I am a Guitarist of many years. I was taught Guitar by the late Johnny Napp of Waterbury for about 21/2 years in the late 60's. Johnny was a Jazz and Swing Guitarist known regionally. Like most kids starting out, I wanted to play the music of the times, which was Hendrix, Cream, The Beatles, etc. but most lesson books back then did not include Tablature for Lead Guitar. They did notate the melody and vocal line, which is what I was taught. This process made me think more like a vocalist, consequently improving my pitch on a Microtonal scale. I thank my former teacher for that.
I left the technical end of Guitaring behind after discontinuing lessons and set out in search of my own style, working with various bands in New England.
Working with various Rock and Funk outfits honed my skills as a player, but couldn't satisfy my need for more creative outlets until the 80's, when the DIY attitude really blossomed. Writing more and more songs for groups such as Editors, Space Heater Cops, Bad Beauty Kings Drivin South, and others, culminated in my 1st Solo CD, Timber Shivers in 2000. This closed the door on my earlier Songwriting life and opened a brand new one.
In Mid 2000 I began immersing my self in the field of Improvisation and Ambient Soundscaping music. Playing with my trio Exit Terra, we managed to chart songs in Australia, Serbia, The UK and the US. We played at various Art exhibits, Festivals, and Radio Stations throughout the area.
After Exit Terra, I advanced my Solo Soundscaping performances and did work with Wesleyan University, The Martha Graham Dance Co., various Art Galleries and Shows as well as Concert performances.
I am currently involved with a duo from Newtown Ct. called The Hadron Big Bangers. We are a Jazz Rock Deconstructionist group and have just finished our first release, Strange Beauty Decays. We have been trying to expand our musical reach under that name as a hub for all our other projects. I also work a show called The Sharp Flats, doing all Acoustic originals and select covers. Usually Solo, but with Guests welcome.
I have independently recorded and produced 3 CD's of Ambient Soundscaping works. Tinnitus, The Beginners Guide to Transcendence, and RenaisSeance.
After doing some Soundscaping work for my hometown Oxford's 1st Annual Art Gallery show, I got to know some of the Cultural Arts Commissioners in town, and without twisting my arm too hard, I was persuaded to sign on as a Commissioner. I'm now Acting Chairman and I'm on a mission to present new and unusual acts in town. The Arts should not be consigned to the bigger cities. There is talent everywhere!
Thanks for reading this and I hope to cross paths with you all... At least via music.
Martin C. Earley
CAG Review of Martin Ear @ Industrial Strength Show
For years, painted landscapes have largely been confined to the beauty of the natural world, but the Industrial Strength art show in Bridgeport last Saturday (February 27, 2010) made an attempt to put a notch in that cycle. The show put the feel of an urban, industrial area in a position of beauty that has only infrequently attempted to raise its head at all and only in the past few years. Local artists were asked to bring forth paintings, photos, and sculptures of what they considered to exemplify factory life and the like. In addition to the dozen or so artists represented at the show, ambient music amplified the feel of modernity, technology, and urban interest in Bridgeport.
Music by Martin C. Earley of his solo project, Martin Ear, and percussionist Evan Foreman was simultaneously relaxed and intense. Using both traditional and electronic instruments to provide a concoction of mystifying noises and beats to the already eccentric show, the music did wonders for this reviewer's thoughts on the show. Martin played both the electric guitar (complete with a multitude of analogue and digital effects pedals, synths, and more) and synthesizers while Evan pounded away on his unique collection of percussion instruments. Both improvisation and pre-organized pieces were vital to the overall feel and flow of the show.
It truly made us here at CAG ecstatic to see these two lending their talents to the greater creative community at large. As a musician, as well, the depth and level of commitment apparent during the musician's several performances was positively heartening; commitment put to rest, though, the two men looked like they were enjoying themselves. Nothing is worse than seeing a resentful guitarist bang out a tune or two for the sake of something that he doesn't care about. Watching the expressions and body language of Martin and Evan made it clear that music and industrial ambience is far more than an idle hobby of the two - it is a passion.
Both men were more than willing to speak to us a bit about their projects, their working relationships, and their unique instruments and playing style. We'd like to extend both a special thank you and a sincere congratulations to Martin C. Earley and Evan Foreman for making the Industrial Strength show everything that it could have been. Keep on creating and never lose your passion...
Creative Arts Guide, signing out.
Martin Ear is the project of musician Martin C. Earley