when i saw aly a few weeks ago she was holding her sweet baby boy landon in her arms and she told me that every night he goes to sleep with this album playing. ian joked that landon doesn’t make it much past the first three pieces, so maybe they should start it in the middle so they would be able to hear more of it. either way, hearing snippets or the whole hour of lullabies, i am touched that this little boy is gently going off to sleep with this music playing him into dreams.
i recorded this album after many others. i had already recorded six original cds, three christmas albums, two retro 60s/70s albums, two hymn albums and several singles by this point. but many of the shops stocking my albums and listeners who had purchased albums asked me about a lullaby album. it was with the picture in my heart of rocking (or walking) my own children to sleep that i researched lullabies, wrote a couple original pieces and spent time in the studio at yamaha artist services in nyc recording this.
some of my most precious memories are of My Girl or My Boy drifting off to sleep as i sat in the rocking chair in the nursery watching the seasons change out the window. i would read goodnight moon and sing quietly to them. then i would tiptoe out of the room, careful to avoid the spots in the old wood floor that would creak under my steps.
and so, it is an amazing thing knowing that there are moms and dads out there in the world, rocking tenderly or softly slipping out of their nursery with my album AND GOODNIGHT playing their cherished baby into sweet sleep.
download the album AND GOODNIGHT on iTUNES or CDBaby for your nursery iPOD
every time we get a text from david or molly with a picture of sweet dawson coloring i believe i see an artist-in-the-making. he is intense, all not-even-two-years-old of him. his crayons seem deliberate choices, his drawing coming from a place inside that beckons him to the paper, the cardboard box, the canvas. it’s innate.
charlie is a second grader. he practices batting every day. he has ground down an area of the backyard so much that seth thinks there will never be grass there again. charlie can cite all the players on the kansas city royals and their stats and he will narrate his own one-person ballgame in the backyard, an announcer with great animation and accurate details. such a small person with such a big passion for the game. it’s innate.
khloe, a teeny but mighty seven year old, would come up to the chancel each week and john would let her play the drum set. she didn’t pound, she didn’t arbitrarily hit drums or cymbals. you could see by the combination of joy on her face and an expression of concentration that she was pretty serious. she has the beat. it’s innate.
when my sweet beth and i talked on the phone she said, “i’m not sure how i feel about her going into music.” she was talking about her older daughter, who already has been cast as the lead in three plays this coming school year. i don’t think she has a choice. for emme, it’s innate.
each of us spokes-in-the-giant-wheel come into this world with something. something that is just ours. ours to do. ours to bring. it’s innate. already in us.
if you’d like your own, your child’s or grandchild’s handprints or would like an I CAME INTO THIS WORLD product to read BASEBALL or SOCCER or READING or anything else, we are offering a new option – designing for you and personalizing your own product line. please click on the product collage boxes above to access information about personalizing.
i drove back and forth and back and forth to nashville when i recorded this album, each time returning with a cd of the work we had done on the album. i’d play it numerous times, taking notes to share with my producer, re-writing, practicing, sometimes sharing the songs-where-they-were-at-the-time with others.
joan was the one who told me i needed a “strong woman” song included on this album. so i walked across the street home, directly into my studio and wrote one.
now, this isn’t my favorite song – it’s a little kitschy if you ask me – but i have had many tell me how much they like it and one of my favorite performances of it was when beth’s students sang it. (i was long-term-subbing for her. she’s a dear friend and an amazing choir teacher in a middle school in our district.) those kids really rose to the occasion and kitschy fell by the wayside in favor of strength and power and belief in themselves.
recently d and i listened to some of my first recordings. they were from 1979-80 and recorded in a studio in a town called port washington on the north shore of long island. i had found a cassette (now isn’t that retro word dating me!) and we have a boombox (another retro word) that plays cassettes so we settled in to listen to the three songs on what would now be called an EP.
one of the songs is called leaving and is a song i wrote for my parents as they retired and moved from our long island home to florida. i remembered that song well.
the other two? well, it’s funny. i could sing every word, but i didn’t remember the intense emotion behind them. THESE were my #metoo songs, i discovered (rediscovered?) as i listened. one of these days i might share these songs, not because they are great songs but because they are truth and every artist has songs that are life-defining. not the ones necessarily that chart (although those are lovely, indeed!) but the ones that speak from deep inside, with lyrics or music that must be spoken. these two songs were written by a vulnerable (and pretty angry) young woman who wanted to unleash the power of her crayon and live out loud, who definitely wanted to live without fear, who tried hard to break away from an experience i still would rather forget and who prayed – alone at the time – beseeching words. all this is what i wrote about in this week’s melange.
my heart goes out to all those women who are also card-carrying #metoo survivors. the out-loud ones and the silent ones. my wish for each of you: unleash your crayon, live without fear, break away, pray with another, count on you.
from this song of today’s melange post COUNT ON YOU, which may be more #metoo and less kitschy than i thought, “just move forward and then believe – you gotta trust…in you.”
along with the portable record player we take out on the deck, we have the you-remember-the-case-with-the-handle box of 45’s. with titles like sugar sugar and IOU and julie do you love me and….the side A of these records are the likely hits. but if you turn it over and play side B you can often be surprised by a song you like even more than the touted “side A” song.
when david brought up this canvas to photograph the painting on the front side, i was reminded of what we had seen when 20 so generously gave d a slew of his dad’s canvases. on the side B, his artist dad (richard “duke” kruse) had written, “welcome to the 21st century” on the back of the canvas he had so meticulously stretched. we laughed when we first saw it, but it remains a mystery as to why he wrote it; we can only guess…maybe he was bemoaning the loss of something of the 20th century; maybe he was truly welcoming the next. either way, we get it. we are both 20th century artists.
as a painter, david uses actual brushes to apply actual paint to actual canvas, a process that doesn’t necessarily need explanation, but, in the 21st century art world, isn’t necessarily always the trend. with computer design and sketchpads -aka graphics tablets- the feel of bristles can become foreign to a contemporary artist. what about the smell of the paint? the light from the window on the canvas? the spatter of acrylic matte medium on your clothes? the wooden brush handle in your hand?
as a composer, i use paper and pencils and erasers and a piano. i have a couple of keyboards that have traveled all over with me, but the piano that takes up an entire room in our house is my tool of choice. it is stunning how much time it took me to write a full score way back in college compared to the ease of scoring on the computer. if i made a mistake on the score, i had to -with my pencil and then calligraphy pen- redo the whole page. then i had to write out all the parts individually. the 21st century has advanced the ability to have a computer generate all the individual parts off one score that is online. pretty amazing and time-saving stuff. not to mention the “playing” factor. the computer program will “play” the part you write; you don’t have to. but what about all the pencil eraser dust that falls on the keys of the piano? what about the scraps of paper spread out all over the top? what about the feel of the action below your hands, the response, the whooshing sound of the pedal?
acoustic vs plugged-in, analog vs digital. kind of old-fashioned. that’s probably why i like to sit in one of the rocking chairs in david’s studio and just watch. and why he will come into my studio and just listen. we don’t need a lot of fancy stuff. he just wants to hang his paintings and i just want to sit at a piano on a stage with a single mic. pretty 20th century.
often on sunday mornings, when we get to the offertory slot, jim, the guitar player in the band, and i will look at each other and one of us will make a letter shape with our hands to denote a key…the key of a piece we will improvise on as we go. and then we are off and running. although it is often me (with the piano as my music-making-instrument) either one of us drives the piece. jim loves minor keys – they are so emotional – so he is in his glory if we pick something minor. no matter what, we don’t know where it’s going before we start. but there’s a moment we both feel that it is jelling and we take turns leading and yielding, surprised by the direction and the story, so to speak.
the path forward is like that, i suppose. you don’t quite know until you start. and sometimes, it takes you by surprise. just when you think you have it figured out, the key changes. you lead, you yield, you take a chance not knowing. and sometimes, it comes out alright. especially if it’s in a minor key.
i keep a calendar. my sweet momma kept a calendar. the written kind. she had the old-school kind that you buy the yearly refills for, with two holes in them to line up with the two curved rings of metal on the holder. she wrote on it every day: appointments, important things, birthdays and anniversaries, dates of import, big events, the smallest fragment of time memory she wanted to keep. i guess that’s where i get it from. i love my old-fashioned calendar. i look forward to getting it at the dollar store every year and i keep a mechanical pencil with a good eraser in it. i write in it every day. and at the end of the year, i have always sat down and read through the year, re-living each day, sometimes a good thing, sometimes hard.
if i went through my calendar, even for this year so far, i would find moments i didn’t want to forget. days that were tough, days that were pretty amazing. i would read about My Girl calling out “mom!” and running over as i walked into where she was working and i could recall -way deep in my heart- exactly what it felt like when she introduced me to a friend and said, “this is my mom!” i would read about the manifest destiny of cucumbers and pickles, a funny-made-me-laugh-aloud debate over wine with My Boy. i would read about the gluten-free-dairy-free-egg-free chocolate cake my husband made me and the day we stayed in bed to read a book all day. i would read about lots and lots and lots of walking, hikes near and far. i would read about potlucks with our dear friends and laughter and wine and conversation lasting well into the wee hours of the evening. i would read about late late nights with each of my nieces and laughing till we were snorting. i would read about spending sweet time with my sister and ashes floating on the breeze over the lake. i would read about the quiet peace of the canoe and the sunshine and endless conversation on the pontoon boat. i would read about antiquing and the vintage typewriter i had fallen for that 20 sought out for my birthday. i would read about gatherings in our home and at friends’ houses, sharing time with our community of people. i would read about difficult days of worry or times of sadness. i would read about the hours of working together with d: writing all these posts for our MELANGE and designing all the products. i would see that it’s been much much more than 208 days in a year. it’s been 208 days in my life and every moment has counted. whether or not they are all joyous, all successful, all funny, all productive, they are all good.
i distinctly remember recording this. i was at yamaha artist services in nyc and it was winter. the word “peace” was on a list of words i wanted to use as titles for pieces. “peace” is a big word for me….i’ve talked about how there are peace signs and the word peace all over our home and it was no different when i wrote this. the trouble with writing and using a big word is that you feel an imperative to make it count. there is a kind of heavy emphasis on this choice to use THIS word as a title – that you write well enough to support such a big word, that you do it justice, that it FEELS what the word feels like. it’s super-charged with self-induced pressure.
but the moments i spent composing this were extraordinarily special and i was wrapped in a cloak of peacefulness and love. it is not a complex piece of music; it has a repeating theme and, like a song with lyrics, returns to that theme again and again. like statement-question-answer-lift-statement-question-answer-lift structure.
“it’s fine” ken, in his infinite wisdom, orchestrated this so my heart weeps with gratitude each time i listen. cello lines and strings and french horn pull the simple melody out of the place of simplicity and reach, for me, a depth of being.
every artist has compositions that are their favorites, the ones that really express who they are. maybe it’s because i can so distinctly remember initially recording this. maybe it’s because i remember being back in the studio in chicago with ken as he tracked the other instrumentation. maybe it’s because it’s THAT word, the piece with THAT title. regardless of the reason, THIS is one of mine.
download PEACE track 5 on AS IT IS on iTunes or on CDBaby
“…you’re an angel in my life, and i’m still ridin’ on the back of your bike.”
“…you’re my big brother till the end of all time. angel you are.”
when i was little, my brother wayne used to ride me around on his bike…pretty much anywhere and everywhere. and so my adoration of him started early. he was nine years older than me; he had wisdom and know-how i didn’t…i was years behind him. even when i was small, i cherished all the moments he spent with me. and i didn’t know.
i didn’t know that time would be cut short and that this person who i relied on for advice and wisdom and fixing-stuff-know-how and just general big-brother stuff wouldn’t be around forever.
i remember being in the hospital with him during one of his chemo sessions. i asked him if i had been an annoyance when i was young, always wanting to go with him, always wanting his attention. there was this moment i will always remember – forever. he said, “no! you were my little sister and i was proud of you. i always wanted you with me.”
time stood still when he said that. i knew it was important to memorize that moment. i am still holding on to it.
so if you are an over-thinker like me, this is tough – to trust where you’re going. there are too many details that get in the way of the overall picture. d is a global thinker…he looks at the bigger picture, he calls it “from 30,000 feet”. i need to be able to envision each foot to get there….ok, maybe not EACH one, but i need a few more details lined up in order to believe something is possible. that disparity gets us in trouble sometimes. we talk about something and are having two different conversations within the same conversation. mostly, we usually agree on the ultimate Thing, but getting there is, well, sometimes cloaked in a tad bit of disagreement.
who was it that said, “everything will be ok in the end. and if it’s not ok, it’s not the end” ??? such brilliance! and optimism! i suppose we gauge so much of what might happen on what happened Before. we have pre-judgments about how something will turn out; we have reluctance to start; we think, “i’ve already DONE this and it didn’t work.”
i am at a crossroads. after 15 albums, i haven’t recorded an album in 8 years, haven’t recorded a new vocal album in 16. 16! where does the time go? albums are very expensive projects, not only financially, but emotionally. as i have already talked about numerous times, there is financial pressure on independent artists now like never before. streaming and illegal downloading has lead to a literal trickle of income, despite millions of “listens”.
so – where do i go from here? songs have been waiting; the piano beckons. something in me resists, afraid of not recouping even what it costs at the front end for something new to be released. part of me wants to believe – believe that it’s time to release something new, in this new time of my career. put it out there and not be concerned with how it is received, how many cds are purchased, how many paid downloads vs how many times it is streamed or pirated. but that won’t pay any bills, won’t afford a living. i am having trouble seeing the 30,000 foot view. not to mention all the feet in-between here and there.
like you, in some arena of your life, i am trying to trust. that whatever decision i make it will be ok in the end. and, if it’s not ok, it’s not the end.
over and over and over we are reminded. every second counts. it even gets trite sometimes. but then, once again, something makes time come crashing to a halt, where everything moves in slow motion and we are crushed with the inevitability of a change we didn’t anticipate, plan for, dream of or, even, want.
i wrote this song when heidi told me about waiting for the results of her mammogram, ultrasound, biopsy. she spoke of the moment her doctor called; she asked him to hold on and she walked to the mirror to look at herself before her whole life changed. THOSE WORDS impacted me enormously. i couldn’t get the vision out of my mind and wrote this for her. we went on to use this song when we performed (heidi – breast cancer survivor and inspirational speaker, me – writing songs and music to wrap through and around the events) as part of cancer survivor celebrations, walks, runs, hospital and pharmaceutical recognitions, susan g komen foundation, y-me breast cancer organization, american cancer society, gilda radner’s gilda club, young survival coalition, the san antonio breast cancer symposium, bristol-myers squibb tour of hope, living beyond breast cancer…
but this song goes beyond cancer survivorship. time can change and our lives can turn in more ways than we care to think about. there are many challenges, in many categories. the older i get, the more i see it.
on our roadtrip through the i-can’t-get-enough-of-it rocky mountains and intensely beautiful southwest, we talked about one second moving into the next. (don’t worry – lots of time we talk about things like twizzlers or our obsession with mission chips or we talk the scion into going up steep mountains.) and we talked about how, no matter what happens in a moment, it would be in our very best interest to linger in each one and then move into the next moment without carrying the stuff of the previous one. “it’s all new,” we agreed.
each individual moment counts. each one is different. yes, each one…each moment…trite as it sounds…is a gift.
download IN A SPLIT SECOND – track 11 on AS SURE AS THE SUN on iTUNES and CDBaby
reverse threading 