Sam Aluyon - Jamming Out: How Improv Music Gets Made!
Today we dive into musical improvisation with the multifaceted Sam Aluyon. Sam Aluyon as been playing piano and singing for 20+ years, and has been an improv actor for over a year. From spontaneous melodies to the impact of AI on creativity, Sam Aluyon is here today to explore it all. we delve into the intersection of traditional musicianship and modern technology, exploring how tools like the Autochords app help inspire Sam with new chord progressions, fostering his creativity during live performances. So grab your headphones as we have an enlightening discussion on the intersections of music, improvisation, and technology right here on Creator/Shift.
Some Questions I ask:
Some Questions I ask:
Which instruments do you play?
Which genres do you play the most?
How many different musical groups are you in?
Were you raised playing music?
What kind of tech do you use the most when going out for a performance?
Do you use any type of A.I assisted apps?
How are artists affected by A.I. created content?
Which part of being a musician do you have to practice the most to get good at?
Best way to practice scales and chords?
In this episode you will learn:
Expressing Creative Desires: "the bigger feeling that you have, the bigger wants or expression that you have, the more that I can pull from
The Importance of Community in Improv**: From his stories about Measure Island to Edgewood Avenue, Sam stresses the significance of support and collaboration within the musical and improv community, underpinning the success and vibrancy of performances.
The podcast discussed the influence of AI in creative fields.
In what ways AI can best complement human creativity without replacing it
Keeping Music Human-> Despite the benefits of technology, both Sam and Erika agree that AI and apps should aid, not replace, the human element in music, emphasizing emotion, spontaneity, and human connection as irreplaceable aspects of live performance.
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Erika Christie is the host of Creator/Shift and as a Filmmaker/Writer/Producer has worked professionally in many different fields. Erika will be interviewing all types of amazing art-folk and delving into the best ways that artists up skill themselves- meaning, what they do to better themselves and their artwork. We'll also be putting a special focus on transitioning your skills into new artistic mediums and how to best work and collaborate with artists who have very different skill sets from your own.
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TRANSCRIPT
Erika Christie:
Questions. Which instruments do you play? Which genres do you do the most? And how many different musical groups are you in?
Sam Aluyon:
Okay, so. That's so funny. Okay, so different instruments. I sing, if you consider that an instrument, because the vocal. And then I play guitar, acoustic guitar, specifically. I do know how to play bass. I play piano, which is piano. And singing is, like, my main instruments.
Sam Aluyon:
I can fangle with the drums a little bit, but not as technical. I do want to learn, for sure. And then another thing is, and this is a long time ago, but I do still kind of know how to play tuba. It's kind of ingrained in with me, like, still how to, like, hit the note. Like, it's in my fingertips that I'm like, oh, yeah, this is c. I know that. Or things like that.
Erika Christie:
So, yeah, excellent. And then what's. Did you, like, grow up in band? Like, what kind of genre? Like, what do you do the most?
Sam Aluyon:
Okay, so I did grow up. Well, I grew up more singing because, like, my whole family are, like, a bunch of singers. I feel like that's Filipinos in general. We're all singers. And then I was forced to learn to play, like, classical music as a kid, and I. Yeah, so, gosh, what do I play? That's so funny, because right now, what I am currently playing a lot of is, like, musical, like, musical type of songs. It's very simple. Not simple, but yeah, it's like music, musicals is what I feel like I'm playing, like, the most.
Sam Aluyon:
Like, if you think of any kind of musical, it's that type of genre. But my favorite things a lot of. A lot of times to play is, like, r and b kind of songs. Yeah, it's a different mix, but yes. Right now, what I'm actually trying to learn, and this is going to help me to grow as a. Specifically as a piano player, is learning to just do a bunch of different cover songs on piano. Like, learning to, like, okay, any song that I can think of, old and new, if you can, like, just learn to play that, then you start to understand the structure within there. Right? Like, what chord progression and patterns happening in there, and you start to understand and see that.
Sam Aluyon:
And then as you learn that, you can easily start using and putting those into. For. Specifically for me, for my type, like, improv shows. So, like, if I'm in a musical and I want to, like, add something else, a different type of genre, and I understand the chord progression, then I'm like, okay, I can use this. And so, like, people who like playing piano bars, like, have, like, two to 500 songs, maybe even more actually songs in their repertoire that they know. And that's mainly because it's, like, repetitive chord progressions that happen. Yeah. They just figure out, okay, what's the scale? Or, like, what scale are we in? And then, okay, I'll add.
Sam Aluyon:
And then I know what the chord.
Erika Christie:
Progression kind of hit, that muscle memory where you remember some part of the song and you can just kind of go into it.
Sam Aluyon:
Yes. So that's the. Definitely the goal. So I'm trying to spread myself a little bit more because where I got most of my piano stuff was playing christian music is where I got. I played at a church.
Erika Christie:
I played in church for a number of years. So I'm right there with.
Sam Aluyon:
Greatest musicians are people who come out of the church, which is so crazy, but you learn so much. And that's, like, also a thing where I was like, instinct. You learned instinct there because you would follow, like, what the pastor wanted or what the worship leader wanted. You know, like, you would feel it. It's really a feeling at the end of the day, like, okay, this is where we're going or building up or whatever. Yeah, yeah.
Erika Christie:
And when I was doing church stuff, I was a teenager, and everybody else in the group was in their thirties to their fifties, and a few of them had played professionally in rock and blues bands. So they were always bringing rock and blues into what we were doing. And then there was me just, like, figuring stuff out as I go, and then I get older and realize, like, wow, that was amazing that I was playing some of that music from the 1940s, 1950s, 1960s, and I wasn't even, like, aware that that's what was happening at the time. I can look back and be like, that was so great that I was able to do that.
Sam Aluyon:
Yeah, yeah. And now it translates into now, which is so amazing.
Erika Christie:
Yeah. So two of the groups that you're in that I'm totally aware of, one was Edgewood Avenue puppets. Music.
Sam Aluyon:
Yes.
Erika Christie:
You're a performer, and often I've seen you doing emcee stuff as well. And I've also filmed you even doing measure island stuff, which is improv, musical improv. And I've seen you perform and sing, and I've seen you play the piano. So I think you and JT go back and forth, depending the show.
Sam Aluyon:
Yeah, depending on the show, we are learning how to, uh, like, it would be interesting within or the middle of the show, figuring out how we can use the tool of the both of us to be able to, like, flip. So, like, an example is, like, we could be. We could be like, brothers and stuff. And you only see, like, one of the brothers in the first act and then it switches and you will see the other brother or second act or what, you know, it would be interesting, especially if, like, the piano is on stage, it makes it easier in that. But I think of, like, for instance, where you recorded us at red light, that would be a lot harder for us to, like, rotate around, kind of. I don't know, it would be interesting. So playing with that idea, because, I don't know, many improvise, like, improvised team musical teams that have two accompaniments at the same time, which is kind of rare. I think companies in general are rare, but having two in your team is even more.
Erika Christie:
Yeah. Are you in any other groups or are those the two main ones for right now?
Sam Aluyon:
Um, I do consider myself part of, um, road trip, so whenever. Uh. So road trip is Madeline's group. Um, yeah, yeah. And she mainly plays at dad's. I think they're gonna start having, like, a reoccurring set there, but I am part of that. Because, uh, she always asked me to, like, play piano specifically for that. So whenever I'm.
I make myself available, like, consistently. So whenever she wants that. So I love that it's. It's not necessarily musical per se. It's kind of like, yeah, I just, like, add to it, and then I always tell the people there, I'm like, hey, if you want to do a musical or kind of music and sing, I will follow you along. Like, don't worry, I have your back the whole time kind of vibe. But those are those. Yeah, those are the three main.
Those are my three main focuses, because I think I can spread myself out thin, but I do. I will say I'm a musician at dad's garage, so whenever they need me playing there. Oh, black grounds is another. This is a new improv. I don't know if it's new, but they've been doing it, I think, for a little bit of time and have recently started coming back to dad's garage, but black ground at dad's garage. I think the 24 April 24th is when our next one is. And that is gonna be. I'm a muse musician for there as well, but I'm like, is there anything else? Yeah, I try to focus on that because I feel like if I go anymore, I'll, like, spread myself out too thin.
I have my main focuses.
Erika Christie:
All right, I want to jump over to what I'm calling, like, tools and technology. So, like, beyond your physical instrument, whether it's a keyboard or guitar or whatever it is, what kind of, like, tools and gear and software do you use the most when you go out to do a performance?
Sam Aluyon:
Gosh, that's the heart. Okay. So there's really only one tool that I specifically use, because my piano is, like, the main instrument that I use, and within there, if you have a good piano, you can adjust and change it. So you don't necessarily need an outside software, like, necessarily. I can tell you when it comes to dj equipment, what you definitely. What you want. But there's this thing that I use that it's kind of. It's not.
Sam Aluyon:
It's not necessarily. It kind of is a cheat. I don't know what people think, whatever, but it's this thing called Autochords that I use. I don't know if you can literally see it, but it will. It will show the different chord progressions and you can choose different, like, how you want it to feel. So, like, going back. So if something feels like I'm doing a scene or like, I'm watching a scene and it feels eerie and just like, ooh, something like evil is lurking. There is literally a thing in here called eerie, and it will give me a four chord progression that is.
Sam Aluyon:
That gives an eerie feel to it. And so I will use that as interrupt you.
Erika Christie:
Is there, like, a website to this?
Sam Aluyon:
Oh, it's just.
Erika Christie:
Is it just an app? It's just an app.
Sam Aluyon:
It's called auto cord. And maybe there is a website. I wouldn't be surprised, though, because they're always. People are always finding out, like, what is the chord progressions that I can use? So I use this in a way to give me, like, just a basis of, like, okay, these are the four chords I could use. It's a starting point. And at the end of the day, I'm like, okay, I hit those. You'll find me in a lot of times hitting those four chords quietly and figuring out within me, I'm like, okay, okay, that's the feeling that I'm getting. And then I'll start playing around.
Sam Aluyon:
It's almost like, once again following the path of, like, okay, I do like those four chords. How can I keep following that? Maybe I'll add a six or a fifth or things like that in there to make it sound more. And that's. It's just a starting point, a basic point. Yeah, but according to anything else, not really. I mean, Voc. Vocally, I mean, I love listen, like, having, like, playlists that are, like, vocal warm up playlists that I have that I like will listen to. And that's something that I use.
Sam Aluyon:
It's also where I pull from, because when it comes to, like, musical improv, I am specifically, like, you know, making sure that the vocals for everybody's working warmed up. And so we will pull from those kinds of things to keep it interesting, to focus on things that we notice that as a musician, notice, like, okay, we have a harder time hitting those sounds because obviously we're not, like, professionals in that sense of, like, we want everyone to sound like amazing opera singer, but we want it to still sound fairly good because people like that, once they hear, like, harmonies and melodies and all of that within that, they're, like, amazed by that on top of, like, how do you do improv at the same time? But yes. So that is something else. Other softwares and stuff, not. Nothing really is as a piano player, not as much.
Erika Christie:
Yeah. Yeah.
Sam Aluyon:
Because it's. It is found within the instrument.
Erika Christie:
Mm hmm. Yeah. How long have you been using that app? Like, is that something that's new to you? They've done recently or have been using it for a while.
Sam Aluyon:
That is maybe like a year. No, wait. No, that's not true. Like, six months or four to six months I've been using. It's been helpful in many ways, but also, like, I will find that sometimes I have to, like, let it go and being like. Because there's. It only has a finite number of combinations, and it only gives you four chord combinations. So not.
Sam Aluyon:
It's gonna. Everything's going to sound the same if you're always hitting four chords, even if you're switching up. So, like, you know, learning to jump between that and it's not even giving you, like, four. Four, you know? Or, like, are we in? You know, like, what type of meter are we in? It's not giving you that either. It's just like a waltz, you know? So it's like, it doesn't give you much, but at least it gives you a basics. And I'm, like, learning to, like, okay, sometimes I got to, like, step away from there because it can restrict you if you're too stuck in, like, oh, no, these four chords aren't working kind of thing, but it's a great way to start.
Erika Christie:
Yeah, definitely sounds like it. I like to talk a lot about, like, emerging technology. So kind of based on what you were just saying, is there any other apps out there that you've heard of that you kind of want to jump on, or is there any part of that app that you're like, oh, I really wish they would change this, and that would be, like, the next change, and that would really help me.
Sam Aluyon:
Okay, well, there is this other app that I've seen that I haven't played around with. I can't remember the specific name of it, but it's within that realm of the auto chords, but within there, you can actually. It uses AI to create the chord progressions for you in that sense. So it doesn't stick to just four chords and create chord progressions. And then from there, if there's something that I really, really like, I can go back and save that as a specific. Like, that's my favorite chord progression, and then you can adjust and change it to even have it. So it's like, if you're gonna add, like, this is, like, a piano term, but if you're gonna, like, a fifth to it or a 7th to it, to a note or a chord, then you can actually save that in there. I just think it's cool that you can, that AI can actually.
Sam Aluyon:
That's, that is an interesting thing to know, that, like, AI can actually create chord progressions for you.
Erika Christie:
Well, music is math and computers like math, so it certainly makes sense to me. Yeah, kind of. I'm a little back and forth as far as the AI stuff. Well, first of all, I am annoyed. We don't need to go on a tangent right now. I'm annoyed by everyone calling it AI because it's not AI, it's not artificial intelligence. It's just, it's just generative software. That's all it is.
Erika Christie:
But that's a, that's a tangent.
Sam Aluyon:
We don't need.
Erika Christie:
It's just powerful, generative software that can pull so much. So part of me is excited between that and, like, mid journey and some of the other, like, more arty stuff and music and text stuff, writing copy and, you know, chat, GPT and that sort of thing. Part of me is like, I like it in the fact that it can kind of help you move forward a little bit in some of these, like, or if you just have a starting point or if you need something summarized. I like that. And I'm not fully on the bandwagon of, oh, no, all artists are going to be irrelevant because you have to put information in to get information out. Like, it doesn't, it doesn't just create stuff out of scratch.
Sam Aluyon:
No. And also it's so soulless. Soulless in many ways. Even if you, like, create something in it, like, it just doesn't sound the same. It's, it's missing something within there. And that really is like what you were. I think what you were basically getting at is that it's not AI because it's like, it's just putting out. Like, this is a basic structure.
Sam Aluyon:
Because even if I used the app that I mentioned, at the end of the day, I'm the one still hitting the notes and I'm not like, I have to choose which, because even within there, I have to choose which. What do they call that? Because I can play a c a certain way and I can play a c in so many different ways, I get to choose which notes I want to play on that to get that feeling, and then that's what people connect to. I just don't think that it's going to completely remove or take out artists because that's impossible. I don't know. That's just impossible at the end of the day.
Erika Christie:
I mean, I like it in the sense of, like, you know, you can dump in a couple paragraphs of text and be like, give me four different titles for this, for a social media post, and I'll go through those four and I'll choose the one I want. Like, that's sort of just, like, kind of busy work that you don't necessarily need to do, but, like, for the bigger stuff, like, you still, still need a human who's there, who's looking at it, who's proofreading it. Like, it's just a very small tool to kind of help you save a little bit of time in your progress. What I want is for AI to start doing our laundry and vacuum floor.
Sam Aluyon:
Which that would be amazing. Things that we don't need to do.
Erika Christie:
I want them to be doing that. Or, like, analyze the city and figure out traffic routes. So good ways of getting more cars off the road, lowering traffic levels, that sort of thing. That's what I want AI to be doing. It doesn't need to be doing more than it's already doing now.
Sam Aluyon:
All right, agreed. Agreed.
Erika Christie:
All right. That was a little bit of a tangent. Question for you, skills. Which part of, let's say, being a musician do you have to practice the most to get good at?
Sam Aluyon:
Say that again.
Erika Christie:
Which part of being a musician do you have to practice the most to get good at?
Sam Aluyon:
Hmm. I guess, honestly, I would. Part me is, like, just practicing alone and being consistent is the only thing that you need to do to just get good at. Because people will give up so quickly because they don't think that they're good enemy as a musician because how they started and if they just kept going, which is so simple, it's like just life. Like, we are. We as human are so funny that we don't want to be consistent or we want to be so good, we want control and we just, like, don't want to be consistent. But, like, for instance, if you, as a improv musician, if you want to get good at it, then, like, just keep. Keep practicing different it songs, keep practicing different things.
Sam Aluyon:
Like fear. Get in tune with your own self and your own and your own gut. Like, what you like to do it, like, find things that light you up. So it's like, it, like, goes beyond just and also, like, take breaks because you'll find that, like, having breaks in between as a musician helps because sometimes you can get so burnt out by trying, like, doing over and over and over again. It's almost like when people have writer's block, like, step away for a second, but honestly, being just consistent as a musician and just keep on practicing. Like, practice, learn, learn from other people's music at the end of the day, because people are wrote in beautiful, amazing music, and they've put in a lot of effort and time into that. So, like, learn it and understand it, and what's happening can be a really great way of becoming a better musician. Yeah, I say that's, like, such a hard question because musician is so well rounded.
Sam Aluyon:
Like, what is a musician?
Erika Christie:
I tell you one thing that I never did practice a lot that I could have gotten better at, especially as a drummer, was really just being much more confident with chords because I knew what they were, because, you know, especially even during warm ups, get job, jump on that, you know, marimba or xylephone or whatever, and you're doing scales with the band. But then when it's time to sit down and really do something, my brain is going, is it B flat? Is it b? I forget which. Which key are we in? Like, if I had really, really focused more on. And especially if you're doing, you know, jazz or improv or something like that, you have to know the chords and the different varieties within the chords. Like, so, so well in your head.
Sam Aluyon:
Honestly, scales, for sure.
Erika Christie:
Scale. Like, learn your scale, boring as it may seem, like so.
Sam Aluyon:
And memorize them. Like, like, know them. And then, you know what, on top of that, just don't even know. Like, this is such a basic thing, but, like, don't even just know, like, c, d, e, f, g, a, b, c, D. Like, no, like, numbers, because that's what's gonna actually help you at the end of the day. So when I say numbers, it's like, if people will say, like, oh, it's a one, four, three pattern. You're thinking in a scale. So one, four, three.
Sam Aluyon:
So I'm thinking one is c, f, and then e is three. So if I did that, I can move that into any other scale. So, like, one, learn your scales, because then you can learn your numbers, and then you can apply those numbers, because at the end of the day, it's just like you said, it's numbers. It's math. So what is the pattern that is happening within music? And if you can understand the same pattern and you know your scales, you can apply that wherever you need to go. And also, scales are so complicated. I was looking at, and I was like, there's so many, like, diatomic scale. Like, something.
Sam Aluyon:
Like, so many different scales. I'm like, why is it so complicated. But, yeah, it's so funny. But, yeah, if you can learn those and then learn your numbers, you're. You're, like, really set for a lot of things. And then obviously, you know the normal things of, like, learning, like, rhythm, learning to, like, trust yourself and play and move around within the piano. Try different things here and there, but get that basic knowledge down, because once you can get the, like, the two brain split I was talking about, when you can get the knowledge down for playing piano or learning your scale as a musician, then you're gonna be able to, like, move freely. It's like improv.
Sam Aluyon:
Like, for improv, they're always like, learn the rules that are here, and that way you can eventually break the rules is what happens. But you can always come back to the rules at the end of the day.
VOCABULARY
Erika Christie:
Yeah, yeah. Don't spread yourself out too thin because you'll get burned out. And you, wonderful work, so don't get burned out. You brought this up just a little bit earlier when you were talking about terminology, but I do like to go a little bit into vocabulary. So someone. If someone. Whether someone's asking you for music or if you're even in one of your groups and you're talking, you kind of mentioned, do you want the music happy or sad? Do you want the music fast or slow? That's sort of like the absolute bottom rung. Like, above that, beyond something like genre, like, are there any other words that you think would be really good for someone to know if they're talking to a musician?
Sam Aluyon:
I don't know if there's specifically any words. The more that they can describe the feeling that they have or they want to have is better, because, okay, an example of this is when I talk to my team at Measure island, and we are thinking about, you know, like, you know, we normally are going to eventually go into song. I always tell them, hey, the bigger feeling that you have, the bigger wants or expression that you have, the more that I can pull from, specifically from that so if you have someone, for instance, like, who has a certain scene that they want, whether, let's say, like, it's a sappy love scene, then they're gonna want to, like, give words that can describe the feeling that you have and want. Also, it's helpful to kind of give some examples as well, to be honest. Like, you might go back to a different film that you saw and be like, I want it to feel that way. And not, obviously not direct copy, but that kind of feeling, that helps us understand where you. Where you want to go, but helping describe feelings, because at the end of the day, like, a lot of music is, like, you can't write a music about. Well, you can, but it's harder to write a music about.
Sam Aluyon:
Like, I'm hitting my drums, I'm clapping my hands, I'm walking down the street. Like, that doesn't, like, feel like anything to anybody. But when you. When you write music, you're writing music specifically about how you feel about something. That's why, like, heartbreak and love songs are such a big thing, because there are feelings that we all know. Like, we all understand and we all know. So the more you can break it down into how I feel in these scenes or how the actors might feel or what I want the audience to experience and feel, it makes it easier for a musician to understand. Okay, yeah, now I know where you want to go, and then I can go with the diagram of happy set.
Sam Aluyon:
Someone described that to me, and I was like, oh, yeah, that's actually so true. That's what it is. What spectrum of it am I in?
Erika Christie:
Yeah, it seems like a really weird connection between, like, film scoring and, like, musical improv, which seem like they're on completely opposite ends. Is that as far as, like, the musical score goes, like, sometimes, hopefully, the musician always wants to see whatever the cut is, whether it's the scene or whether it's the whole piece. You want to see the cut so that you can figure out how to layer in whatever the music is over the top of it. And it feels like sometimes you're letting the performances kind of speak to the music, and other times you're kind of using the music to kind of lead what's going on. And I think the only. The only time that that part doesn't work. And as a filmmaker, I'm not knocking filmmakers, but sometimes things are not shot well, and they're trying to use the music to, like, force a mood onto what was shot well, which is unfortunate, but in. In the film score, because you're doing everything afterwards.
Erika Christie:
Almost always, there's been a few situations where they've had the music first, but most of the time, especially with the score. The score. The score being different from music tracks. I'll say, just for people who don't know that part, the score is different. But for musical improv, it kind of feels like, from what you're describing, is that you want as much emotion and as much big expressions from the performers in order to give you a quicker, clearer understanding of where you should jump with the music. And sometimes you'll jump in with the music and kind of help lead the performers which way you want to go. Because improv is so instant. It's now, now quickly.
Erika Christie:
Everything happens so fast. So it seems like you guys are kind of going back and forth. Sometimes you lead, sometimes they lead. But both of you just need to make big choices so that the other one knows how to follow in that moment.
Sam Aluyon:
Yeah. And stick to it. Stick to your choices that you guys decide to make, because that's so. That could be such a. I know, because I've had. I'm saying that because I've had that. Those moments where I'm, like, playing and I'm like, oh, that wasn't. That wasn't it.
Sam Aluyon:
But it's more awkward to not commit to it and decide to switch it up than it is to just be, like, commit to it. This is what it is, and we'll make the most out, because that's. That's like, the magic of improv in general is the fact that, like, the mistakes that you make, even as a musician, is a gift in so many ways. Even if it doesn't feel like a gift, it feels like, oh, why did I do that? Why, like, why did I hit that note? Or why did I make that sound? And it's like, it actually ends up being more of a gift later on because people recognize that and people like that at the end of the day. But you are right. It is such a give and take when it comes to musical or when it comes to just improv in general and playing, it is like, I'm watching them. I'm also taking myself as a musician and putting myself into the situation. I am literally thinking, how would I feel and how would I react if.
Sam Aluyon:
If I was put in that situation? And so, yeah, it's definitely that kind of scenario, give and take, back and forth. But you're right in, when it comes to film, it's like, normally after the fact, and if it's not shot well or if the actors aren't, like, the best actors. It's hard to pull. It's hard to make something out of it because you're like, I don't feel any. I want, for me, at least. And maybe other people, it's easier, you know, like, they are able to just. I don't know. I like to.
Sam Aluyon:
I like to feel something at the end of the day, and I'm like, oh, that's so good. And then that is, like, for me, like, that back to that gut instinct, I'm like, oh, that felt really good. I like that. I'm gonna follow that trail till we finally get somewhere. Or other moments where I'm like, okay, like, oh, that didn't feel good. Let me try something else. Okay. And then let me keep on changing and adjusting till I feel within my, like, gut, oh, that's.
Sam Aluyon:
That's it. Okay. And then I'm gonna follow. I'm gonna follow that. Which is kind of improv in general, too. I'm like, I'm gonna follow that trail. That's like, oh, that's so funny. Or so silly.
Erika Christie:
Yeah. And sometimes following those. Those little trails really works out, because, like, I've filmed Edgewood a couple of times now, and I filmed at measure Island a couple of times, but the big filming I did for Measure Island, I heard all of that music three times. I heard it live when I was filming it. I heard it the first time I edited when I did a video pass, and I heard it the third time when I did the audio pass. And after listening to that music three times, some of those tracks are still stuck in my head. Oh, that is so three listens, and I can still hear something, and I'll go, Sam. And I'll have in my head, like, some random improv line that you came up with some music that JT was playing, and I'm like, that song is now stuck in my head only three times.
Erika Christie:
So chasing down some of those trails often leads to a lot of fun.
Sam Aluyon:
Stuff, which, as a musician, you realize, like, it's not. It's not as complicated as you think. If you just, like, go into it, get out of your head, get into your body, and allow, like, the magic to, like, happen. That is within music. It is actually not as difficult to, like, write songs. I think we. We ourselves are more the people are the people that block ourselves from actually moving forward and creating amazing music because we, like, overthink it. We don't think it's good enough or whatever and so on and so forth.
Sam Aluyon:
But if you just, like, break it down to just something simple, because, like, that's what we kind of do with our musical improv. It's like, we try to create it as something simple as possible. That way, it's like, oh, that is so, like, funny and silly and catchy. At the end of the day, it's just like a pop song, you know, like, catchy pop song. That's good to hear that it sticks your head.
Erika Christie:
I'm big into musicals. I'm really big. I went to a really good musical theater school, so I'm big into musicals. And you mentioned earlier, you want to know something funny? A lot of it vibe of musicals. And I'm like, yep, yeah, yeah, I'm into musicals. So now all of this stuff is stuck in my head.
Sam Aluyon:
So, yeah, I've only recently got into musicals, to be honest, which is so crazy to think I'm in a musical improv team. I haven't watched a lot of improv or, like, I haven't watched a lot of you. I have a friend who is a big musical improv person, Tori, and I literally. She's the person that I go to, and she will give me, like, history and lists and insane stuff that I'm like, how do you have all that in your brain and knowledge to, like, yeah, she's my go to person. I'm like, hey, I want to watch a musical. I will literally contact her, and she'll be like, yes. She will drop. Whatever, because musicals are way more important to her than anything else.
Sam Aluyon:
I love that.
Erika Christie:
Here we go. I'm going to do a quick screen share, and I just want you. I want to show a little Edgewood and a little measuring island.
Sam Aluyon:
Okay.
Erika Christie:
Just to show them off a little bit. Is that. Did I choose the right screen?
Sam Aluyon:
Yeah, yeah, I can see it.
Erika Christie:
Awesome. All right. Okay, Sam, so this is when Edgewood Avenue was on ATL live, which I helped to. I do directing, producing, technical, directing, all kinds of stuff. There's the handsome man right here at the keyboard. We'll show just a few moments of the beginning of the show.
Sam Aluyon:
Okay. We just need to run a couple tests to make sure everything's in work in order. If I apply pressure here, how does that feel? Okay, what about here?
Erika Christie:
All right, so was it mostly Joseph who came up with the idea of Edgewood, or was it a couple of you that worked together on it?
Sam Aluyon:
It was mainly Joseph. What happened was, Joseph was building a puppet, and he contacted me and was like, hey, I want to write, like, an opening theme song for a puppet show that I'm thinking about. And I was like, okay. I'm like, just started in the improv scene. I was like, yeah, let's give it a shot and see. And so he invited me over and was like, hey, this is like, I want it to feel. And then, once again, I was like, what do you, like, give me some examples of what you want. So he obviously immediately went to, like, you know, the common, like, muppets or, like, sesame street or those kind of things where they have, like, an intro song and so, like, yeah, okay, let's do that.
Sam Aluyon:
So he uh, so we got together at his place, and I played a couple, like, different chords and stuff, and then I was like, I was like, what do you think about this? And then all of a sudden, just, like, I swear to you, like, 2030 minutes, we created a song. We created the whole intro song for it, and I loved it so deeply. One of my favorite things. And then. Yeah. And then from there, I've. What I love is that I've seen it evolve. The song has evolved so much, which I never would have really thought.
Sam Aluyon:
I just kind of thought it would stay the same. But as I've evolved as a musician and learned from, like, different musicians, I'm like, what does this look like or feel like? I, like, now are able to, like, see, like, how, like, oh, let me adjust and change this. And then on top of that, I'm also, in my mind thinking, vocally, where is the range now so that I can make it sound fuller? So, for instance, Joseph, like, Joseph and I, he was practicing for an audition that he had for a musical thing that he's going to be doing. And I was like, let's find out what, like, your vocal range is. And he's, like, a tenor. And so I was like, oh, this makes sense. So I was like, my brain started to, like, spark, and I was like, oh, if I literally play the bass and, like, the top and he hits those tenor notes, then it sounds a little bit more fuller in some ways. And so I'm learning, like, those of, like, vocally.
Sam Aluyon:
And so I like being a part of different teams because then I learn where people's vocal ranges are, and I can adjust my piano playing to make it sound a little bit more fuller many ways, but, yeah, I love that the theme song is evolved and changing. It's so silly and fun.
Erika Christie:
Oh, yes, it is very fun. And, yes, that gets stuck in my head, too. Thanks a lot for that. Yeah, it's catchy. Do you like when you get to play music, sing, perform, and be the emcee all at the same time? Like, is that something that you like being able to do? Do all of those, or do you.
Sam Aluyon:
It is actually fun. No, I actually like it all. I really love em. Scene. I I dJ, and I've, like, MC, like, ho wedding hoes. I've also, like, been a worship, worship pastor, worship leader way back in my days, and so that, like, has helped me to be able to mc in front of other people, and that's, like, my comfort level. Like, I know. I'm like, oh, I can do that.
Sam Aluyon:
Easily, or even, like, piano playing. And I'm like, oh, I can do that easily. And that's, like, fun and easy for me to do. I don't have to think too much.
Erika Christie:
Excellent. And then what do I have over here? And then this is the one that I filmed, so we can look at this one.
Sam Aluyon:
Okay. The beginning, it looks so good. I loved it so much.
Erika Christie:
And in this particular show, which I wasn't aware of before I got there, because I knew JT was in the group, in this particular show, you're actually the performer. You're in the orange on the end tier. You weren't playing the music you were performing on this time. So I really enjoyed getting. Although I know you like playing the music, it was nice to be able to see the fact that you do. And here's JT at the piano. It's nice to see that, the fact, like you said, most groups don't have two accompanists, so being able to see the two of you switch off and really getting to see you, and you had a pretty big part in this one. I know everybody kind of rotates every single show, but you were on stage quite a lot for this one, so it was really, really fun to get to see you just kind of be the performer and, like, really go for it.
Sam Aluyon:
This was actually one of my first, like, bigger performances because I've done a measure island at BYOt at dad's garage. But this one was, like, my main one that I've ever done, and it was so silly and so fun. Yeah, I played the brother of Sally, which is so. It was so fun. I liked it a lot. Be pretty. But, yes, it's fun having that switch, like, being able to do that. Like, JT and I recently did that for Georgia Tech Improv festival, where we were able to switch, and people were, like, actually amazed by that, because they're, like, thinking that, like, JT started the piano first, so they're thinking, like, no, like, that's our company.
Sam Aluyon:
That's it.
Erika Christie:
Yeah, yeah.
Sam Aluyon:
And then we switched, and JT started acting, and I started playing piano, which was, like, a mind, you know, like, for everybody was like, whoa. Like, that's so crazy that, like, you can just can switch or whatever, so. Yeah, I love that.
Erika Christie:
Let me see. We'll get another quick shot of JT at the piano.
Sam Aluyon:
Yes.
Erika Christie:
How did this group come together? Like, how did measure island start in the first place?
Sam Aluyon:
To be honest, I have zero idea. I. You know, at the end of the day, it was Fiona, for sure. I know Fiona had a dream. What's funny is she was on a podcast with Riley, and, you know, not being here.
Erika Christie:
The person, the girl that's on the right in the blue jeans.
Sam Aluyon:
Yeah. So she was talking to Riley, I think, and mentioning that, like, yeah, like, long term goal, I want to be able to start a musical improv, because, like, music. She's a theater kid. I think she has, like, even, like, a degree and everything in theater. And so she was like, that's my long term goal. I really want to do that. And so I think she, like, invited a bunch of people that, like, didn't obviously improv, but also, like, sang and you. And so she tried that out, and it ended up being first.
Sam Aluyon:
It was, like, Sally and Shayna, and I think, like, Darryl and. And Joel and Cody, and then eventually, oh, and JT as a company miss. And then JT decided to go out. Was gonna go out of town for a couple months. He was going, like, Colorado or something like that. And I was. Eventually, I contacted JT, and Fiona was like, hey, I'm looking to get into, like, musical, like, improv piano, because I've seen it, and I'm like, this is so cool how they can create music and, like, different genres. I'm like, I wonder if I can do that.
Sam Aluyon:
And so they invited me to, like, one practice. I played a little bit for them, and it was fun. And then JT was like, hey, I gotta go. And then I just jumped in, and I didn't even know if I was like, am I a part of the group or what? I'm just, like, a temporary in between persons. And then. Yeah. And then JT came back, and we figured out how we can, like, both play and perform at the same time, too. And so.
Sam Aluyon:
And then Ella came along. What is really wild and crazy is that their first show, which was the Renaissance fair show, was the first time that we were all together, including Ella and myself, in the same exact room like that. The Renaissance fair in the same room. What's even crazier was that the reason why it was the Renaissance fair was because I just went to the Renaissance, came back, and they were asking for suggestions, and I was in the audience, and I was like, oh, Renaissance fair fair, or something you were excited about or something like that. And I was like, renaissance fair. And so they did a whole thing about the Renaissance fair, and myself and Ella were in the audience as well, seeing major island, but we were all in the same space at that, at the exact time, which was cool. I love that.
Erika Christie:
Yeah.
Sam Aluyon:
But they did such a phenomenal job that first time. I mean, there's, there's no other musical improv group in Atlanta right now. And I hope that there are more that come out because. Cause it's so, I feel like somebody was asking me the other day, oh, I was on a date yesterday, and she was asking me, like, do you guys find it, like, competition? Stuff like that? And I was like, you know, to be honest, with improv in Atlanta, I don't think anyone really thinks of it at all as competition. At the end of the day, we're all just trying to put Atlanta in the map of improv and that people know, like, hey, we have good improv here. And, you know, we are just as good as people in Chicago and LA and New York and these amazing, like, meccas of improv places that Atlanta is also in the map. So I was, like, telling her, like, you know what? Like, we're, we're all together doing this together, and no one thinks of it. Like, I'm a dad's garage person.
Sam Aluyon:
It's just we're all like, hey, we're all improvisers in Atlanta, and we're all trying to make it and we're trying to get big so that people will recognize this in other places, you know?
Erika Christie:
So, yeah, and that's definitely something I hear a lot from Dominic Riccano, which is obviously someone that I work with a lot in Atlanta, is that he, he personally supports improv and comedy and stand up everywhere throughout the city. He's, I can't even follow everywhere.
Sam Aluyon:
I just saw him yesterday's performance.
Erika Christie:
He's everywhere. And, yeah, and it's, and I got the, that mentality a lot from him is that everybody supports everybody. It's not really like a competition thing. It's, everybody performs at different theaters, everybody's in different groups, everybody goes out and supports everybody. And my story is slightly similar in the whole, like, serendipitous way of how you got into Measure island is I hadn't been in Atlanta very long, and one of my friends, a voice coach, I had posted something on Facebook saying, hey, there's a festival this weekend. Everybody should go to it. I didn't know anything about the festival. I looked it up and I blind emailed Dominic, who I didn't know, and was like, hey, I'm new to Atlanta.
Erika Christie:
I do video and photography. I just want to know, you've got a festival this weekend. Do you need another photographer? That morning, he had told two of the people he was throwing the festival with we desperately need a photographer. So he was like, yes, I need a photographer. And so I showed up. I photographed the festival all three days. And from that point forward, we've worked on almost every single project together. We're doing ATL live together, we're doing the festivals together.
Erika Christie:
We're doing all this. And just, like, it was just me being like, hey, do you need photos? And now suddenly all of this is going on.
Sam Aluyon:
So I love that so much. Yeah. I love when moments like that happen. It's so beautiful and, like, realize how connect, like, I don't know, there's just so beautiful, serendipitous moments.
Erika Christie:
Yeah, yeah. And a shout out to Dominic is that. I've not heard a single person say anything bad about it. He's just the most friendly.
Sam Aluyon:
He is such an incredible. I mean, other than people make fun of his laugh. That's it. Which, yes, Dominic is everywhere. And you can hear him everywhere. Yes.
Erika Christie:
Yes. I was at a show three weeks ago that Dominic wasn't in the audience, and I stopped myself from texting him, saying, this is the first show I've been to in Atlanta where I've not heard your voice in the audience, because it was something. Yeah, I was. It was a stand up for recovery show that I was filming, and Dominic just. Just happened to not be at that performance, and that was the first show I've ever been in. Well, I'll play Dominic's laugh in this.
Sam Aluyon:
So anyone.
Erika Christie:
But it does not matter how big the audience is, you will hear Dominic no matter where you are. All right, let me shout out the YouTube channel. So this is the measure island YouTube channel. Is it just at Measure island? Is that what the.
Sam Aluyon:
Actually. Wait. Shout out. We literally just came out with a website. Not that long. Shout out the website.
Erika Christie:
Shout out the website. Yes.
Sam Aluyon:
Measure island improv. Measure island improv.com. You can go there and you can find, like, you can find our YouTube, our instagram. You can book us there. Hopefully this works. It'd be so funny if they, like, didn't work.
Erika Christie:
Yeah, there it is.
Sam Aluyon:
That's our website. It's new and released and. Yeah, so, yeah, there you can find our YouTube. You can see everything in there. That is. You can book us, learn more about us, all of that. We just literally just released it. So what, like, perfect timing to be on your podcast.
Erika Christie:
I love the fact that two piano players are not the ones with their hands.
Sam Aluyon:
I know.
Erika Christie:
I genuinely like that.
Sam Aluyon:
My favorite is that Ella, who is the bot, like, the person at the very bottom with the. With a disco ball on her is the one that came up with the idea. She was like, I have a silly idea. I think it's gonna be so stupid. She was so doubting herself about it. And it's the one that we use the most, because it's so fun and so silly. It's so good. Yeah.
Erika Christie:
Awesome. And then all the laughs. Live. ATL live was where I was showing the Edgewood Avenue. Does Edgewood Avenue have a YouTube channel?
Sam Aluyon:
No, we only have. We currently just have instead of. Which is Albert on Edgewood is the Instagram.
Erika Christie:
So for anybody who wants to watch. And you guys did everything that episode. I think you were the opening sketch. You did two or three improv segments. Joseph, who's a little hidden at the moment. He's. Here we go. Joseph on the right.
Erika Christie:
Joseph and Albert were the hosts of the show. So Joseph and Albert were on all the time. And there was a few times that you, Albert, and Joseph had a few things together. ATL live, episode 202 is. Is Edgewood Avenue from beginning to end all the way through for anybody who wants their Edgewood Avenue kick.
Sam Aluyon:
Yes. It's so good. We literally, I will say so, you know, you're mentioning, like, what shows are you in right now? And I was. I realized that I booked myself like, crazy. Not this week for the fall, because I'm moving this week. I don't know. I'm unpacking this week, but next week, I literally have back to back shows. So, like, Friday is road trip at dad's garage at 10:00 p.m.
On April 26, the 27th is Edgewood Avenue at red light at 08:00 p.m. And then two days later on Monday is Measure Island's one year anniversary show at Red Light Cafe at 08:00 p.m. So there's a lot happening. But if you want to see all my shows that I'm in, I literally have it back to back. Oh, wait, no, hold on. Let me add on to there. And the 24th is black ground at dad's garage. So all four of them that I'm in are in one week.
Erika Christie:
Oh, my gosh. That's so much fun. All right. All right. Then, my. My last big question, which is, where do you go when you want to be inspired? Music, websites, videos. Like, what do you do when you're like, I need to input more.
Sam Aluyon:
When I want to get inspired, there's a couple things that I do. One, if I want to get inspired, I just focus on everyday life, and I get more grounded and more present with my friends, where I'm at in the moments and in there, I will find inspiration a lot of times, because music, at the end of the day, is just the reflection of your life and what you enjoy and love. And I think that's, like, you want to get inspired. You want to get more creative. You want to have more passion, be more grounded in your everyday life here and now and with your friends and the people that you love. And that is where you'll find the most inspiration. Other than that, I will go to artists that I love, like, musical artists that I love. Like, right now, I have a playlist that I listen to that it's, like, just songs that I love, and it's a range.
Sam Aluyon:
Like, I will go anywhere from J. Cole, like, rap and hip hop, to something, someone like Taylor Swift or Sabrina Carpenter or Hozier, like, all these incredible musicians who are out there who are doing her, literally putting themselves out. I don't get when people, like, hate certain artists, to be honest, or certain genres or things like that, because it is people who are literally putting themselves out there, like, their music, are sharing themselves a piece of them. And it's so beautiful and amazing. And so when I hear and listen and see those things, I'm definitely inspired. But the most inspiration is definitely here in my, like, present life. The more that I can stay grounded, the more I can be with my people, I can enjoy my life, the more inspiration I actually get. And excited I get.
It seems. It doesn't seem right. You know what I mean? You would think that, like, listen to more music or, you know, watch more tv shows, but that sometimes is an escape. And really the only way to, like, really understand and really feel if you want to write your music, if you want to do better on the improv, you want to be, like, an incredible piano player, like, be present here now.
Erika Christie:
Go out and live.
Sam Aluyon:
Go out and live. Life's too short to be stuck on, like, like, just social media, like, apps and things like that. Like, be present here and now, you know? And then also listen to your artists, too. Like, 100%. That, too, obviously, is inspiration.
Erika Christie:
Yeah. That was awesome. That was. That was literally lovely. Awesome. Awesome. Thank you much, Sam. Thank you so much.
Erika Christie:
I appreciate it. We definitely want you to come back because we. I think I feel like we barely just, like, barely touched some of the things that you do, but that was a lot of fun.