Musician brings inclusive message as Christmas for everyone

[caption id="attachment_22011" align="alignleft" width="480"] Good people[/caption]

Editor---Many songs about Christmas focus on the birth of Jesus, Santa Claus, or elements of both, and happy times together with shared beliefs.  But there are those who simply do good and believe in good, and in those ways Christmas belongs to them as well as others who embrace that something wonderful in the world that is message of joy and goodwill the world over.  Yvalain, whose music productions are among the most beautiful of all and who has collaborated internationally in music for many years, has a song that unites us all in the understanding and caring for all peoples at this season.

This song transcends sectarian beliefs.  Indeed it reminds us that the universal message of love, the kind taught by Christ, is one that moves over borders and through various faiths, and even in the hearts of those who may not believe in God, to take root in the hearts of many. The song is on Fandalism here and can also be found on YouTube, both places where this musician's musical messages of hope, love and peace are shared.

Musicians express intimate relationships with their instruments inspecial ways

Yvalain, who loves his guitar

Carol Forsloff---“I love it. It feels close to me, like something I can hug. And because it's small, it makes me feel like I can get my hands around it without any trouble; and I can do so many things. I get a great feeling when I play it and no other instrument is quite like that.”

A musician was overheard recently at a gathering, just before a performance, extolling the benefits of the Washburn travel guitar, an instrument that is about half the size of the ordinary guitar. Her remarks mirror what many musicians feel about their instruments, a connection that is important and described in ways often attributed to living creatures. For to a musician the instrument seems to have the life it gives through the hands that plays it and in some mysterious ways has at times a mind of its own.

Musicians form these relationships that can vary a good deal and are usually not based on any monetary value or whether or not the instrument is rare, according to recently published information.

How musicians appreciate and form a beneficial relationship with their instrument is born out by research done at the University of Finland's Cognitive Brain Research. The findings were published in May in the Journal Psychology of Aesthetics, Creativity and the Arts.

These research results revealed, just like the example of the musician in this article's introduction, that many musicians express a close relationship with a musical instrument, many of them saying they feel 'at one' with it. Most of those who showed this type of relationship also express satisfaction and benefit from it and appear to be in a state of intense concentration when playing it.

Gary Bridgewood of renowned London fine stringed instrument dealers, repairers and restorers Bridgewood & Neitzer describes his understanding of the special relationship between a musician and their favorite instrument:

“Finding an instrument that feels and sounds just right, like it’s a part of you, and seems to feel easier for you to play than other instruments can undoubtedly have beneficial effects on your playing and your confidence in playing. This could mean spending a bit more on finding the right instrument. It can also mean that some musicians will feel more comfortable with an instrument that their peers admire and like and sounds great to the audience. If you’re particularly happy and comfortable playing a specific instrument, and playing in a particular venue and atmosphere in my experience you can reach a kind of deep concentration. This can lead to you producing a level of performance and connectivity with your fellow musicians and the audience that is special and would be hard to replicate. A good relationship with a trusted and loved instrument can be an important part of producing good music and good performances.

"Sugar" Hopkins, a music with a passion for his guitar

That special relationship is one expressed by many a musician as a way of sharing what is considered the intimacy that can come from playing and sharing music.  Angelo Marinosci Jr.  does it with his "family photo"-----

Angelo Marinosci Jr's "family" of guitars

Yawroc (Sticky Sugar Hopkins, explains his relationship with his guitar as this:  "Indeed Carol the guitar is an extension of me, Its all me and can say what words just cannot! It can get right to that special place where words cannot.. No song should ever have a lead instrumental in it unless it says more about the subject to which the singing cannot.. It also compliments a beautiful voice The Guitar is me and i know no other instrument that does it for me.. Note the foot carefully placed upon the pot acting as a stomp pedal.."

Robin Rendell who writes and performs folk music on a place called Fandalism says, "My first guitar was an unpredictable instrument purchased for me by my mum and dad from a local junk shop. It was on this guitar I learned to play Red River Valley, taught by my cousin Jack in my aunties’ front room. My first new guitar, also bought for me by my parents, but this time on the never never from a shopping catalogue, was a cherry-with-blonde-sripes ‘f’holed Hoffner. It was on this guitar I wrote my first song, Tell Me, and did my first performances on local church stages. A couple of guitars have come and gone, but a my Boosey & Hawke Jumbo has been my friend for 40 or so years."

Peter Evans speaks fondly of his favorite instrument, saying this:  I bought my first guitar in 1969 with my first week’s wages and taught myself with Bert Weedon’s “Play In A Day” book. I soon disposed of that first guitar, a Spanish B & M, but an absolute dog to play! I bought a Watkins Rapier electric and soon after an EKO acoustic. I worshipped both those guitars but alas I found myself out of work with a wife & two children to support plus a mortgage so those guitars were sold. I returned to playing in 1989 after buying my second son a 3/4 size nylon strung guitar for Christmas. My wife Diane suggested I buy another for myself and in the January 1990 I bought an ’86 Washburn D21 Jumbo Dreadnought. Over the years I’ve amassed 20 guitars, electric & acoustic plus a banjo but I always go back to that Washburn. Most of my recordings are on that old Washburn, it always feels right and is always the first guitar I pick up. I love that old girl."

Guitar owned by Peter Evans, musician on Fandalism

Everyone needs something or someone to love.  Why not that old grand piano or the guitar in the corner just waiting for those hands to make music.

Music the fruit of love, understanding from French musician

[caption id="attachment_18166" align="alignleft" width="180"] Yvalain[/caption]

Carol Forsloff — Music transcends borders and as Shakespeare once said, it is the fruit of love. It is also the vehicle for understanding and communication that can bring people together from many parts of the world, as is done by Yve Alain Debodinance, known as Yvalain by his friends and fans. Yvalain is one of many thousands of musicians on a site called Fandalism, sharing his music, most of which is original, with people around the world. I asked him a number of questions in order to highlight for others what he has done to elevate his own music as an example to others, improve his own performances, and how he developed his unique and special skills in music. The following are the questions and answers from the interview:

When did you start playing music and why?

I started to play guitar when I was 15. My best school friend was a huge Beatles fan. Thanks to him I discovered a magic universe of sounds, voices and instruments. The Beatles broke up one year ago. Until that moment I did not know too much music but some French hits and some classical music that my father sometimes played at home. I then requisitioned the family turntable and installed it in my bedroom. Little by little I listened to a wide range of pop-music from Jimi Hendrix to Pink Floyd, not forgetting Mike Oldfield, Queen, Supertramp and at least a thousand more…

What types of music genres do you favor?

I used to worry that I need two "legs to walk" and in the field f music I need pop-rock (in a very wide understanding) and classical music. I still love the Beatles and most of their solo works, I admire Paul McCartney who is still a fantastic creator despite his age. I still love everything I listened to in my teen years. John Lennon once said that our discoveries during our adolescence impregnate our spirit deeply. I agree with that. There is always some special magic when I listen today the stuff I enjoyed when I was young. The early Mike Oldfield is still great to my ears. All Pink Floyd, the Rolling Stones, The Who, the Kinks, Manfred Mann, Wishbone Ash but also Muse, American folk singers such as CSN&Y, Dylan, Hendrix of course, Randy Newman, Bruce Springsteen… On the classical side I can’t live without JS Bach, Sir Henry Purcell, Haendel and Vivaldi besides great other classical masters.

Where do you get your music inspiration?

I guess like many other composers I want to express myself through music: emotions, ideas, stories, good or bad experiences. My elder son told me that there are two races of musicians: the creators and the experts. I’m definitely among the first group. I like to play guitar and bass but my pleasure is not to practice hours everyday. Instead I use them as simple instruments to express my need to create. It could be pots or sticks…

What have been some of your special music experiences? Have you performed professionally and if so in what type of venues?

I started a band with my schoolfellows. Of course, our aim was to be as famous as the Beatles. Soon I played bass. That was my temperament at that time (express something but not too under the spotlight). We played several years, improving slowly But it happened that I realize we would never be good enough to earn our life with music, not speaking to be as good as the Beatles. So I had to keep my energy to have a good job and create a family. The dream was over. We made some disastrous public performance. Not a very good memory. Well, after nearly 30 years I started a new band with other musicians. That was a lot of fun. We made several great concerts (we were not too bad this time). But in 2008 I decided to keep my free time for composing and I left the band. Since then I made the equivalent of 10 albums with my small home studio.

What does it mean to be successful in music? What counts as success? Money? Fun?  Meeting new people? Self satisfaction? Creative outlet?

I guess the answer depends on what age we have. In my case my answer would be very different when I was a dreamy adolescent. Of course, now, I believe that the most important is to have fun and give pleasure to the audience. Personally my best pleasure is when I accomplish a new work and when I’m satisfied with the result. I never think of what other people will say of my song, if they’ll like it or not. It would be paralyzing to me to think that way. I started to make music on my own, playing all instruments and programming those that I can’t play. My experience of composing with my band was not very satisfying as I realized that my need to compose something original was not shared. The other members preferred to cover well-known hits. But soon I found it very agreeable to invite other musicians to play some parts of my songs, joining their talent to my ideas. That was certainly a good operation to have great singers and soloists with me. Thanks to the Internet I could play with people from various places in the world.  I shared my songs on Jamendo for nearly 4 years. Then I discovered Fandalism. The feedback of listeners was great,  and it surprised me a lot. Whether they are simple listeners of music experts, I have a great satisfaction in saying how my works are welcome.

Shakespeare once said music is the fruit of love. What does that mean to you?

I agree with that when it comes to the point of sharing my music with other people. In my case it’s always a gift. That happens to when some collaborators help me make some new song. When I receive their parts I always receive it as a great gift and I’m grateful for that. I respect what I’m given and all new ideas are very welcome. In my case I would like to add that music is made with our life, our emotions, our pains and our joys. I can’t make a music that means nothing to me.

What are your future ambitions when it comes to music?

I just want to continue to create new songs and I hope they will be better than everything I’ve already made. I often dream that I manage to break my own limits and create surprising original pieces in different styles than ordinary. I also have some ambition in the field of classical music. I have several baroque pieces that I hope I’ll be able to play in a better way that what I could do previously. Where do you see the future of music?

Sometimes I’m pessimistic when I state that in today’s world the music is slaved to profits at various times by the music industry. Fortunately sometimes a great original artist or band can appear despite the race to the bottom. Sometimes I’m rather optimistic considering the huge amount of original artists who expressed themselves in the domain of free music. Probably what we’ve known during the 20^th century will end: huge artists making a lot of money through disks and TV shows. We don’t have to wait that somebody tells us what to listen (unless we’re slave of commercial music industry and medias). We can find a lot of free music with an incredible quality. But I have no solution to the problem of how to allow an artist to live correctly with its creations; otherwise I would apply it to myself.

What advice would you give young people starting out with the idea of having a career in music?

So many young people want to become stars! I can understand that, as I was young too. I think the whole paradigm will change a lot, it’s already changing. I would not be the one to shower the heat. After all I did not succeed myself. And who knows, circumstances, meeting the right person, a great idea could bring fame… Obviously everything is done in the economic system to prevent new real talent to emerge. Of course there are exceptions… That feeds the dream...

You perform a lot with other musicians. What do you look for in collaborations? How can people learn from these and what are the value of them? The basis is humility: I don’t pretend to be a great musician, but I still want to do something that sounds good to my ears! Despite incredible tools that are given to amateur musicians I still favor the warmth and the richness to have real instruments and good vocals in my songs. When I started to ask for help I was very afraid that I would receive negative answers or laughs! But instead I had only good experiences and the results were always beyond my expectations. Well, sometimes singers are real divas, very hard to satisfy. Today I can’t imagine not asking for external contributions to make new song. I always learn from others. I’m often dazzled by their work and their ideas. Then I’m very happy to promote our common work and my best pleasure is to read a compliment for my partner(s).

Offer a few anecdotes about yourself. What makes you the musical you?

When I was a young boy I already created songs that I sung or myself, in my head. But I did not realize that. I remember that I used to go to the grocery store with a list of things to purchase for the family dinner, every evening after school. I watched the other boys screaming, playing soccer in a field. I thought to myself “what kind of boy am I, what makes me different than others?” I had only negative words with which to answer, the same that I heard at home. Now I know: I was preparing my future passion, that irrepressible need to express myself in the best way, I mean to show some beauty from inside me to those who did not believe in me.

Yvalain's music can be found here: http://fandalism.com/yvalain

Find your new direction through music, and help build a harmonious world

Robin Rendell, songwriter and musician

Carol Forsloff — So you've retired with time on your hands, like to sing, play an instrument and be part of something wonderful. Or you are a young person who has learned a few new tricks and want to share them.  Maybe you are one of those old folk singers who believe your music has long since past, or you are a rocker and wonder if the general public will find and love you. Well, folks there are places that will remind you that you can at any age find your musical direction, have fun and make friends, and maybe even rediscover yourself or develop new talents.

Robin Rendell is that mature fellow who has lived long enough to have experienced much of the world. He is that traditional folk artist, the kind many of us revered in our youth. Yet he plays that eternally loved music, writes and makes wonderful musical masterpieces that can only delight people of all ages. And he is part of the Fandalism community, a community where ageism, sexism, national bigotries and all go by the wayside as people forge new bonds in music. Robin is one of those people who leads folks through his collaborations and creations.

But Robin isn't alone.  Michelle Baker, a young housewife from the South, learns, grows, and fits music into those everyday household responsibilities. Yet she brings her wit, charm and warmth to this site called Fandalism and for a few moments in her day, she is a star, shining brightly and appreciated by a world of fans.

Dan'l Young shows off his wonderful, extensive family and his music as well.  Another senior, in those years some folks think is the end of a music career, Dan'l doesn't have that off button some think needs to be used at that "certain age." Instead he proves that certain age is no barrier in having fun and being appreciated.

All over the world people are finding their new direction in music. Whether you are an Amadea or an Ivana Fisher from Eastern Europe or a French composer of infinite skill, such as Yvalain LePoste, or a country singer from Arkansas, like James Rice  in those mid-life years of trying to find one's ultimate purpose,  or the time you think you ought to be hanging up your boots but instead are a country singer with the continuing enticement that comes from doing it well, or a show tunes diva like Kathy Songbird, there's a place for you on Fandalism, touted as the site of the world's greatest musicians.

And some of the world's greatest may yet be found by the general public, and you, good reader, may be one of them, whether you are from India, Canada, or some island in the Pacific, with a direction that at the very least will bring you a measure of joy and the good health that comes from the music of the world.