Taken from our upcoming album, ‘Aubrey Suwito & Friends with the Malaysian Philharmonic Orchestra‘, we are pleased to announce that the ‘Awan Yang Terpilu‘ single is now available for download on iTunes.
Caller Ring Tones also available:
Maxis Caller Ringtones: Dial *131*579863# and press CALL/SEND
Celcom Call Me Tones: Type CMT 293711 and send to 22990 Or Dial *323*293711# and press CALL/SEND
DiGi Caller Tunes: Type CT 1336253 and send to 20000
U Mobile Colour Tones: Type CRM 7230409 and send to 28383
Written by Lin Li Zhen and Loloq, this classic (AIM Song Of the Year, 2005) has been given a fresh remake by the sultry vocals of Dayang Nurfaizah and the 70-piece orchestra, led by music producer Aubrey Suwito.
Watch the sneak peak:
Here is another clip:
The complete ‘Aubrey Suwito & Friends with the Malaysian Philharmonic Orchestra’ album is slated for a December 2017 release. It will be available in CD format as well as Digital Downloads.
Just thought I’d share with you guys how the AIM judging system works, and also the role that the Head Judge (Ketua Juri) plays.
For every category there are about 6 to 8 ‘judges’ who sit in a room to listen to all the submissions. These judges are experts in that given field. For example, the ‘Best Pop Song’ category might have people who are composers, lyricists, producers, artistes and Radio DJs; while the ‘Best Engineered’ award will basically be judged by sound engineers and possibly a few music producers too.
As you can imagine there are a lot of different people with a lot of different backgrounds, level of experience, and way of thinking… all sitting in the various rooms judging different AIM Award categories.
To add to the complexity of AIM judging, every Award has a different set of judging criteria that the judges have to give marks to.
So before the judging starts in every room the Head Judge will briefly explain every criteria to all the judges in that room. The Head Judge then leaves the room and stays out until or unless there is a problem or a point that needs clarification. For example, there was a query from the ‘Best Hip Hop Song’ room that a certain song was in the ‘wrong’ criteria because it was a Nasyid song. The Head Judge will then have to check if that was a mistake, and if not, to deliberate whether or not the Nasyid song qualified to be in the Hip Hop category.
Sometimes the Head Judge would also have to clarify and elaborate the various criteria used in some Awards. Example, what would ‘Effectiveness’ mean in the ‘Best Music Arrangement’ context. Or whether or not the suspected use of Autotune should affect the judging on ‘Best Vocal Performance’?!
I hope this clears up some misconceptions some may have about the AIM system and the role of the Head Judge. Do realize that AIM judging is different from other awards like AJL. It is a lot more tedious, technical and thorough.
Hence the very different role of the Head Judge which I personally think should be called ‘Keeper of the Rules’ , or something like that.
And no, the Head Judge aka ‘Keeper of the Rules’ does not give any marks for any AIM award. The role is a purely technical one.
If you took the time to read till the very end, thank you. In moving forward, I believe whoever is picked to be the AIM Head Judge aka ‘Keeper of the Rules’ should be someone who is still actively involved in the music industry (if you’re active you would probably have some nominated work, wouldn’t you?) and have the respect of all the judges involved.
When I was in music college, an instructor once talked about the importance of getting the ‘matters of the heart’ in order. The ‘heart’ being both the physical and the emotional sides. In his analogy, our music skills are like a well-tuned racing car, capable of amazing feats that can astound millions with its speed, dexterity and beauty; but then a car is only as good as its driver, and an incompetent driver can never take full advantage of the true potential of a race car.
Now this man wasn’t a spiritual man by any means, but he brought up a very salient point that there is a need for musicians to take care of the physical, emotional & spiritual aspects of our lives.
Being a young man myself at the time, I heard him… but I never really HEARD him.
Many years later I came across this chart while studying Stephen Covey’s 7 Habits Of Highly Effective People that rekindled that notion again. Yes, yes… some musicians actually read useful stuff! Sometimes.
Briefly, these are 4 boxes that one would use to classify and prioritize all our tasks at hand. We only have 24 hours a day after all.
The easy one to figure out would be Box 1 – Urgent & Important. That’s a no brainer. Preparation for tomorrow’s show just cannot be avoided, can it? So that goes into Box 1.
The blurred lines appear when we’re trying to decide what to put in Box 2 – Not Urgent & Important and Box 3 – Urgent & Not Important. Which box would you put these in:
Going out with after a gig for late night/early morning supper
Getting some good night’s sleep
Doing something for a friend’s ‘urgent’ deadline
Some people would do stuff in Box 3 first, on the basis that these things are ‘urgent’. In musician-lingo, these would include ‘showing up for everybody else’s show’, ‘updating social media every ten minutes’ & ‘taking every possible booking’, among others. And then we leave no time for important (but not necessarily urgent) stuff like practicing our craft, exercising, taking care of spiritual & family matters, and taking a step back every now and then to see where our career is going.
While Box 3 can be ‘urgent’, I have learned that Box 2, if left unattended for too long can wield devastating side effects on my own music. On a personal basis, I find that time and again I am useless as a musician & songwriter when things are not in order. Without exercise, I am often just too tired/lazy/uninspired to do any work of great quality. And really, who can really be creative when they just had a stupid quarrel with the wife/girlfriend/husband/boyfriend? On a deeper note… if music is supposed to be a reflection of your soul, what music are you putting out when your spiritual self is a barren wasteland?
Those who know me well will know that I am not a ‘preacher’ type. I do, however, see a lot of my friends in this music industry who are just filled with busy-ness… and truth be told, I sometimes worry for them. We are all traveling down the same path after all!
Hey, I’m not asking you guys to do a 180 degree change! (Altho’ for some of you that might do wonders, hehe!) But I am hoping that those who read this can take a step back, prioritize, learn to say ‘no’ every once in a while, and get the ‘soul’ back in order again.
Then maybe we will get to see more musical ‘racing cars’ driven at full potential on our industry roads.
So from both the ‘inside’ and the ‘outside’, we can keep the Music Real!
Many years ago I found myself doing back-to-back ‘Reality Talent Search’ shows. The schedule then was grueling, I often found myself working on ten to twelve arrangements in a week… aside from the long studio sessions with the contestants and the countless emails from the producers of the shows.
Back then, the one thing that perplexed me was always that comment about ‘tone’ being the first prerequisite to being a great artist. I mean, I recognized ‘tone’ being important but being a musician myself, I often held ‘feel’ & ‘pitch’ on equally high regard.
Before I go any further let me roughly clarify what these 3 words mean in the music world. Vocal tone is the color, the character and timbre of your singing voice. Feel is the natural ability to inject some form of expression to the music. Pitch, on the other hand, is the ability to sing in tune.
Over the years working more and more in the studio and seeing how my productions have fared on the market, it has become quite apparent that tone is indeed a ‘make or break’ factor in how well the artiste does eventually.
Tone is instant recognisability! Fans of Celine Dion, Rihanna, Taylor Swift, Dato’ Siti Nurhaliza & Dayang Nurfaizah will immediately recognize the artiste even if they hear a new song for the first time. This alone is probably the best reason for all budding singers to start working on your unique tone. Wouldn’t it be sad if you had your first single released and everybody thought it was someone else? Someone more established?
A great tone is like a passport into people’s hearts. It’s almost like a great smile on a new acquaintance’s face that immediately puts you at ease when meeting for the first time. A horrible tone, well, will get people turning off even before they hear the rest of your vocal attributes. Now before you say “my tone, my prerogative”, please bear in mind that you sing to an audience. Unless of course, you’re totally ok singing to a crowd of one or two!
With the current advancement of technology it gets easier to fix pitch problems whether it be ‘live’ or in the studio. Even my 9-yr-old has heard of Autotune. No great mystery there!
Additionally, put in some hours into pre-production and a great producer can add a whole lot of expressiveness into an otherwise dead vocal performance. Sure, this is a little tougher to do, but doable nonetheless.
Tone, on the other hand, is all the artiste! You can’t fake a great tone. Worse still, with all the great microphones we have at our disposal, the flaws of a ‘less-than-desirable’ tone will be even more pronounced… more now than ever before.
Good news is… tone, once achieved, becomes a part of you. Granted, a great tone doesn’t come naturally to most singers. Not even to the great ones! I recently heard a very early recording of the late Whitney Houston and at first I didn’t recognize the voice at all. Sure, when I listened to it properly you could almost hear some of the now famous Whitney characteristics, but it was underdeveloped and kind of ‘raw’ at best. Point is, she must have worked on it a whole lot to become one of the world’s favorite voices. Consequently, that vocal recording of “I Will Always Love You” will be a part of music memory.
So to all budding singers, (actually this pertains to ALL instrumentalists too!) do take time to work on your tone. Build on your vocal strength with correct exercises, take care of your vocal cords, listen to your tone constructively, take up some lessons with a vocal coach, stop smoking of you have to, do whatever it takes… cos at the end of it all it’s your tone that will make people remember you, follow your career and be part of your fan base.
Wouldn’t that be nice?
If not for anything else, do it to keep your music REAL!
I remember the first day I set my eyes on the Berklee College Of Music in Boston. It had been a dream of mine for some time already and to finally be walking towards the music college of my dreams was certainly a surreal experience.
The picture above kind of depicts the first ‘scene’ that greeted me when I walked up to the college entrance.
It was towards the early part of Fall, so the weather outside was nice and cool. Students were ‘hangin’ along the corridors, presumably between classes. Some of them looked like genuine rock stars and some others looked like real jazz fraternity, complete with all the right swagger, attitude and lingo. Being a typical Malaysian I was quickly rather intimidated by all these ‘musicians’. I was thinking, “Man, they must be really good!” despite myself having raked up about 5 years as a working musician already.
The one thing I learnt from that experience? Turns out most of the characters I saw on that day were never the cream of the Berklee crop. Na, the good ones were inside, quietly practicing and honing their craft. They didn’t even wear the ‘correct’ clothes. ☺ But some of them were already amazing musicians.
Here’s another story that happened later on in my Berklee years.
I was selected to be part of the annual Singers’ Showcase concert. During that time, this was a showcase of the best singers and musicians that Berklee had to offer. And I was hand-picked to be the piano player! So on the first day of rehearsal I excitedly walked into the rehearsal studio only to find I was a little early, and there was only an African-American guy already sitting by the piano. As I walk towards the piano and start putting my things down, this was how the conversation went:
Me: “Hey, Wassup?!” Other dude: “All good. (Pause, and then in a condescending tone) YOU the piano player?” Me: “Yeah” Other dude: “Can you play??”
Now, how many of you know how to answer that calmly without getting intimidated? BTW, turns out he was one of the better singers that year! Rude as hell, but good nonetheless!
My point is this. As polite Malaysians we are often bowled over by ‘foreign acts’. Yes I’ll be first to admit there are amazing, more talented artistes and musicians from abroad; and we should really grab the chance to learn from them and get better ourselves. I myself am so thankful that I got a chance to learn from the best over the last one year. However, I have also seen the ugly side of Malaysians who have put some of the ‘less talented’ foreigners on a pedestal only because they come from the ‘other side’ of the world without even checking out the work these people have (or rather, have not) done. Sadly, from what I understand, this is not confined to only the music industry. What does that say about us?
Anyway, lest anybody start the ‘sour grapes’ chant, let me be clear. This is NOT about protecting the ‘rice bowl’. This is NOT about protecting local rights. If you suck, you suck! Too bad! Strive to get better. This is certainly NOT about jealousy or ‘dengki*’. I write this only to remind ourselves, to always try to look at one’s talent & ability first and not be too easily swayed by skin color, or even the charismatic jargon that some use to hide their inabilities. The ones who have put in their dues and are good at what they do, and they are the ones who deserve respect.
So why not hire the ones that CAN, because only then would you be getting your money’s worth.
Writing this in my Jakarta hotel room, just after my first rehearsal for our 2nd leg of the David Foster & Friends (DFF) Asia Tour. It was quite a long rehearsal (6 hours), but we covered almost everything in one session. That’s a tough feat for anyone but here’s what I observed about the way things get done with a top international act like this.
The first thing that struck me when I first played with these guys last year (for the 1st leg) was their attention to detail. Everything is performed in the right place, with the correct tempo, with the exact note-lengths (nothing held too long or too short), with the proper insinuations, and at the required dynamic volume. So although it was a relatively small band, it sounded big and tight!
Your ‘sound’ plays such an important part in a gig like this. No keyboard ‘factory’ patches, please! You make sure your sound is accurate, fat and impressive. I guess that’s the secret ingredient that makes a small band sound big.
Another key was preparation, right from the person who prepared all the charts to the musicians who all did their homework BEFORE coming in to rehearsal. With everyone knowing (roughly) what they were supposed to play, rehearsal became a ‘sharpening tool’ rather than a time to ‘learn stuff’.
Common courtesy is also very apparent in the way everyone always has a ‘please’ and ‘thank you’ before and after every request made. There’s never a show of egos or tempers flaring although some of the band are certified music legends. Believe me, the number of local upstarts I’ve seen ‘losing it’ only prove that empty vessels DO make the most noise!
I talked about dynamics earlier but let me share something that happened during rehearsal. We were rehearsing a famous ballad right in the midst of a long grueling session, right about the time where it’s not closer to the beginning then it is to the end. Kind of like when you’re in the middle of a marathon where the adrenalin has worn off, and the finish line is nowhere in sight. Autopilot takes over and you’d be forgiven for going thru the motions, and this is a song that ‘everybody knew’. All of a sudden Mr. Hitman himself stops the music, and coolly says, “play with some dynamics, you m#&$*$!*”. Now, this had his Canadian dry humor dripping all over it, but the message was clear, and we never went into autopilot again. Not even during rehearsal!
Time! Now there’s another commodity that’s so treasured with these international acts. A 1pm rehearsal means we start playing at 1pm. I often wonder how come they can do this and yet most Malaysians just can’t? Is it really in our culture to be late for everything? Plus, there is hardly any time wasting. I found this next phrase quite amusing,
“OK guys, let’s take a long 10 minute break”.
10 minutes? Long??!
Here’s another interesting story. Before one of our shows in Genting last year, we were talking & joking about mistakes that happen during shows and how some bandleaders impose a fine on mistakes. So I casually mention how some of our local musicians offer to pay ‘up front’ for their ‘mistakes’ even before the show started. The buoyant mood quickly shifted into annoyance, as these 3 phrases quickly followed:
“Obviously they didn’t prepare hard enough!”
“How can anyone do a show with an attitude like that?”
“I hate musicians like that, cos it makes us ALL look bad!”.
Talk about a change of perspective!
So that was a little glimpse of what happens behind the scenes at a DFF show. The funny thing is, it’s not just your playing skills that determines if you did a good job. Of course it helps that you have some skill on you, but it’s the other stuff I write about above that possibly earns you that second call. I guess that’s what differentiates the ‘1st call’ guys from all the others.
Maybe that’s what they call ‘professionalism’?!
Someone in the band commented, “If musicians came to the show, they would probably think this was an easy gig; but I think there are only a handful who would be able to pull it off.”
I’d certainly like to think so. 🙂
* Pic on top of page is me with keyboardist Boh Cooper, who is also MD to Peter Cetera. Top man, top musician!
David Foster & Friends has 2 shows in the Java Jazz Festival and another 2 days in the Motion Blue Club in Jakarta. We then move on to do shows in Bangkok & Tokyo.
Over the last few years, we have consciously made an effort to include new, young talented musicians and singers into the projects we do here at Cranky Music. Some have done extremely well while there have been a few who, shall I say, failed to impress.
Fortunately (or unfortunately?) a lot of the projects we do, whether they be studio or ‘live’ productions, are often rather ‘high profile’ with very little room for errors. For example, two of the live concerts we did last year were recorded for album release and another two were for international Heads of States. So as you would imagine the pressure can be a little intimidating even if you’ve been in the industry for some time. But since one of our goals here at Cranky Music is to develop and introduce new blood into the music scene, we go ahead and do it anyway albeit with a dose of caution thrown in. In this industry you are only as good as your last project.
Here’s what I’ve observed about the ones who thrive and do well.
They Come Prepared
Without exception, this is probably the one quality that all who did well possessed. They all did their homework prior to the very first recording/rehearsal. All of them already worked out their parts, prepared to the best of their ability and performed what was expected of them. When people do their homework, all that was needed was to tweak it here and there to make the music a little better. I even know of a few musicians who called their older friends who had worked with us to find out what rehearsal was like; so they knew beforehand what to expect in terms of pace, communication and our customary style of work.
They Learn the Material
This one’s almost the same as the point above except that it pertains more to the music at hand. As much as most of these young musicians are skilled, some of them might not be too familiar with a particular artiste’s repertoire or music genre. You would then really need to know the songs and the melodies beforehand. Contrary to what many might think, rehearsal is NOT the place where you learn the music. It’s where we polish what we already know. You learn your parts at home! Nuff said!!
They Mark Their Music
Another good practice of competent young musicians is the habit of marking whatever changes we work out during rehearsals. Stuff like changed chords, transpositions, added repeats, deleted bars and ‘where not to play’ are better noted on the music. With all the things that go on during a live concert, one would be hard-pressed to recall every single change that was made at rehearsal. Plus the fact that often we have up to thirty songs to do in a span of 3 days, so unless you have an elephant’s memory…
Personality Matters. Get Along or Learn How to Play Nice
When a band works on a project, we spend quite a bit of time together… more so if we’re rehearsing for TV shows or going on tour. A typical TV shoot would involve more offstage waiting time than actually playing music. So everyone has really got to get along with each other. I recall an instance when we had a 2-week TV recording stint and by the 2nd or 3rd day, this ‘new guy’ was already getting on the nerves of the rest of the band. Certainly not a nice situation to be in!
I suppose all these ‘tips’ would come to naught if you never got ‘the call’ in the first place, right? Well the best way to get noticed is to work on your craft. Period! I’ll say one thing about all the young musicians and singers who have walked through the doors of our studio… they have ALL paid (and still paying) their dues. They have been practicing a lot, and it shows. I don’t think we’ve hired anyone based on anything but hearing them play. So to all you young musicians, get out there and PLAY.
One last thing! Forget what people say about it being a monopoly among the ‘established musicians’. If you’re good enough, you will be heard soon enough. However, the opposite also applies! So if you haven’t got ‘the call’, just work harder!
[Pic at the top (from left to right): Jae Sern, Fly, Joel, Aubrey, Derrick & Steve. This was Derrick & Joel’s first gig with the Cranky Music band]
I guess everyone would have heard her love anthem ‘Miss You Like Crazy’, but one of my favorite Natalie Cole tracks was ‘Good To Be Back’. They were both from the 1989 album named after the latter song. Ironically a lot of ‘jazz’ songs (I use that term lightly) produced by Malaysia during that time had a very similar vibe to it. Maybe ‘Good To Be Back’ influenced more than this (then) young producer at that time.
Fast-forward to 1991. I had just gotten into the Berklee College of Music in Boston when I got the ‘Unforgettable’ album. What an album it was! It pretty much opened my eyes to what a great album should sound like and for many years, that CD was played over and over again. The physical CD itself now looks like it went thru a war and back. That was the extent of how much it was played, thrown about and then played again. Thank God it has now been converted (legally!) to mp3 format. Songs like Orange Colored Sky, Paper Moon & Route 66 remain firm favorites till today. Talk about timeless music.
Two years later- 1993. I get selected to be in the Berklee College *Commencement Concert band. That year, the recipients for Berklee’s honorary Doctorate Degree was Billy Joel & Johnny Mandel. Mr. Mandel was the music arranger for Natalie Cole’s ‘Unforgettable’ and even won the 1991 Grammy (Best Arrangement) for it. So I got to meet and play for the man behind the wonderful arrangement.
Fast-forward again to 2015. I am part of the David Foster band for his Asia tour and one of the artistes touring with him is NATALIE COLE. When I initially got the call understandably the name I was most psyched about was hers. On the day she was supposed to show up for rehearsal we found out she wasn’t feeling well. The high altitude of Genting Highlands did not help one bit. Thankfully she showed up for the show proper. I could clearly see the effects of her long illness, but the minute she opened her mouth… WOW! That silky smooth, remarkable tone of hers was there for all to behold. What a consummate professional. Even in her banter conversation with Mr. Foster, there was no hint of her not feeling well. On stage, it was ‘all systems go’! Young artistes, take heed!
Dear Miss Natalie Cole, your art has been part of my life and your music has taught me much. That brief encounter on stage has left me with a lasting manual of what it is to be an artiste at work.
For this, I thank you.
* This is the select student-band that plays at the annual graduation concert before Graduation Day.