‘Unfolding’ – Coming Soon – The Chris Woods Groove Orchestra

This is an EP of four compositions. All recorded Live. To be released EARLY DECEMBER

Stolen Lines and Amygdala were recorded live at Real World Studios for Audio-Technica. Splicer and The Chine were recorded and filmed live at Absolute Music in Dorset.

The pieces all feature me (yup!) on guitar with; Ben Taylor (Double Bass), Arthur (Electronics), David Youngs (Hand Pan and Woodpack drum) Harkiret Singh-Bahra (Tabla) and Andy Chapman (Drums).

Its been a long time coming. I’ve been working away with some of these guys for a good two years. I’ve been Particularly spurred on from the Guitar Revolution project and from working with everyone in the orchestra (people are good) its been a creative time. I’ve had an opportunity to leave some of the less creative parts of being a musician behind recently, and I guess I’ve never felt so focused on making music that’s orchestral at heart.

The tracks are undoubtedly dark, the choice of playing them live is very deliberate. I hope these recordings capture us all at our best and most expressive.

On release of the EP and all the full videos I’ll be delving into the tracks in an in-depth way, and how they were recorded sine this was not just about chords, rhythms and harmonies; it was one hell of sonic journey too working with one of the most innovative microphone companies (Audio-Technica) on earth and working in a truly out if this world studio (Real World Studios).

For now, I wanted to leave you with our first video release of Stolen Lines performed Live in the Wood Room at Real World. As well as of course an album taster. (If the video hasn’t loaded CLICK HERE)


Thanks for listening. Before ya go I wanted to extend a massive thank you to lots of wonderful people including, everyone one of the Orchestra members you gentlemen are all true gents, stunning musical beings and an inspiration to me. Tim at Audio-Technica for being one of the most amazing communicators I’ve worked with and of course his team of fantastic people and fantastic mics. Ollie at Real World Studios for being such a great engineer. Dan Henry and Mark Harris for making sound and look great at Absolute Music. Jordan at Red Pepper PR for being so generous and a general legend. Jess for the stunning artwork. Christian and David for amazing mixing and putting up with OCD ears. And David Holder for the epic mastering. Thank you to you for reading this far….

Thank you one and all

more soon
C

Real World Studios – Audio-Technica Live Sessions

The Chris Woods Groove Orchestra recently recorded a special intimate live show at the famous Real World Studios, for the Audio-rechnica Live Sessions. Here’s Stolen lines.

Chris Woods Groove Orchestra Rehearsals Pt 2

This extract of the blog delves into how I have been communicating my ideas to the rest of the orchestra…as we work towards recording.

One of the best/worst/most interesting challenges of getting a band together…or ‘Orchestra’ as I like to think of it is communicating your ideas. I come from more of a contemporary/rock/jazz/pop background and the usual way of things is ‘heres the song’ and let players go crazy!

This time things are different, I’ve really tried to approach this project in a more orchestral way, composing with different instruments in mind, at the same time as recognising the strengths of the musicians who join. So how do you go about composing specific parts for other instruments when you cant play that instrument…did someone say notation?

‘Notation?!? oh my god!…you mean dots and all that rubbish!??! – surely without the magical skill of reading music I wont be able to do this?!’

Now, I’m not really a ‘reader’. I have never really had the need, and groove, swing and feel always seem so distant from the score not to mention the whole changing tuning thing. I also have some pretty strong feelings on the teaching of it to children – notation really has got in the way of some good common musical sense… (see my Jimi Hendrix blog).

I admittedly have a good grasp of reading rhythms, but as far as sight reading goes its something I don’t practice so I don’t do well. But it really hasn’t put me off and I don’t think it should put you off either… I use Guitar pro. Its an amazing programme and really helps in creating your ideas. By using the TAB function, writing parts for cello or double bass are easy and importantly you can HEAR what you create… so with a bit of trial and error you can compose something quite stunning with very minimal reading ability! thank you Guitar Pro!!!

I know there are a host of similar options; but I think what is important here is how we can now just intuitively tweak a score with very little knowledge, quite literally play until its what you want it to be  – Giving you the ability to pass on information in a range of ways and bring those stuffy and slightly redundant dots to life with some creative dabling. Interesting…hmmm…

Below is an extract from the score I have for a recent work in progress. Just guitar and double bass. The main theme worked out…and then I let Ben Taylor work his magic.  You can listen to the recording/video here…

2Spooky new track

It works a treat, and once again the abillity to hear what you are creating is mega powerful. As a contemporary acoustic player, writing the melodies and riffs on other instruments is amazingly liberating too. I find the textural difference amongst instruments is so much more exciting than trying to squeeze it all into one guitar part.

Refering back to a far older track Amygdala part two, which you can listen to here, I used the same process. And as you can see from the music below, the TAB function makes it really clear as to what is possible to be played…

cello

Ultimately, this has been a really exciting journey for me as some of you may have seen as the CWGO has grown over the past two years. The main lesson I have learnt here that I’m keen to pass on is how technology really is such an amazing tool when it comes to orchestrating, and also the balance between sticking to written parts and building on what the player has to offer. With regard to technology, I think we can safely say it is facilitating a new inclusiveness, giving people the tools to access worlds that used to be and perhaps are still ‘exclusive’. With regard to other players I have to say so many of the musicians I have worked with in the orchestra always have an amazing idea to offer that I would never have thought of…that balance of ideas is the nirvana of orchestration in my mind, the ability to create an overall piece with a feel, themes and structures but being open to fresh ideas from other creative people….I guess in some ways that’s what is making this orchestra that bit different. I wonder without these new technological aids, would this kind of thinking be possible?

Building A Guitar Revolution Part 4: We did it!

So, The Guitar Revolution tour has come to an end. After an over subsribed launch at the London Olympia in september 2016, we took the concept on the road in early 2017. Visiting 7 Cities across the UK, bringing together hundreds of players to form our epic pop-up guitar Orchestra’s to play the piece Guitar Revolution.

A huge and heartfelt thank you to Martin Guitars for powering us and making it possible. All the amazing and world class guest acts who played such inspirational sets and put so much effort into reaching out into the wider community. The players who joined us and ultimately made the magic happen and of course all the audience memebers who helped create such amazing atmospheres at the shows… there is so many more, you know who you are, thank you. 🙂

Below you can enjoy a few live video’s of our performances and more…

 

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Building a Guitar Revolution Part1: Start at the Beginning

This is part 1 of a series of blogs, of journals, recording the journey of ‘Guitar Revolution’. If you don’t know what ‘Guitar Revolution’ is; here’s a quick summary….

Guitar Revolution is a piece of music made up of four parts, for an infinite number of guitars. The parts range in difficulty from very simple to complex. Players are invited to learn the piece for free and join a mass guitar orchestra of strangers and perform the piece. The Project was launched at The London Acoustic Show on the 10th of September. You can find out more here.

So, that’s it. That’s the revolution, in a nutshell….

There’s a fair bit to share with you at this point since its come a long way from conception to realisation and as we prepare to take it to communities across the UK; I can’t help but think, ‘blimey so much work has already gone in!’…so here’s the story so far, the conception of the idea, and how we got here.

The conception of the idea:
Strange as it might seem (even stranger as I don’t really like the game); I think Music is a bit like football. It brings people together. When those people get together, especially in their ‘teams’ as spectators or players; they lose themselves in a way that is borderline scary, although actually quite wonderful. In fact, when the ambience is right, people from all different teams can get together and share their love of football, and equally lose themselves in the moment. Of course football also suffers from all kinds of bad stuff…elitism, racism and then there’s those people who somehow know exactly how it should have been played.

Now, call me crazy but the similarities with musical culture and kicking an inflatable ball around a pitch are shockingly close…and before you get all upset by the comparison please remember a very large number of the population see how some play the game as an art, and Im not going to disagree…

Anyway….the point of this analogy? well, I wanted to explain to you why I would spend so much time trying to bring groups of people together to play the guitar. That football feeling of being together as a ‘team’, the players, the supporters, everyone, its amazingly powerful. It’s something I wanted to capture in a piece of music….

Now there is one very distinct difference from Arsenal FC and ‘Guitar Revolution’…and no, its not just the money…its that the players in Guitar Revolution are anyone and everyone who can kick a ball (erm…I mean play a guitar…).

Now for Arsenal inviting anyone who could kick a ball to perform at wembley would be a disaster. But, for music I believe its a bonus. Music works in layers, ranging from simplistic to complex. I believe EVERYONE who has the gift of hearing, also has the gift of being musical. I see no reason why an absolute beginner can’t play an incredibly simplistic line with the same emotional beauty that someone from the royal college can.

Im not delusional, I appreciate a mix of amateur players is likely to sound less polished than a mix of well rehearsed professionals….but music isn’t just about being polished is it? Its about; people, atmosphere, vibe, feeling, passion, magic. A terrifying amount of our musical culture is hideously elitist and exclusive. ’Guitar Revolution’ and yes…’The Chris Woods Groove Orchestra’ itself is very much focused on derailing those ideas.



The Story So far:
The actual piece ‘Guitar Revolution’ took a ruddy long time to compose…It’s gone through many different changes over probably a period of about a year. Why? well, trying to compose something that is simplistic enough for anyone to play, but contain parts that are complex enough to keep virtuoso’s interested…and not loosing sight of composing an emotive piece of music is actually quite a challenge. A challenge greatly helped by the lovely members of ‘the creative guitar orchestra’. These chaps and chapets were my guinea pigs. And boy did they work hard! (thanks folks 🙂 )

So once the piece was completed, I set about doing something with it. I knew from the beginning I wanted to have it played by strangers….(see opening analogy! 😉 ) The option of taking it out on tour seemed slightly ridiculous at this stage since I hadn’t really seen that done previously and I had that distinctly unnerving feeling it may well be career suicide. After bouncing the idea with a few sponsors, promoters etc I got the feeling it was too big to achieve. In all honesty the idea was subconsciously shelved for a good few months, until….. Steve Harvey (former editor of Acoustic Mag) a fine gentleman dropped me a line to offer me a slot at The London Acoustic Show. I mentioned ‘Guitar Revolution’ and being the brilliant fella he is, he said ‘okay…lets do it!’ Which to me was a bit of a shock if Im honest…but ‘hey’ I thought…this is the chance to see if it fly’s or flops, and at this point it was the only chance I’d had.

So…once the idea settled in I set about trying to make it happen. Filming the video with the help of my groove orchestra brother Christian ‘Arthr’ Ballistrari in a way that demonstrated the different parts – which really wasn’t that easy. I then set about desperately trying to spread the word. Asking people to join at any opportunity.

If you’ve ever had a party as an adult, you would have come close to the feeling of insane insecurity that I experienced, except this party was going to be a little more public and be in a magazine and stuff! Will anyone actually come?? When you are an artist especially in the naughties, everything you do is very public even if no one knows your name, and seemingly the only thing you are allowed to express is ‘success’…and the thought of calling a project ‘Guitar Revolution’ that is performed by me and a handful of my mates wasn’t going to look to good.

Anyway…to cut a long story short, a whole host of people turned up, me, my mates, and well…loads of strangers! We couldn’t fit everyone into the rehearsal room…which was inconvenient, but very cool indeed.

We performed it and it was seriously inspiring…. I gotta admit I was so stressed out that I didn’t fully appreciate it until afterwards. The logistics of performing with your band and then bringing nearly seventy guitarists onto a stage for one song is pretty testing, especially if you’ve spent the last few months in near psychological melt down at the thought of no one coming to your party…. But, nether the less…it was very very cool.

Where are we at now:

Well…Its been an exciting few months. After asking people (via social media) if they wanted to get involved and help take it out on the road, its gone from a one off to a tour that will be enriching and exciting for everyone involved.

Sadly, making this stuff happen takes time and money so my second priority after getting the support from the public has been to try and secure some funding. With the help of a wonderful person an arts funding application is in, and Im also pleased to say Martin Guitars will be powering the event, which is insanely good. Not simply because of their support but because this guitar company embody a lot of what this project is about. Although you might associate Martin Guitars as being a ‘big’ company, they are actually a family business in both the literal sense and in the theoretical sense. Trust me I’ve spent time with a lot the guys and girls who work for martin and it really is like a family. They are committed to working sustainably, they have people at the heart. I haven’t announced this yet, but I though you as a reader who has plowed through over a thousand of my words should be rewarded with something of an exclusive!

So there you have it, its happening! – the first leg of the tour is booked and dates will be released along with a very very cool design very soon. And whilst we are on the subject of design, here’s four rough sketches created by designer and guitarist Sean De Burca, let me know which direction you think should be developed?….

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So, in the next blog or journal post I’ll be getting stuck into the mechanics of how this thing is gonna work, just as soon as I know.…

New Single Release – The Chris Woods Groove Orchestra

The release of two new singles from ‘The Chris Woods Groove Orchestra’. Edinburgh and The Chine, are two exeptional pieces of music, featuring Hang Drum from Matt Calder, Tabla from Harkiret Singh Bahra and Double Bass from Lukas Drinkwater. The video for Edinburgh is already live and of course you can download or stream the new singles now… from Spotify and Itunes..

There will be various performances this summer from the orchestra, including Larmer Tree Festival and the Acoustic Festival of Britain, stay in touch to see more dates 🙂


‘The Chris Woods Groove Orchestra’

Chris has launched two singles from ‘The Chris Woods Groove Orchestra’ which are available to download from iTunes etc and to stream from Spotify and more… The album is nearly there and over the coming months there will be opportunities to see chris perform as ‘The Chris Woods Groove Orchestra’. The first chance will be on the 3rd of May at The London Guitar Night, where Chris will be joined by Tabla player Harkiret Singh Bhara. Get your tickets here
 

Debut Performance of ‘The Chris Woods Groove Orchestra’ at The London Guitar Night

On Sunday evening Chris debuted some of his most recent ideas for ‘The Chris Woods Groove Orchestra’ – performing at the London Guitar Night with cellist Mazza Claverie – Chris hosted the evening, also performing was Oka Vanga, Tom Gamble and Garry Smith. In between touring this summer Chris will be hard at work in the studio continuing to compose and record for ‘The Chris Woods Groove Orchestra’ aiming for an autumn release subscribe to his youtube channel for video updates or visit Chris’ sound cloud to hear the occasional teaser snippet as Chris puts together the album. The Chris Woods Groove Orchestra will include Cello, full Drum kit and much more…._MG_0232
picture courtesy of Margot Robert-Aumercier