There was a time in my life, when I was 7 or even younger, that I wanted to make people smile, laugh and feel entertained and happy. I wanted to use aesthetics, art, organization, comedy and any similar talents to improve the lives of others to the highest degree possible. I wanted to do this, not to be liked, but to be of help to others in making their lives better. I wanted to make this my life’s work as well, earning an income from it, not only in money, but happiness, satisfaction, appreciation, etc.
I still want to accomplish those things the 7-year-old version of myself wanted and, those who dig that are the ones I hang with. Enough said.
Sunday, January 10, 2010
Frank Sardella the Artist: A Breif Bio
As young as age 6, Frank Sardella recalls being affected positively by all kinds of music. From 1970's Pop squelching through his sister's AM transistor radio, to TV theme songs by Quincy Jones, to his dad's hi-fi record collection of greats including Nat King Cole, Buddy Rich, Maynard Ferguson and Stan Kenton, Frank's exposure to music was undoubtedly expansive. But his interest was much more deep seated, emanating from the very core of the music and the pulse of rhythm reached him in a way nothing else could. Hearing rhythms everywhere in life, from the cranking of mimeo machines in school, to simply walking and feeling the rhythm of his step and, of course, in every song on the radio, Frank found himself surrounded by and immersed in something which drove him. Ultimately, it was this drive that led him to pursue a greater understanding of music itself and master the subject of rhythm, something he felt would enable him to make music his career. It is to this journey that Frank credits his success in the field of drumming and songwriting.
Frank began study of drums in Upstate New York around 1977 under the encouragement and guidance of his father, a former moonlight gigging drummer in the Catskills region of New York. Influenced by dad's acclaim of drumming legend Buddy Rich, Frank soon found himself paying due homage at the "alter" of his dad's idol practically wearing out the record "Young Blood" ( as well as a few record needles) and studying out of an aged and tattered copy of the Buddy Rich Rudimental drumming method.
Frank took to the drums rather rapidly and excelled in his school programs, advancing into groups of older aged children and eventually competing at County and State levels. Frank had auditioned and made county band as young as age 11. He even began teaching drums to students while in high school. As a Freshman in college, he adjudicated the younger students' county level drumming auditions.
Frank prided himself on his ability to read music, an ability his dad told him would get him far. He also received a unique opportunity to study a program called the TAP series, developed by percussionist and University professor David Shrader. This program comprised 80 full-length cassette tapes corresponding to a book which contained a gradient of rhythmic training and reading exercises ranging from elementary to the most complex of rhythms possible. Over the course of his high school career, Frank became the first student to master the entire program. His continued studies led him through mastery of various genres such as drum corps, jazz ensemble, pit orchestra and concert band. Finally, Frank landed in rock drumming, listening to and learning all the music he could get his hands on and forming rock bands with his friends.
Having mastered so many genres, Frank felt it was time to pursue higher levels of musicianship. He never felt comfortable with "just being a drummer" though he wasn't sure how to go about learning to really play music.
In college, Frank studied Jazz Improvisation, music theory, poetic meter and began to expand his horizons out of a deep well of desire to write songs. He began experimenting as well with digital drum machines and a sequencers. The technology, only in its infancy at the time, bridged a gap between Frank's rhythmic abilities and the unknown subject of songwriting. In sequencing patterns, he began writing hundreds of phrases and dozens of full-length songs. He began to feel confident with the arranging and development of lyric lines and melodies. As an unexpected benefit, Frank's sense of meter on the drum kit became solid in the extreme.
Landing a gig in a college cover band "Pagan Love Song" in Tucson AZ, Frank began exploring genres new to him including 80's alternative rock (circa 1989). In doing so, he performed in various cover projects playing out in front of audiences.
In the mid 1990's, Frank made perhaps his most important self-discovery which helped to uncover the performing ability he always knew was "there" but just couldn't figure out how to tap. As he put it:
"I concluded long ago that my ability is innate, in a sort of a spiritual sense. I could feel it as part of me. Therefore I was able to see that any difficulties I was having had to be in my mind and somehow self-placed for some, perhaps, protective reason. But this was far from reason. And, although I always knew this, I could never figure out a way around it."
It was right around this time Frank applied some principles found in the book Dianetics: The Modern Science of Mental Health by L. Ron Hubbard to the subject of communication, the very essence of what music is. As a result he found that he was now experiencing his full artistic self with no additives, doubts, reservations or barriers. He was no longer 'dealing with' barriers, he had eliminated them and had recovered his natural ability, finally able to express it fully. "I gained this sense of fluidity and finesse I had only seen in top players and only dreamed of having!"
With his new level of confidence Frank, immediately picked up and learned acoustic guitar and with no more reservations, began songwriting. He enjoyed the rhythmic nature of the guitar and always had a desire to, as he put it, "play like these guys who bang and slap the guitar around." Already an accomplished rhythmist, the acoustic guitar enabled him to begin writing the "hooky" pop-style phrases supporting rhythmic melodies and progressions integral to "hit music". And as a complete side-effect, his drumming once again reached new levels.
Today, Frank has established Material Worth Publishing [ASCAP] (Est. 2003), for the purpose of selling his and others' written works and continues to build his songwriting catalog with full intent to get his and others' music into the hands of hit artists. His plans are to expand into an all-out record label.
Through all of his works, his rhythmic training book series "Beat Smarts", publishing company, songwriting and performing both live and in the studio, Franks plan is a pan-determined approach to the music business. As he explains:
"I am bent on making music available to and attainable for all ages and walks of life. I wish to do this from as many angles as possible."
Frank is currently focused on writing/publishing edgier female pop, country/crossover genres, targeting Nashville as an epicenter song sales.
Frank began study of drums in Upstate New York around 1977 under the encouragement and guidance of his father, a former moonlight gigging drummer in the Catskills region of New York. Influenced by dad's acclaim of drumming legend Buddy Rich, Frank soon found himself paying due homage at the "alter" of his dad's idol practically wearing out the record "Young Blood" ( as well as a few record needles) and studying out of an aged and tattered copy of the Buddy Rich Rudimental drumming method.
Frank took to the drums rather rapidly and excelled in his school programs, advancing into groups of older aged children and eventually competing at County and State levels. Frank had auditioned and made county band as young as age 11. He even began teaching drums to students while in high school. As a Freshman in college, he adjudicated the younger students' county level drumming auditions.
Frank prided himself on his ability to read music, an ability his dad told him would get him far. He also received a unique opportunity to study a program called the TAP series, developed by percussionist and University professor David Shrader. This program comprised 80 full-length cassette tapes corresponding to a book which contained a gradient of rhythmic training and reading exercises ranging from elementary to the most complex of rhythms possible. Over the course of his high school career, Frank became the first student to master the entire program. His continued studies led him through mastery of various genres such as drum corps, jazz ensemble, pit orchestra and concert band. Finally, Frank landed in rock drumming, listening to and learning all the music he could get his hands on and forming rock bands with his friends.
Having mastered so many genres, Frank felt it was time to pursue higher levels of musicianship. He never felt comfortable with "just being a drummer" though he wasn't sure how to go about learning to really play music.
In college, Frank studied Jazz Improvisation, music theory, poetic meter and began to expand his horizons out of a deep well of desire to write songs. He began experimenting as well with digital drum machines and a sequencers. The technology, only in its infancy at the time, bridged a gap between Frank's rhythmic abilities and the unknown subject of songwriting. In sequencing patterns, he began writing hundreds of phrases and dozens of full-length songs. He began to feel confident with the arranging and development of lyric lines and melodies. As an unexpected benefit, Frank's sense of meter on the drum kit became solid in the extreme.
Landing a gig in a college cover band "Pagan Love Song" in Tucson AZ, Frank began exploring genres new to him including 80's alternative rock (circa 1989). In doing so, he performed in various cover projects playing out in front of audiences.
In the mid 1990's, Frank made perhaps his most important self-discovery which helped to uncover the performing ability he always knew was "there" but just couldn't figure out how to tap. As he put it:
"I concluded long ago that my ability is innate, in a sort of a spiritual sense. I could feel it as part of me. Therefore I was able to see that any difficulties I was having had to be in my mind and somehow self-placed for some, perhaps, protective reason. But this was far from reason. And, although I always knew this, I could never figure out a way around it."
It was right around this time Frank applied some principles found in the book Dianetics: The Modern Science of Mental Health by L. Ron Hubbard to the subject of communication, the very essence of what music is. As a result he found that he was now experiencing his full artistic self with no additives, doubts, reservations or barriers. He was no longer 'dealing with' barriers, he had eliminated them and had recovered his natural ability, finally able to express it fully. "I gained this sense of fluidity and finesse I had only seen in top players and only dreamed of having!"
With his new level of confidence Frank, immediately picked up and learned acoustic guitar and with no more reservations, began songwriting. He enjoyed the rhythmic nature of the guitar and always had a desire to, as he put it, "play like these guys who bang and slap the guitar around." Already an accomplished rhythmist, the acoustic guitar enabled him to begin writing the "hooky" pop-style phrases supporting rhythmic melodies and progressions integral to "hit music". And as a complete side-effect, his drumming once again reached new levels.
Today, Frank has established Material Worth Publishing [ASCAP] (Est. 2003), for the purpose of selling his and others' written works and continues to build his songwriting catalog with full intent to get his and others' music into the hands of hit artists. His plans are to expand into an all-out record label.
Through all of his works, his rhythmic training book series "Beat Smarts", publishing company, songwriting and performing both live and in the studio, Franks plan is a pan-determined approach to the music business. As he explains:
"I am bent on making music available to and attainable for all ages and walks of life. I wish to do this from as many angles as possible."
Frank is currently focused on writing/publishing edgier female pop, country/crossover genres, targeting Nashville as an epicenter song sales.
Sunday, July 20, 2008
Professionalism Is Why I Started Liking Baseball
Want to know what I consider a TRUE professional? Imagine someone being professional enough to sway my desire to be part of something I never really liked... BASEBALL.
I am a football fan, through and through. This is what I would have said 3 years ago and before. I find football to be a high-action, exciting sport which keeps me on the edge of my seat for 3 hours. I considered baseball boring and with no such excitement. The pace was too slow. It was just not enjoyable to watch.
Then came one post season where I watched Mariano Rivera close a game. It was early in his career and he was in his prime. I have to say I have never seen anyone be such a professional at what he does in the field of sports. I'm talking about all of the all-time greats in ANY sport. Watching Mo go to work on the mound was like watching a skilled surgeon doing a most delicate procedure or watching a bomb specialist successfully diffuse a bomb. There are literally no words to describe it. I felt glued to the TV set and was actually disappointed that the game was over when he got the save at the end.
From that moment on, I became a fan of baseball and found the games just as exciting. I found myself down when the season was over and, weirdly enough, found myself less interested in football.
I am a football fan, through and through. This is what I would have said 3 years ago and before. I find football to be a high-action, exciting sport which keeps me on the edge of my seat for 3 hours. I considered baseball boring and with no such excitement. The pace was too slow. It was just not enjoyable to watch.
Then came one post season where I watched Mariano Rivera close a game. It was early in his career and he was in his prime. I have to say I have never seen anyone be such a professional at what he does in the field of sports. I'm talking about all of the all-time greats in ANY sport. Watching Mo go to work on the mound was like watching a skilled surgeon doing a most delicate procedure or watching a bomb specialist successfully diffuse a bomb. There are literally no words to describe it. I felt glued to the TV set and was actually disappointed that the game was over when he got the save at the end.
From that moment on, I became a fan of baseball and found the games just as exciting. I found myself down when the season was over and, weirdly enough, found myself less interested in football.
Being the Best vs. "Everyone Else Sucks So I'm Better Than All of Them"
A recent experience a fellow artist and friend had me about has really affirmed my "choosing of sides" with the artists involved in this scenario as well anyone else who is a potential friend, associate, resource, etc. It has brought to life, the idea I have of who my real friends are and, conversely, who are not! This is an actual scenario with the names changed to protect the innocent only. 2 Musicians - Abby and Jason.
Abby is true artist, entertainer and true friend to everyone she meets. She has a project built on sweat and hard work, has built up a reputation, fan base, etc. It is an excellent project (rock band) however Abby and her bandmates still seek higher levels. They are always shooting for those levels of excellence. This I consider one of Abby's best qualities - her ability to see what next level is there and then guiding her project toward it.
Abby makes her way through her career expanding as she goes by really making people feel wanted at her shows. She is excellent at what she does because she earned the excellence and people inherently know that when they see it. She does have things about herself which could be improved but that is by her own observation and not because of what anyone else thinks. I have the highest respect for her. She is very valuable to her friends and associates. When I watch her perform from an audience perspective, I feel the appreciation coming from her and feel very much part of her show.
Now, although "the best" in any category could be subject to many opinions, in this instance and category, I rate it by appreciation and admiration from the audience, fan base, followers, etc. And I do mean actual bodies at actual shows, people who are obviously always hanging around and want to be a part of it. Most people have seen artists or bands like this. You go to the show and it is OBVIOUS!
Then, there's Jason. Jason is a musician who has a project (also a rock band). Jason is an excellent player. By any yardstick, his band is not what anyone could consider the best of the best so, there could be improvement. Instead of seeking such higher levels though, (or even being able to see that they exist), Jason starts making less of these other projects, particularly ones that make him seem less in his own area. So all the top-of-the-tops projects which are out there are simply flawed, sell-outs, not true musicians, generic, etc. And with regard to Abby's much larger fan base (as evidenced by attendance at their shows) Jason refers to them as "bunch of losers" with "no taste" or "no real judgment" of what good music is. He continually puts them down at every turn to his own "fan base" (which is very small if any) to others and every once in a while will let something get back to them.
Abby had always suspected this M.O. of Jason's but it became very real to her when an actual industry contact told her what Jason had said about her. Her first reaction was to be upset. Once it sank in, I think she sees that this is a good thing. What I hope she sees is that it is a testament to the fact that she is big enough and good enough to be considered a threat to him. For, how well could Jason think of himself and his own abilities to have to get to the top this way? Abby, being in pursuit of excellence, would take criticism, sometimes, too seriously, in her rational attempt to be better than she is. So, she would occasionally get upset and start thinking, "well maybe I COULD be a little better" or "maybe I'm not as great as I thought I was".
I almost feel sorry for Jason in that he thinks low enough of himself that he would have to make the whole world seem bad to make himself seem good. After all, how easy is it to improve on your own abilities and talents and become great at anything, especially compared to having to go find EVERYONE ELSE and somehow put them down enough so that, by default, you come out on top? That's just not rational and THAT is why I have decided to have ONLY people like Abby as my friends!
Abby is true artist, entertainer and true friend to everyone she meets. She has a project built on sweat and hard work, has built up a reputation, fan base, etc. It is an excellent project (rock band) however Abby and her bandmates still seek higher levels. They are always shooting for those levels of excellence. This I consider one of Abby's best qualities - her ability to see what next level is there and then guiding her project toward it.
Abby makes her way through her career expanding as she goes by really making people feel wanted at her shows. She is excellent at what she does because she earned the excellence and people inherently know that when they see it. She does have things about herself which could be improved but that is by her own observation and not because of what anyone else thinks. I have the highest respect for her. She is very valuable to her friends and associates. When I watch her perform from an audience perspective, I feel the appreciation coming from her and feel very much part of her show.
Now, although "the best" in any category could be subject to many opinions, in this instance and category, I rate it by appreciation and admiration from the audience, fan base, followers, etc. And I do mean actual bodies at actual shows, people who are obviously always hanging around and want to be a part of it. Most people have seen artists or bands like this. You go to the show and it is OBVIOUS!
Then, there's Jason. Jason is a musician who has a project (also a rock band). Jason is an excellent player. By any yardstick, his band is not what anyone could consider the best of the best so, there could be improvement. Instead of seeking such higher levels though, (or even being able to see that they exist), Jason starts making less of these other projects, particularly ones that make him seem less in his own area. So all the top-of-the-tops projects which are out there are simply flawed, sell-outs, not true musicians, generic, etc. And with regard to Abby's much larger fan base (as evidenced by attendance at their shows) Jason refers to them as "bunch of losers" with "no taste" or "no real judgment" of what good music is. He continually puts them down at every turn to his own "fan base" (which is very small if any) to others and every once in a while will let something get back to them.
Abby had always suspected this M.O. of Jason's but it became very real to her when an actual industry contact told her what Jason had said about her. Her first reaction was to be upset. Once it sank in, I think she sees that this is a good thing. What I hope she sees is that it is a testament to the fact that she is big enough and good enough to be considered a threat to him. For, how well could Jason think of himself and his own abilities to have to get to the top this way? Abby, being in pursuit of excellence, would take criticism, sometimes, too seriously, in her rational attempt to be better than she is. So, she would occasionally get upset and start thinking, "well maybe I COULD be a little better" or "maybe I'm not as great as I thought I was".
I almost feel sorry for Jason in that he thinks low enough of himself that he would have to make the whole world seem bad to make himself seem good. After all, how easy is it to improve on your own abilities and talents and become great at anything, especially compared to having to go find EVERYONE ELSE and somehow put them down enough so that, by default, you come out on top? That's just not rational and THAT is why I have decided to have ONLY people like Abby as my friends!
Tuesday, July 15, 2008
How Many Blogs Do I Have?
Well I realized that, with all I had to say to my marketing clients, my Publishing clients, etc. in my other blogs, I didn't have a more personal, biographical forum, where I as an individual, an artist and professional can post, well....whatever! We'll see where this one goes.
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