Stick voodoo magic
Shawn K. Smith | Indianapolis, IN United States | 05/01/2003
(4 out of 5 stars)
"I first heard Greg Howard this past summer at a Dave Matthews Concert in Noblesville, Indiana. Greg played the second stage just after the gates opened. As we made our way to our seats we passed the stage and I was magnetically drawn toward the music. I heard what sounded like guitar and bass, but only saw one performer. My jaw dropped as I realized what Mr. Howard was doing. There were no overdubs he was playing it all himself. I knew then I had to hear more of his music. While stick figures doesn't live up to the power of Greg's live performance it is still a great album to relax with. He conjures up images of the late great Michael Hedges. While not as intense as Hedges often was the melodies are often just as good. While I haven't heard any of his other material I wouldn't hesitate to say that this is a good introduction into what he has to offer, and is probably more accessible than his more experimental works such as Sticks and Stones."
A "How-To" from Howard
Jeff Hodges | Denton, TX United States | 04/23/2009
(5 out of 5 stars)
"When I tell people that I play Stick, there are series of questions that inevitably follow. One of the most difficult to answer is "what kind of music do you play on it?" The easy answer is "whatever you can imagine." As the history of the instrument is so short, it has not been clearly identified with any particular genre besides a specific vein of progressive rock with King Crimson at its root. But, in truth, the Stick's construction and tuning does dictate a specific kind of music to be played on it. Greg is one of the leading players on the instrument, and he embraces and defines the sound of "Stick music" wholeheartedly on "Stick Figures."
The pedagogic strength that "Stick Figures" offers is due to its unprocessed "live" approach. Very few Stick albums that I have encountered express this aesthetic as clearly. Other Stick albums such as Tony Levin's "Stick Man" and the Greisbager/Marotta effort "Awaken the Day" have significant processing and overdubs which makes it difficult for the listener to unravel the technical aspects of the performance. In contrast, "Stick Figures" shows what is possible on the instrument, like a "how-to" manual for Stick playing. In addition to their pedagogic value, the tunes on "Stick Figures" are wonderfully melodic and catchy, and within the style established on the recording as a whole, they disclose a wide variety of moods.
This recording was made relatively early in Greg's career, as he was gaining vocabulary in a new tuning on the instrument (matched reciprocal, for the tech-heads). "Stick Figures" is, effectively, the result of Howard locking himself in a room with a metronome and Emmett Chapman's "Free Hands" book. The performance on "Stick Figures" is a clear indicator of Greg's approach, free of obfuscating technological fetish. Despite its seemingly "lo-fi" feel, the production is clear and pristine.
As an instrument, the Stick occupies an interesting space between classical and jazz, and often compositions on the instrument seem to fall within this overlapping space. The music that comes naturally on the Stick is percussive and staccato with wide arpeggiation in the bass lines. This kind of music is distinctively "Stick music," and "Stick Figures" is a pristine example of the kind of music that the instrument naturally affords. This is the "pop baroque" style that Emmett suggested. "Stick Figures" is not really jazz, but it is jazzy. It is contrapuntal, but it is not strictly classical in style, either. If the activity of both hands is taken into account with its "live" performance aesthetic, a twisting, Escher-esque interplay between hands and digits reveals itself. This is idiosyncratic of "Stick Music."
THE LOWDOWN: This may seem like a review of the Stick as an instrument as much as Greg Howard's recording, but an understanding of the instrument brings with it a greater appreciation of "Stick Figures." Although the music can be enjoyed without comprehending the Stick's nuance, its relevance to the ever-evolving Stick canon should not be underestimated.
"
Greg Howard is a Chapman Stick Wizard!!
Go Steelers! | Houston, TX | 02/12/2002
(5 out of 5 stars)
"I first heard Greg Howard on some Dave Matthews Band live recordings. Pretty neat stuff, but I wasn't so impressed as to do much more checking than just find out what a Chapman Stick was.Last year (2001), Greg Howard and Tim Reynolds did a tour together. I went to the shows in both Houston and Dallas with the desire to see Tim, as I've been a HUGE fan for quite a while now. Greg Howard was on the ticket, so I figured I'd finally get to see a Chapman Stick master in action. The Dallas show was first, and from his first song to the last, I was totally floored by Greg Howard. Better than I'd ever expected. When I went to see the two in Houston, I got more of the same incredible stick playing that I will never forget. While at that concert, I bought Stick Figures because it had a nice cover design. I wanted to take some Greg Howard home with me, so why not take the one with the neat picture on the cover? What the heck did I know the difference?This CD is more than just a nice cover though. It's 11 tracks of smooth, articulate music that I have become addicted to. Really, the best of the Greg Howard CDs I own. Charmed Life is truly an incredible song, and the centerpiece of this wonderful CD. But every track, from 1 to 11 is solid, excellent music. I'd really suggest picking it up and giving it a try, no matter what kind of music you like. Listen to it 3 or 4 times before making a judgement. By then, you'll be hooked. You won't be able to get it out of your head, and you'll be listening to it all the time. GREAT study music, or great for grading papers. Unobtrusive, yet pleasant.It's among the most obscure, yet most kick-ass instruments in existence. The Chapman Stick owns. Greg Howard is its master."
Track Listings (11) - Disc #1