Jimi Hendrix classic, ‘Little Wing’ Little Wing Berklee Jam w Rich Redmond low. The night ended and we all headed home, but not until gathering for a group photo.
I want to thank everybody who came out and participated to make this another great event, see you at the next one! The next Nashville Berklee Jam will be held on Tuesday, July 10 – check back in a few days for info on the guest speaker for that night.
Our second “Nashville Berklee Jam” at The Fillin’ Station in Kingston Springs this past Tuesday was a great success! The guest speaker on this night was none other than Nashville’s award-winning vocal coach, Judy Rodman. Judy has played many a role in the Nashville music industry over the years – recording artist, A-list session singer, producer, hit songwriter – and on this night her talk focused on different career paths for vocalists. Judy was involved in the writing of my book “The Nashville Musician’s Survival Guide” and, backing up my theory of the necessity to “wear a lot of hats”, she talked about multiple streams of income for today’s musicians and artists. Among the potential jobs for vocalists she outlined were artists, live singers, and session singers (jingle singers, background vocals, demo singing, and voiceovers).
Here are a few excerpts:
“Recording artists need vocal ability, because the mark is up. Even with pitch fixing, rhythm fixing…your vocal needs to be as good as it possibly can be because it’s going to sound more natural and it’s going to be more emotionally compelling…You also need a ‘unique artist definition’…it’s not good enough to be just another great singer…you really need to be unique and find your own definition as an artist – your uniqueness, your vocal uniqueness – which means you need to explore your whole voice and your life experiences that you’re going to put into your art. The sound of your artistic definition is going to have to do with the sound of your voice, the choice of your instrumentation, and your message… Artistic definition takes exploration. For those of you wanting a career as a recording artist I would say don’t shortcut your experimentation.”
“For live background singing – you need to have the ability to trace and completely blend and go with the nuances of the voice of the singer you are looking to back…You’ve got to be able to change your sound as the artist wishes…you will of course have to have the ability to sing harmony parts and hear them… you have to have a specific look – whatever the artist is looking for. You need to network and find out who is gigging, who is in need of background vocalists.”
“Session singing…You need great vocal technique, usually you’ll need some vocal training…you really need to have surgical control of your voice for pitch, sound, blend and nuances –because time is money in the studio…You need to of course hear harmony parts quickly, you need to have the ability to read manuscript…but you also need to know the Nashville Number System.”
Judy then gave some practical vocal technique tips before answering several questions from alumni. Click on the following links if you would like to hear her talk in its entirety.
Judy Rodman Talk – Part One (21 min)Judy Rodman Talk – Part 1 (21 min)
Judy Rodman Talk – Part Two (21 min) Judy Rodman Talk – Part 2 (21 min)
There is also a ton of useful and practical information for vocalists at Judy’s website www.judyrodman.com.
When her talk concluded we began the jam portion of the evening with our house band backing Judy for two songs to start things out. Her second tune, “One Way Ticket”, was a number one hit she wrote that was cut by LeAnn Rimes. Judy’s vocal performance was emotionally charged and inspiring to say the least, and this set the tone for the rest of the evening. A special dynamic on this night was the “optional vocal performance critique” that Judy offered for willing participants. To break the ice, I decided to go first and sang my two songs with the house band. After my first song, Judy pointed out some of the strengths about my performance and addressed a few things to work on.
The jam continued with several great performances. Brian Lucas, the house keyboardist, sang a great rendition of “Georgia”, for which he took the vocal critique option. This pattern continued for the rest of the night, with literally every vocalist asking for a critique. Among these were Ted Schempp, the vocal duet “Acklen Park” (performing songs they co-wrote with alum, Shantell Ogden), Sarah Tollerson, and Michelle Lambert – all performing original material. After the first song by each performer, Judy offered critiques and then we would try a part of the song again, seeing instant improvement in the vocals (don’t get me wrong, the vocal performances were pretty strong to begin with). Alums, Elton Charles on drums and Rick Carizales on guitar, also sat in and did a fine job backing up some of the guests. Brian Lucas made a big contribution by charting out many of the songs in advance, and Shantell helped out by taking photos and some great video excerpts (see below).
It really was a special evening, fun was had by all and I think everybody learned a few things too. I want to thank Judy Rodman, our house band (Heston Alley on drums, Tom Good on bass, Brian Lucas on keys) and all the alums who participated and helped make this a special evening, I can’t wait for the next one!
The next Nashville Berklee Jam will be held on Tuesday, April 10th at the Fillin’ Station with special guest, Reese Wynans, formerly of Stevie Ray Vaughn & Double Trouble. His talk will share perspective on being a lifelong career musician, working with SRV, and the importance of understanding blues and roots music. Please check our website regularly for updates.
Last night’s “First Tuesday of the Month Nashville Berklee Jam” was a huge success! The otherwise quiet Nashville suburb of Kingston Springs came alive as the alums began filtering into The Fillin’ Station for this night of camaraderie and music.
The mission of this monthly event is to help build our Berklee community in Nashville, and for the first hour, old friends reunited and new friendships formed over lively conversation in this quaint setting. Shortly after 8 pm I made a few brief announcements before introducing the night’s guest speaker, A-list session bassist, Mike Chapman.
Mike’s talk centered on his lifelong career as a session player and he compared what he considers the key ingredients to being a successful studio musician to slices of a pizza.
The essential slices of the “session player pizza” include:
In talking about the support role that musicians play on a recording, Mike commented “there’s a big difference between something that is fun to play, and something that is fun to listen to”, noting that they are not always the same thing. He also added that “musicians, both live and in the studio, are essentially in the service industry, and it’s our job to provide the window dressing to the song or artist”. Another point he couldn’t drive home hard enough was how essential it is to know “The Nashville Number System”, as this is the main way songs are charted in Nashville, again, both live and in the studio, and the book bearing the same title by Chas Williams is a great way to learn.
After Mike answered some questions from several alums it was time for some music. To get things started, I took the stage with our house band, consisting of Mike on bass and fellow alums, Heston Alley on Drums and Brian Lucas on Keys. We started out with a spirited version of Freddy King’s “Key to the Highway”, Paul Butterfield’s “Born in Chicago” (featuring bar owner, Patrick Weikenand on harp) and one of my favorites, “Ain’t Wasting Time No More”.
Our next grouping featured Ted Schemp on guitar and vocals and Elton Charles, a recent arrival to Nashville, on drums, and we played one of Ted’s originals followed by an instrumental blues jam. Sofia D got up and played some funky drums behind George Wong on bass and Ben Graves on guitar and vocals. Ben led us through a cool version of the Sam Cooke classic “Cupid” before Sarah Tollerson, host of another Alumni event, “Strength in Numbers” (held on the second Wednesday of each month at the Riverfront Tavern in downtown Nashville) joined us to sing “Oh Darlin’” and “You Make Me Feel like a Natural Woman”.
Michelle Lambert, another recent newcomer, brought charts for a couple of originals and delivered some emotive vocals interspersed with some fine fiddle playing to a couple of arrangements on the fly. Bassist, Keiffer Infantino got into the mix with another recent arrival, guitarist Rick Carrizales, and at this point Ben Graves came back up to play some sax. We played a funky jam in A minor and everybody got to stretch out before our final tune of “Freddy the Freeloader”, for which Mike Chapman got back up to finish the night.
If there’s one thing I have learned from all of the alumni events I have attended, it would be that Berklee alums are some of the nicest people you’ll ever meet. And that open, warm feeling was evident in both the conversations and music that took place on this cold February night. I would also add enthusiasm to this list of traits, as there was an infectious, electricity in the air during these performances.
This jam was our first of many to come, as this will be held on the first Tuesday of each month, and the Nashville Berklee Jam website will serve to keep alums informed about future jams and all of the upcoming Nashville alumni events. I would also like to encourage interactivity on this site, so don’t be afraid to post, comments, songs you would like to play or any other ideas you may have. On that note, I’m looking for volunteers to take photos and possibly shoot a few video clips of our next jam for future blogs.
Thanks again to all those who participated in making this night a great success and see y’all at the next one!
For those who are new to Nashville, or considering relocating to Music City, my book “The Nashville Musician’s Survival Guide” is a street level perspective of the music related jobs found here, and the ultimate companion for today’s musicians, songwriters and artists. Decades worth of information learned on the streets of Nashville for $20! How can you go wrong?
Berklee is alive and well in Nashville! On Monday, November 7 we had our first “New to Nashville” Berklee alumni reception at the NSAI studio on Music Row, and the event was a huge success. Upon the suggestion of Berklee Alumni Affairs Officer, Karen Bell, I put this event together to welcome alum’s who recently relocated to Nashville.
The reception was a three stage event. The meet and greet gave recent transplants a chance to reconnect with their fellow classmates while forming new relationships with some of the alumni who have already been here a while. From what I could tell, out of the 40 or so in attendance, at least half were new arrivals.
After about an hour, everybody took their seats and I gave a brief talk about my Nashville experiences. The talk evolved into a pretty good group discussion, with lots of questions about networking in Nashville. Most of my experience in Nashville has been in the areas of touring, gigging around town, and recording, and most of this discussion centered on these issues.
One alum asked about what clubs and situations would lend themselves for sitting-in with bands. Sitting-in is a great way to build your reputation while making connections that might lead to gigs, and I mentioned a few that are worth checking out – The Fiddle and Steel has a player-friendly jam every Tuesday night; Douglas Corner has “The Loud Jazz Players Jam” every other Monday night; and there are also a few blues jams around the city including one at Carol Ann’s Café on Sunday nights, and The Fillin’ Station on Thursday nights. I also suggested becoming a regular at some of the clubs on Broadway, as this is also a good place to meet players who are gigging regularly.
Rich Redmond, one of the contributors to my book “The Nashville Musician’s Survival Guide”, has one piece of great advice he gives to players who are new to town, and I passed this advice on in response to a question about evolving a music career in Nashville – “Be patient, and take every gig that is offered”. Every gig will potentially lead to more gigs, and no matter how unimportant some gigs might seem, you never know where those roads might lead.
We paused briefly after my talk to give everyone a chance to stretch their legs and grab some more refreshments. Then everybody settled back down into their seats and I proudly introduced the night’s final speaker – country music artist, hit songwriter, BMI songwriter of the year, and my current boss, Rhett Akins. For those of you who aren’t in the know, Rhett is currently one of the hottest songwriters in Nashville, and he shared some great perspective, stories, and advice for all of the songwriters in the room (and judging by a show of hands a little earlier, at least half of those in attendance had come to Nashville to pursue careers in songwriting).
After Rhett’s brief talk about his evolution as a songwriter and artist he also engaged in a group discussion. He spoke candidly about different aspects of being a Nashville songwriter. The Nashville uniqueness of co-writing, the pros and cons of publishing deals, and his lifelong passion for music and songwriting were some major talking points.
Some of the perspective he shared that I found most interesting was the sheer number of songs that he writes, stating “I pretty much write at least one song everyday” and that to wind up with five hits songs, he’s probably written 500 songs. He also said that he and his co-writers try to finish a song during each writing appointment, but that he is also interested in experimenting with writing some songs over a longer period of time, noting that “it took Gregg Allman three years to write Melissa”. After his talk concluded he stuck around for a while, giving those who were interested a chance to speak with him one-on-one.
All in all, the event accomplished what we had set out to do. Some of the newest arrivals to Nashville got a chance to reconnect with former classmates that they didn’t even know had moved here, others made new friendships, and many, myself included, got new insights into the ever-changing world of the Nashville music biz’.
I would like to send out a special thanks to the following people for helping make this event a success: Rhett Akins, Karen Bell, Emily Dufresne, Dave Petrelli, Meg O’Brien, NSAI, Berklee, Heston Alley, and Kelly Normand.
Epilogue: I met with Alumni Programs Officer, Emily Dufresne the following afternoon for coffee, and we discussed an idea I had about organizing a monthly “Berklee Alumni Networking Jam”. More info on that will be coming soon!
With my new book “The Nashville Musician’s Survival Guide” finally being out into the world, I’m starting to get my life back again. And going out on the town to network and check out the scene a little more often has now become a little more practical.
Last Thursday I went to The Fillin’ Station, in Kingston Springs, for their weekly blues jam. There was a great turnout of talented players and some killer jams took place. For those of you who have never been, the jam is hosted by “The Mohawk Slim Blues Band” and runs every Thursday from 7 – 11 PM. A great place to meet new players, do a little jamming, or just hang that’s outside the in-town microscope – you owe it to yourself to check this place out!
This past Tuesday I went to The Fiddle and Steel Tuesday night jam. As some of you may have previously read, “The Steel” is a great in-town bar and a place that helped me get my start in Nashville. When I first moved to town, Tuesday nights at The Steel were THE place to be, as it was one of the best music industry hangs in the city for the longest time. In recent weeks the jam has been resurrected, and this was the first time I had a chance to check it out. The band started just after 10 PM and the place was packed by 11 PM, with a great turnout of players playing everything from Vince Gill to SRV and Merle Haggard to Jimi Hendrix. Toby Keith and some of his bandmates were hanging out for a bit and I saw several well-known Nashville songwriters there as well. It looks like Tuesday nights at The Steel are on again!
This coming Monday, August 29, I will be giving a talk about my book and my experiences in Nashville at Indie Connect. For those of you who are unfamiliar with this organization, Indie Connect is a community of independent musicians, singers, bands, songwriters, record labels, music professionals and service providers who come together to support each other by sharing ideas, expertise, contacts and resources.
Where: Indie Connect: 2720 Old Lebanon Rd. Ste.108, Nashville TN 37214
When: 12:00 PM – 2:00 PM
Last week I was invited by Bryan Cummings to appear on “The Jesse Goldberg Show” on Channel 19, our local community access station. I will be talking about my book and my experiences in Nashville. I’ll post the air time at a later date.
While I was at The Steel the other night I had the pleasure of meeting Darlas Rai, an on-air personality at Nashville’s 103WKDF. When she learned about my book, she offered to do some promotional giveaways on her radio show. During the next few weeks she will be giving away five free copies of my book during her nightly show which can be heard weeknights from 7:00 PM to 11:00 PM, and Saturdays 6:00 PM to 12:00 PM midnight. Listen to her show for details!
And lastly, the book just received its first official review. The French country music magazine “No Fences” caught wind of the project and asked me to send a promotional copy for review. I don’t speak French, but judging from some comments in an e-mail from the magazine, the review is a good one. The review is posted here, and while I’m sure there are computer programs that can translate this, if anyone out there can translate this, please let me know via e-mail.
That’s about it for now; I’ve got some other interesting things in the works and will keep you posted. Meanwhile, happy jamming and I’ll talk to you later!
I can’t tell you how excited we are to be finally about to embark on our first trip to our native homeland of New England in seven years. I’m sorry we haven’t gotten back sooner, it’s not because we haven’t wanted to, it just seems that whenever we’ve had the time we didn’t have the money (we call this Nashville winter), and when we’ve had the money, we didn’t have the time (Nashville summer). So this year, with my 25th high school reunion taking place at the end of July, we decided this was the perfect excuse we needed to block out a week in the middle of the summer and pay our old friends a visit.
Somewhere in the middle of planning this trip I got the idea to do a clinic at “The Music Workshop,” a music store in Salem, NH that I used to frequent in my younger days. My idea was that this would be a great way to share some of my Nashville experiences with my peers in New England, while, of course, promoting my new book “The Nashville Musician’s Survival Guide.” I’m not sure how this happened, but before I knew it, I was booked at four different workshops throughout New England (some of you may have noticed my recent series of Facebook event invitations). With all this activity evolving I thought it would be cool to throw in a special show with some of my musical comrades from back in the day, and this has led to the Eric Normand and Friends Reunion Concert at Wally’s Pub on Hampton Beach, on Wednesday, August 3rd at 8:00 PM.
There is a complete listing of all these workshops and events with addresses and weblinks on the new events page of my survival guide website. Here is the longhand version plus some info that’s not on the website:
During this workshop I will talk about what it has been like to work as a “hired gun” in the Nashville music scene, what it’s like to work on a national level tour, and some of the key differences and similarities between being a working musician in New England versus Nashville. There will also be a “Nashville guitar rig and style demonstration” and question and answer period followed by a book signing immediately afterwards.
Jam at the Station House in Dover
After the workshop, (which is free to the public) I will be attending a jam at The Station House Restaurant and Pub right down the street. The Station House usually has a jam on Thursdays, but when I contacted my old friend, Rick Landry, inquiring about any area jams on Wednesdays, he decided to put together this special jam just for this occasion, and I must say that I am quite honored. This jam will serve to be a kind of after party for the workshop and should be a great chance to catch up with some old friends and share a little music. Thanks Rick!
This workshop will be like the one in Dover, only in Portland (also a free event). Before our move to Nashville in 2002, Kelly and I lived in Kennebunk, Maine, and at that time I played many shows throughout southern Maine with my band, Electric Blue. One highpoint during that period was our regular Sunday night jams at Chancery Lane in Sanford, ME, a truly magical musical moment that occurred weekly, and one that gave birth to many friendships and even a couple of bands. We hope to see some familiar faces in Portland on this night.
This multifaceted workshop will be a little different than the previous two, and while I will share some of my Nashville experiences here as well, I will also spend some time talking about some practical aspects about being a lifelong musician. The second half of this clinic will be an “interactive rhythm section workshop,” during which students will have the option to explore some fundamental basics of rhythm section performance with me and Music Makers instructors, Mark Davenport and Tom Martin. Music Maker’s is a seacoast area music school that offers private lessons on a wide range of instruments and the place in which I first began teaching guitar in the mid-90s. I’m excited to be returning to share some of what I have learned since that time with their next generation of students. This event is open to the public: cost: $20 per person – $15 for current Music Maker’s students.
Jam night at Whippersnappers in Londonderry, NH
After the workshop, we are planning on attending the Monday night jam at Whippersnappers in Londonderry, NH, hosted by Gardner Berry of Mama Kicks. I used to jam with Gardner and other members of Mama Kicks back in the late 80’s/early 90’s when he hosted a Sunday night jam at Classics in Manchester, one of my first jam night experiences. Should be a lot of fun so come on out!
This will be the final workshop of this trip and similar to my clinics in Dover and Portland the week before. Salem used to be a big part of my stomping grounds back in the day and I used to frequent the Music Workshop regularly, constantly “experimenting” with new music gear, occasionally buying some. I also used to perform regularly at the old LJ’s in the Rockingham Mall, remember that place?
Blues Jam at the Roma in Haverhill, MA
After this workshop we are planning on attending a blues jam at The Roma in Haverhill, MA. My good friend and drummer extraordinaire, John Medeiros is part of the host band at this jam (John is also a former member of Electric Blue and will be part of my core band at Wally’s on the third.)
Wednesday, August 3, 8:00 PM – 11:00 PM
Eric Normand and Friends Reunion Concert
Wally’s Pub, Hampton, NH
This will be the last stop of our New England book tour/vacation and a very special night of music and reconnecting with old friends. It’s been seven years since we last set foot on Hampton Beach, and more than ten since I last performed their regularly. When we first started planning this trip I had the idea about doing a reunion concert of sorts and I called up and presented the idea to my old friend, Kenny Gaudet from The Bars, who fast became instrumental in making this happen. The first set will consist of me on vocals and guitar, John Medeiros on drums, Keith Foley on bass, and some friends from seacoast area jam band, Superfrog – Charles Cormier on guitar and Adam Vinciguerra on percussion. A little later into the night there will be a brief reunion of my old band “Shockwave” with Doug Hinton on drums, Mark Gagnon on bass, and Keith Bowen on vocals (also possibly Brandon Lepere). Other guests will include Kenny Gaudet, Devin Cordero from Last Laugh, and possibly a partial “Jet City” reunion.
This night will mark the end of our week in New England and we are really looking forward to reconnecting with so many of our old friends and musician buddies. We are hoping to make this reunion concert an annual event, so if you like this idea at all, please come out and show some support. And for anyone who is interested in purchasing my new book, this will be your last chance before we head out of town, so if you have it in your heart to help us out with a little gas money for the ride home, pick one up, they’re only $20.
While we will be leaving Thursday morning to rejoin the Rhett Akins tour for shows in Ohio and Chicago, we will be back, and next time we won’t wait seven years! In the meantime, go ahead and make some plans to come out to the Wally’s show and a workshop or two, we would love to see you all again! See y’all real soon!