Entries Tagged 'published articles' ↓

[This travel article was published in the November 2007 issue of the Qatar-based feature magazine ‘New Era’.]

It is late afternoon, and I’m writing this article on a muggy, fall day in New York City’s Central Park. I’m seated on patchy grass after finding myself a hotspot (thanks to free wi-fi in the park), catching up on e-mail and news. I arrived here on the comfortable Acela train from Boston, three and a half hours of super-smooth travel that skirted the Eastern seaboard with barely a whisper. Since my arrival, I’ve been drawn into a gritty, urban state of mind, while savouring the ability to keep walking for hours, being simultaneously assaulted and lulled by the sights and sounds of Manhattan. In contrast, the park is an anticlimax – a green cocoon of quiet; free of exhaust and the taut energy that wraps the avenues outside. The purpose of my visit? None really. I have no appointments to keep, no deadlines to meet. I’m staying at the New Yorker Hotel, in midtown Manhattan. Built in the art deco style of the jazz swing era, it was one of NYC’s premier hotels and hosted famous big bands such as those led by Benny Goodman and Woody Herman during its heyday. Unfortunately it stands in various states of disrepair today, but its location is hard to beat, offering an almost instant access to several key tourist spots and vistas in the city core. Situated a few blocks north is Times Square and Central Park, and to the South, Lower Manhattan and the Village with its interesting, funky neighbourhoods such as SoHo, Chelsea, Little Italy and Chinatown.

New York City has one of the highest land use densities in the world, and its street design and flow is based on the grid system, using straight lines and right angles. Parking in the city requires an investment of several hours a week, a cool and perseverant mind, and the likelihood of several parking tickets, which is why most residents prefer using public transportation or a bicycle. Nevertheless, it is a breeze to navigate the perpendicular geography of this walker’s city. The streets reflect the American ideal of a ‘melting pot’, and I overhear different tongues and accents as I pass by rows of closely packed shops, convenience stores and restaurants. A few blocks later, I am met with sweeping concrete towers of business and commercial edifices, laying testament to the fact that every neighbourhood has something different to offer, and the environment can change as rapidly as the change in the Avenue or street number.

I’m a great fan of street food, and beyond the predictable such as pretzels and hot dogs, there is an array of ethnic foods which has gone mainstream in New York. The past few years have seen a proliferation of mostly immigrant-owned stands selling kebabs, gyros and falafel, and the city even has a ‘Vendy awards’ that rewards the best carts in the city, while also acting as a union to provide the vendors a voice. Rahman, a beaming young man, originally hailing from Pakistan, had his cart stationed near the Rockefeller Center. Drawn by a mixture of hunger and enticing aromas, I purchased a couple of terrific chicken and lamb rice plates from him. Topped with a mysterious, but delicious white yoghurt sauce, the meat was succulent and infused with Eastern spices, the rice was long-grained basmati, redolent with delicate seasonings. There were more impromptu al fresco dining choices including Jamaican jerk chicken, South Indian dosas, barbequed pulled pork, French crepes and Mexican chili and burritos, but stuffed to the gills by now with Rahmans’ culinary offerings, I opted instead for a small paper bag of freshly roasted honey almonds to satisfy my sweet tooth.

A visit to the ongoing AES (Audio Engineering Society) convention at the Javits Center was a must – it is an annual event providing a meeting ground for the pro audio scientific elite and high profile manufacturers who shape the world of audio. More of an enthusiast than a participant, it was nevertheless fascinating to browse through the booths displaying recently announced products and offerings. A trip to the Blue Note jazz club (be prepared to share tables and be herded along with other strangers in a micro-space), and another to imbibe some refreshing sangria and tapas at a Spanish restaurant in the Village a little before midnight (seemingly, New York never sleeps) was an evening well spent. Times Square after dark was dazzling, a cacophony of voices and traffic, gigantic neon television screens that winked loudly at the swarms of locals and tourists below. I admit my noggin began to spin with the frenetic bustle and constant flashing of cameras around me. It was time to exit this spectacle and head back to the hotel.

It has been estimated that nearly half of all Americans today can trace their family history to at least one person who passed through the Port of New York, personifying NYC as the immigrant capital of the world. A quote by John Rockefeller, whose enormous influence is felt all over the city, sums up the spirit of New York best: “I believe in the dignity of labor, whether with head or hand; that the world owes no man a living but that it owes every man an opportunity to make a living.”

Ramona Borthwick is a jazz pianist who was classically trained. She lives in Boston, MA where she performs and teaches. Visit her on the web at: www.ramonaborthwick.com.

[This article was published in the August 2007 issue of the Qatar-based feature magazine 'New Era'.]

Attending the Montréal Jazz Festival in Canada has been a musical pilgrimage of sorts for me since emigrating to the West in 1994. A musical marathon, this festival spans eleven days and nights in the summer, turning the Western hemisphere’s largest French-speaking capital into an entertainment mecca for everyone from aficionados of pure jazz to its musical offshoots. By providing entertainment and plenty of other distractions to approximately two and a half million people, this festival overshadows both Canada Day and the Fourth of July, two big holidays in North America, with the European ambience strong enough to make one forget about anxieties south of the border such as war and terrorism.

Journeying from Boston northward through New Hampshire’s craggy granite ridden White Mountains and the rolling pastoral hills of Vermont’s Green Mountains, the journey to Montréal takes approximately six hours by road. The interstate highways are beautiful and well maintained, the scenery awesome, and I’ve always reached Montréal fresh enough to venture out to the Festival venue immediately. My stay was at a cheerful little bed and breakfast in the Latin Quarter, just off Rue Denis, a street famous for its sidewalk café’s, bars and ethnic restaurants, making for a pleasant 15-minute walk to the festival venue. Rounding the corner onto St. Catherine’s Street brought a queer mixture of fast-food joints, art supplies stores, nightclubs, sex shops and a church or two.

The festival site encompasses the downtown core, four blocks of which are closed to traffic for the duration of the event. This certainly makes pedestrians feel special! With ten free outdoor stages set up on streets and in parks, as well as some dozen indoor venues (one usually pays for these) located in the same area, there are roughly 50 concerts per day showcasing around 3000 musicians and street performers. Impressive too is stage and sound setup at various venues. Being an outdoor festival it is prone to the vagaries of weather, but the technical and sound engineers are armed and ready for the occasional downpour and high winds. Preceded by a daily New Orleans style parade, shows start at 6PM and end at midnight, with audiences standing shoulder to shoulder in front of raised stages. There are many food and beverage vendors in the area and it is great fun to grab a hot dog and ‘poutine’ (a calorie laden Québécois comfort food consisting of French fries and fresh cheese curds topped with hot brown gravy) and wander through the festival. Getting a seat at a nearby restaurant to watch a show is practically impossible, unless you want to wait in queue for an hour and miss the musical acts.

The artists featured this year were a mixed bag – Bob Dylan, Keith Jarrett, Harry Connick, Jr., Cesaria Evora, Wynton Marsalis, Manu Chao, Zachary Richard and Francis Cabrel. The Invitation series (a series that runs through the duration of the festival) featured hosts Richard Bona and Mike Stern playing with other invited artists of their choice. Mega outdoor concerts included an Afro-beat party with Seun Kuti; a Brazilian carnival with Carlinhos Brown, and an Arabian evening featuring Rachid Taha. The festival is also known to be a launching pad for careers of lesser known acts, and this year it was bassist-singer Esperanza Spalding who impressed the crowds with her talent.

Promoted as a global ‘jazz’ festival – not all the music is jazz – there’s world, blues, rock and roll, funk, hip-hop, reggae and of late, even rave music and DJ’s on stage. I’ve noticed that in the past few years, the festival has been bringing in fewer jazz artists to perform. This year, by and large, would have been better termed generically a ‘music’ festival, with the occasional jazz thread running through. Many Montréalers feel that the “Festival International de Jazz de Montréal” has become too large for its own good, with the organizers being acquiescent to large sponsors who prefer to market their products rather than promote jazz artists and have the public listen to real jazz . The late night jam sessions at the Hyatt have a worn out air about them and participation by visiting artists has dwindled to a trickle. I miss the passion and creativity that was flying at these sessions during my earlier visits here.

As a musician, it was interesting to see two new side shows at the festival: the Montréal Musician and Musical Instrument Show (MMMIS) showcasing vendors in the music recording and software industry along with makers of digital instruments and gear; and the Montréal Guitar Show, where luthiers from all over the world exhibited their hand-crafted instruments.

I’d like to believe that jazz is the force that binds this festival together. I’ve heard tons of great music here that was celebratory, healing or cerebral; in settings from intimate duets to big bands. There have been bands from Scandinavia, Eastern Europe and Russia, artists from countries not usually heard in the US. My expectations to feast on a platter of jazz at this festival have diminished through the years, and to a certain extent I admit there’s a sense of disappointment. However, it’s the idea of a vacation combined with music that makes this trip worth repeating every year.

So, the abundance of music paired with lazy mornings followed by walks on the cobblestone streets of Old Montréal, sipping beer brewed in-house in large copper vats, tasting delectable treats at local patisseries and chocolatiers, sampling fresh produce at the farmers market and window shopping in Montréal’s trendy, chic malls, the International Jazz Festival of Montréal is a great place for music lovers who like also like to party on vacation. I know I’ll be returning next year.

Ramona Borthwick is a jazz pianist who was classically trained. She lives in Boston, MA where she performs and teaches. Visit her on the web at: www.ramonaborthwick.com.

[This article was published in the June 2007 issue of the Qatar-based feature magazine 'New Era']

When asked to name someone who has had a major influence in their lives, most people choose to mention a mentor figure – a teacher, sports coach or counselor. Having had a succession of piano teachers in my learning years, I can attest to their influence not only on my musical growth, but also in areas personal and psychological.

I began learning the piano at age six. In the years to follow, my teachers were chosen for me. If at all there was an interview, it was usually the teachers who had the final say in picking the student. For the most part, they were wonderful human beings, but their undemanding teaching methods and indulgent style left me with a certain feeling of void.

Recognizing the need to be challenged, I set out to find a teacher in my early teens. I was already in love with the piano, working zealously and enjoying practice as much as I did performance. Impatient to move ahead in my musical growth, I welcomed criticism, objective observation and discipline. My ideal teacher would be someone who would recognize my musical aptitudes and deficiencies, while shaping a curriculum that would bring out the best in me while setting a high standard of goals. 

If you want to study music privately, recognize that you are a free agent, and can and should interview prospective teachers. As a teacher, I encourage students to query about my teaching methods & lessons before they sign up. Just as you might seek the opinion of two or three doctors on a medical issue before accepting one diagnosis and treatment over the others, I see no reason why a student shouldn’t take trial lessons with a few teachers before deciding on whom to study with eventually.

If a teacher objects to giving a trial lesson, look elsewhere, and you will find many who would be happy to oblige with a starter lesson. Technicalities aside, compatibility of personalities is also crucial to a long-term relationship, and this is something that can be confirmed only after a few lessons.

Students with talent and drive may find studying with one teacher constraining, hence at some point in the learning process, they may want to seek the guidance of another teacher. When studying with two or more teachers, a concern voiced is that there may be contradictory styles of teaching or conflicting information given which would confuse the student. I personally feel that it is better to see the world through two pairs of eyes, than just one. An enlightened student will shoulder the responsibility of arriving at his or her own conclusions about valuable versus ineffective instruction.

One of the most beautiful rewards of teaching is sharing the art of music with others. It involves handling complex personalities and yes, the chore of disciplining a child, but the joy of watching a student’s face light up with understanding or play music from the heart, can fill a teacher’s heart with a sense of pride and happiness.

I believe the responsibility of being a guide, critic and friend is a sacred one, since the student has entrusted his or her creative development in your hands. Depending on the degree of personal interaction, a teacher’s influence on a student can be far-reaching, hence if you are contemplating the study of music, be sure to make an effort to locate a teacher with whom you can have a mutually rewarding long-term relationship with.

Finding the right teacher, asking the right questions:

- Topping the wish list, is finding a teacher who is a nurturer. A teacher who inspires a student can work magic, instilling a lifelong love of music for generations to come.

- There are several teachers who are highly qualified and certified, but make for average teachers. While music degrees and teaching certification are an advantage they are not adequate, since a good teacher also needs to be a psychologist, communicator and inspirer.

- Inquire about teachers in your area, consult with friends & (and) family, visit the local music stores and ask for recommendations

- Request a meeting with prospective teachers in person before making a commitment to a particular one. Teachers are usually willing and eager to explain their techniques and objectives and should not have a problem arranging for an interview.

- Nowadays most teachers have their resumes online or have their own personal web pages. This allows you a chance to get acquainted with them before the interview. You may however still want to ask them about their professional and educational experience.

- If there is a written studio policy, review it with the teacher before you sign up. Inquire about the instructional materials used and the teaching curriculum.

- Equally if not more important than lessons, is the work done by the student at home. Find out how much practice time is required every day. If the student is a young child, the parents should inquire their degree of involvement in the practice and scheduling of work at home, and how student evaluations are done.

Ramona Borthwick is a jazz pianist who was classically trained. Her latest CD ‘A New Leaf’ received critical acclaim in the US. She lives in Boston, MA where she performs and teaches. Visit her on the web at: www.ramonaborthwick.com

[This article was published in the May 2007 issue of the Qatar-based feature magazine 'New Era'. View as PDF.]

“My memory is shot” you mutter to yourself despondently, as you try to retrieve a speck of information from the dark recesses of your mind. And it’s not the first time you’ve experienced this mental blackout.

You’re trying to play from memory a solo piano work comprising sixty-four A3-sized pages – covering thirty minutes of performance time. But why bother to go through the arduous task of putting to memory something you’re better off simply reading? Here are a few reasons: It is protocol at some music competitions & festivals to perform without a score. If you ever arrive at a social event, and someone invites you to perform, you can do so, even you don’t have the score on hand. Besides you’ll be guaranteed to impress your audience, as there seems to be a false assumption by listeners and critics that if a piece is not memorized, it is not being played to it’s fullest potential.

Oh well, I’m happy to break the rules since I’m hardly the convention-bound teacher. I’m not in any way demeaning the practice of memorization; in fact a fair amount of my classical repertoire had been put to memory in my younger days. Some pieces require total virtuosic treatment – where the body is physically almost one with the instrument. I recall playing some etudes by Karol Szymanowski, (involving bi-tonality and plenty of crashing dissonant chords) in which the notes traveled at lightening speed, the performance wrapped up before I even knew I hit the last chord. I certainly couldn’t read and execute these pieces simultaneously. In this case, memorization totally facilitated my performance.

The works I found difficult to put to memory were invariably those of a lengthy nature, in particular, weaving contrapuntal compositions by Bach for example. I’d experience many incidents of brain freeze, terror knots in my tummy and sweaty hands. Sigh. It was no fun playing by heart. The problem was that there was no heart in it.

Bright enough to realize that I didn’t have the prowess to memorize extensive pieces of music, I unconsciously resorted to building my own vault of tricks by memorizing technically demanding passages, sections requiring page- turns or a progression of chords that were way too demanding in an improvisational setup to read and improvise on at the same time. This as you can see was born out of necessity. But I also realized that when I had the score in front of me, I was not reading the page note for note. It was more of a top-to-bottom sweep with the eye, often in a descending ‘diagonal’ path. Akin to techniques taught in speed reading, although in this case, comprehension wasn’t an issue since I’d practiced the piece an excruciating number of times ensuring its execution and interpretation was flawless. Developing musicianship skills and understanding the way the music was constructed helped me no end. It allowed me a passport into the composer’s thought process – I became familiar with the movement of harmonies, shifting keys, pet phrases and motifs. Singing the music in my head, or aloud while practicing, helped me understand the organic structure of the composition. I could breathe musical phrases. Eventually it was almost liberating to have the score in front of me… the familiarity of the pages – with little comments  penciled in, the re-assuring view of upcoming bars of music that allowed me foresight and mental preparedness of the future even while being the present. I felt relaxed. And I believe this allowed me to do justice to the composer’s music and play my best.

I’m often asked by my students if I consider memorization a significant aspect in a child’s musical development. For those gifted with this skill, I encourage them use it.  Shorter tunes are easier to tackle and as an exercise I encourage the student to memorize them but this is completely voluntary. I’d rather concentrate on development in areas such as rhythm, sight reading, musical interpretation and the art of listening rather than have them stress out over their inability to churn out a zillion notes from memory. The last thing I want to see happen is a student give up on music because of a performance crash at the annual recital! In some cases, I see memorization being used as a crutch to support low sight reading skills. Sooner or later, the student is going to have to come to terms with this deficiency (it is a language deficiency, and can be improved!) and will work at it.

Let’s face it though; there are those amongst us with a memory like a sieve. You’d like to retain information – it’s an asset for sure – perhaps you feel it will help you play better. This is quite understandable, especially if the tunes are short in length. There are many jazz performers who subscribe to this and memorize tunes (head and chord changes) because they feel it allows them a greater freedom while improvising. So besides consuming ginkgo and nuts, here are a few tips:

1. Get an overview of the tune first. Understand its harmonic structure. Observe where the music is ‘rising’ or ‘falling’. Look for repeated patterns, arpeggios, scalic passages or changes in tempo. If possible listen to a recording of the work, but not obsessively.

2. While practicing separate hands, (hopefully you are paying attention to fingerings) listen to what you play. Sometimes singing along with the music, helps you to record it to memory. Haven’t you noticed that it is easier to sing a melody from memory than play it?  This simply helps your voice-ear-hand connection and co-ordination.

3. After you practice the piece in segments, and you find yourself getting better at executing it technically, begin memorizing. Be conscious of shapes or movement flows on your instrument, like the broad strokes of paint on a canvas.

4. Often students feel the need to go back to the beginning of the piece in order to complete the performance. To prevent this time-consuming habit, work backwards during practice – start with the last page and retrace sections – I believe this helps you to carry on with a performance in case of a memory lapse breakdown in the middle of a piece.

5. Visually recording the location of music passages on the page is also helpful. If you have the slightest hint that a breakdown is going to occur, you can recover by panning your focus right to bar you are currently in.

6. Something I learnt later in life – play the piece VERY slowly. Play it separate hands even if you can play the piece hands together. This is quite meditative actually.

7. Perform the music in space, away from your instrument. This is not only fun (ever watched someone play air guitar or drums?) it becomes a kind of game within yourself.

Memorizing music is a great asset, but if playing in public without a score sends you to the torture chamber, don’t sweat. Eventually the music needs to speak for itself, and if you score with audience, paper or no paper, who can argue about it?

Ramona Borthwick is a jazz pianist who was classically trained. Her latest CD ‘A New Leaf’ received critical acclaim in the US. She lives in Boston, MA where she performs and teaches. Visit her on the web at: www.ramonaborthwick.com.