minus the beyondness, minus the trees, one would barely know it was foggy.
but context is everything.
up close, the boulders are clear. they are like the notes on the page, the score. technically, they are vital. but context is everything and it is the artist’s job to look beyond the obvious, to seek that which tells the whole story, that which evokes more. it is the musician’s job to play that which is beyond the obvious, to play that which evokes. more.
peter spering, in an online forum that was great-debating which – of technical wizardry and feel – was more important in playing music, wrote the words “…technically great but creatively dull”.
the boulders without the foggy trees: we have all heard this music, seen this art, read these words, watched this dance. if you have listened to a computer rendering of a piece of sheet music, you are aware of neat and tidy technicality, seamless, even perfection. you are also aware of the lack – of any emotion, any expression, any air, any space. boulders will only sound like boulders. there will be no question. there is no beyond. there is no fog.
to answer the this-or-that question from the forum – technical chops or feeling – is both impossible and necessary. music is the expression of the human condition. music is love in sound. it is a marriage of both the technical and the evocative.
yet…if art is to convey questions and answers, to explore and navigate, to inform, to find meaning…if the recipient is to be moved, to be smitten by life, then music – the simple and the complex – must be played with heart. and technical wizardry will cease to matter if it falls upon souls with nary a touch, without any dents or brushmarks or trace that it had been there.
“it is enough when a single note is beautifully played.” (arvo pärt)
because a single note – played with heart – will impact you. it will bring you to a place where – even without standing on the shore – you can see the fog, the trees, the dim horizon.
and you are able to “feel the world stand still”. (arvo pärt)
i own 200% of my original pieces of music, my original songs. 100% of that is the compositional copyright and the other 100% is the sound recording copyright. with the exception of one vocal song which i collab’ed on, and one song where i gave my dueting partner a percentage for a few lyrics he changed, i have solely written each piece.
i did not find myself near the bluebird cafe in nashville or any of the listening rooms in nyc or los angeles when i was writing any of these albums. by the time i was writing for albums i would be recording, i was a mom of two small children, one a tiny toddler. my writing took place in the midst of potty-training and reading stacks of books, pbj’s and grilled cheese with the crust cut off. my growing-up piano was the instrument on which i wrote my first three albums, surrounded by barbies and matchbox cars, vhs tapes of barney and disney movies. i wrote with children on the bench, children under the bench, children on my lap.
in my most recent composing, a bit ago now, i still found myself writing this way…with many plates spinning and in short spurts of dedicated time. it was a practice i honed through the years and it served me well, this multi-tasking.
vocal song lyrics are found on scraps of paper, on pa-pads, on napkins, with letter names of notes and jotted rhythmic gestures next to the words. some of these took weeks of fine-tuning, changes and wordsmithing. others took ten minutes. total. slow dance is one of those.
the album as sure as the sun is one that celebrates life and love and relationship, in its many facets. after five instrumental albums (and another nine albums later) with the very best producer – also my arranger and a consummate musician – i worked with a nashville producer on this vocal full-length. in los angeles for some pre-recording meetings, we put the song same sweet love to pencil and paper, adding it to the lineup for asats production. it’s a totally different energy to collaborate on a song – to share the writing – and something i had little experience with. we both ended up singing on this song and we co-own it.
the very wide spectrum of love – and its impact, its mystery, its universally understoodness (and not-understoodness) – is one of the emotions to which songwriters gravitate. powerful and complex, there is no limit to reaching listeners, a strong connection the tie between music and emotions, a driving force.
i’ve read that a recent psychology of music study revealed that in every decade over the past six decades (since 1960), as much as 67% of all song lyrics were about romantic love. it’s not surprising.
when i do pick up pencil and paper again, looking at the line-up of songs already written for a potential next vocal album, i’d imagine that there may be some editing. i’d imagine that the arvo pärt note-smith will step into the instrumentals. i’d imagine that some lyrics will change in the line-up, maybe a melodic gesture or two, maybe the harmonic structure. i’d imagine that – maybe – in the review of these last years there might be a few new pieces, maybe a whole album’s worth of songs or instrumentals that muster their way past my editing delete-r.
i’d guess that there might be songs about transition, about relevance, about aging, about simplicity. i’d guess that there might be songs about hard decisions, hard times, hard losses. i’d guess that there might be songs about love, in all the corners of one’s life.
and i’d guess i’ll own 200%, back in my studio, comfortable writing alone.
a water lily rises to sunlight. it is unaware of its astounding beauty, of the draw it has on us as we pass by. we turn the canoe around and attempt to get close, to take a photograph, without paddling over the pads. it is the arvo pärt in the lake…simple, exposed. were there to be music performed by this lily, i suspect it would be clear and distinct, though soft and warm, bell-like fragments of sound, minimal, arvo’s tintinnabuli.
it is never the fancily decorated that attracts me. it is never the overly done makeup-ed, the bejeweled, the gold-and-diamond-studded, the finery in attire, swanky or haute couture. it is never the ornamented, embellished singer, the bombastically orchestrated. it is never the heavy classical painting or big ornately carved furniture or heavy drapery.
it is the old piece of desk that holds a lamp and a few books. it is the small farm table in our sitting room. it is the driftwood on our mantle. the finches at the feeder. our little aspen in the yard. the chippie on the fence out the window. the look of new motherhood on my niece’s face. the framed notes from my children on the bedside table. the ceiling fan chain bracelet from my dad’s workbench. the jeans with holes. the sweatshirt hoodie sans one cuff. the old hiking boots and flipflops thinned by sidewalks.
“now, the idea is to get everything right – it’s not just color or form or space or line – it’s everything all at once.” (richard diebenkorn)
each time i have stood in front of one of the ocean park series paintings, i have been totally engaged. the light, the color, the form, the line, the space – richard got it all right in these. they are fantastic abstracts, luring you in. we left the san francisco museum of modern art with a richard diebenkorn book, one of those coffeetable type books – large with gorgeous illustrations and text. i keep it in my studio, to gaze at and sink into.
i do not know much about painting. at all. i have learned, though, that composition is, across the medium-board, still composition. a painting, a song, a dance, a poem needs someone to receive it, someone to interact, to respond, someone upon which it may fall. and for the artist, though imperative to do the work regardless, it creates the space for the flow to go back and forth, like a tennis ball across a court. each bounce and bounceback adds a little wisdom, a little emotion, breath. as i stand in front of richard’s ocean park paintings, it is as if i can hear his even breathing in my ear.
i stood on the dock up-north, gazing down at the water, light and sun playing on its surface. were i to have chosen colors to paint this, and not the black and white of the paintings i have spattered – the only paintings i have done as an adult, i might have chosen these tones. they are the colors i love to be surrounded by. this would be an abstract painting of getting outside without getting outside, to be there without being there.
but i did not paint this. nature took care of the color and form and space and line and i merely captured what nature made easy. there are many of these now – photographs of the abstract – all with strings tied to my heart and memories in my mind’s eye of outside. i keep thinking they would make a good coffeetable book…”getting outside inside”….a title, an invitation…for those sulky days when one needs the bounceback of the breath of the woods or the water, the space of the mountain trail or the rocky beach.
the gift of glassy lake reminds me that there are other mediums to explore, textures i might consider. i imagine richard diebenkorn and arvo pärt, on two sides of the court, two dimensions, lobbing the ball back and forth. abstractionist and minimalist – both extending an invitation. i start to answer.
i don’t remember what grade i was in when it was assigned: a project detailing what your ideal life would look like. it was either later junior high or early high school years. if i could find it in one of the bins in the basement i’m sure it would be predictably naive. i remember designing a house, writing about family, but not too many other details come up for me. designing an ideal life is never really inclusive of actual reality, difficulties, disappointments, hardships. i think it would be interesting to find this report anyway. the 1970s were a different time and this project would reflect that. were i to write a report now to reflect my ideal life, it would be a much simpler picture than i would guess that old paper would paint.
i remember columbus saying that he worked his whole life to have weekends with his family. to enjoy his backyard, his garden, a little fishing, time with the masons. he was living his ideal life each day, though the look in his eyes when we took him back to iowa and he stood in the fields gazing out at maize corn and blue sky would belie that. his dream was to raise his family in his hometown and, though he ended up in colorado, his other life was, i’m sure, somewhere in the farmland daydreams that swirled in his heart. he was wise, though, and didn’t wait to live until he was back in the midwest. instead, he set his sights on now. he didn’t wait. and each time his children or grandchildren visited he would cry upon their leaving, giant tears falling on this rugged man’s face. dolce.
some people are fortunate enough to have both: real life and the other life, la otra vida. crunch always felt that way about his boat too, so he’d understand the boat owner who named his boat ‘the other life’. moments of escape away, drifting, piloting to block island and fishing in long island sound, these are crunch’s ideal moments. though many of the boats and yachts in our harbor never leave their slips, perhaps just sitting on them in fresh lake air yields much peace for these boaters.
a house with lots of windows and open space, lots of repurposed old stuff, a kitchen in which we love to cook. nothing fancy. wood floors and a lot of white paint. a fireplace, my piano, david’s easels, places to sit and write and room for our beloved children, family, friends to come with significant others and visit. mountains and a lake out the window, a couple horses grazing.
last night as we sat on the deck in waning light turning to dark, tiki torches and our tiny firepit burning, dogdog sprawled out at our feet, we listened to the soundtrack of richard curtis’ movie about time. arvo pärt’s piece ‘spiegel im spiegel’ came on, a long piano-cello interplay of simplicity. we both had tears. if contentment was a piece of music, it would look like this.
though there are not mountains, a lake and horses out the window, perhaps someday there will be. it’s my maize-corn-blue-sky vision. but columbus was right. there’s the rest of it. the other life is always right there.
andrea wrote to me in 2009, “nothing is idyllic. i think we have idyllic moments. we have to take time to savor what is around us.”
reverse threading 