reverse threading

the path back is the path forward


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the bow. [k.s. friday]

the bow: sculpture – duke kruse **

at the very end of a concert, out on the apron of the wooden stage, as close up and personal as can be from a proscenium, head tucked down and adrenaline coursing through your body, the final bow is sheer gratitude. it is a humble thank-you. it is an exhilarating release. it is a moment when time dissipates into slow-motion and suddenly you realize that it is over. it is full of you-are-exactly-where-you-are-supposed-to-be. it never ceases to amaze me. and then, it is the moment to tuck back behind the curtain, head to the green room, breathe a prayer of thanks, and start the running review in your mind’s eye.

it matters not the size of the audience. a few people in folding chairs, a park filled with thirty-thousand, a few hundred seated in upholstered comfort. you bring the same program, the same dedication, the same commitment to your art, no matter how many people are there. the give and take of audience energy makes a difference, yes, but any performing artist can tell you that delivering the work is the same, regardless. one must actually work harder with a smaller audience.

you can feel it. the minutes your delivery resonates. you can feel it. the minutes you know you need to rapidly move on, change the course. you can feel it. in the perfect pause between lines of a story you tell, laughter waiting in the wings. you can feel it. the heart of a story falling into the hearts of those gathered to watch. it is a dialogue without dialogue and your bow at the end of the concert acknowledges their participation in it.

i would say that the things i miss most about the-job-i-no-longer-have are those moments of resonance, the moments that don’t find a place in a job description, the moments that cannot be measured. they are the moments birthed through expansive experience, through study, through empathy, through intuition, through gifts given to you that have no names, no deservedness; instead, just the compelling imperative to be used.

the times in the choir room when, in the middle of starting to rehearse a piece of music, a story surfaces and i must tell it. that laughter opens everyone; the piece of music has four-part heart. the times when i direct others performing together, joy on their faces, their breathing different because of that which they have created together, that which we have rehearsed together, the spirit which we have sown in the music. the times in the chancel, in the middle of a particularly poignant song, standing at the piano and singing into the boom mic, glancing at jim playing guitar and singing harmony and telling him with my eyes to make another go-round, looking out into the gathering, eye contact, and seeing the song fall upon them, touch them, engage them, speak to them, tug at them. those are moments when music connects faith-dots, moments of doing the work, moments of shaping a journey, moments in which i bow internally to that which guides me.

there have been many: many prosceniums, many aprons, many black boxes, many chancels, many flatbeds, the floors of wholesale, retail, television studios, the creaking floor under my piano, the patio out back. they each bid to the imperative. they each elicit my gratitude.

the stage echoes under my boots. as i walk to the center, take the bench at the piano, place my hands on the keys and my face up close to the mic, it is always with great anticipation. it is the culmination of planning, designing, writing, practicing, rehearsing. it is lighting and sound and balance. it is storytelling through song with lyrics, through song without lyrics, through song without music or lyrics, through narrative and through rests. it is the forerunner of a deep bow i will hold onto until the next time.

*****

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listen to music – bow included – in my little corner of iTUNES

** this stunning sculpture’s home is next to my piano in my studio


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these old boots. [two artists tuesday]

old boots

these old boots.  save for the laces, which were definitely in-beaky’s-book-worth-saving, these boots are now moving on.  looking at them, side by side on the deck, i could hear my big brother playing the guitar and singing, “these boots were made for walking, and that’s just what i’ll do…”

we’ve run out of everest movies to watch.  we have seen all the hollywood movies, all the national geographic movies, all the north face and eddie bauer movies and the rolex movies.  we have watched youtubes and imax-without-the-max-part.  we have sat through short home videos and a two hour and three minute go-pro video with no narration and hardly any talking.  we’ve watched k2 and annapurna and aconcagua and denali.  we have run out.

we have now moved on to the appalachian and pacific crest trails.  these boots – neither pair – were not made for that walking.  we can both vouch for it.

these boots were different.  they were more life-boots.  mine took me through well over a decade of travel, well over a decade of wholesale and retail shows, well over a decade of schlepping, lugging, driving very long distances, more schlepping and lugging.  well over a decade of practice on wooden stages while lighting and sound engineers ran cues.  well over a decade of flatbed trailers.  well over a decade of dreaming and sweating, well over a decade of highs and lows.

i’ve been attached to them.  the soles have separated from the leather uppers and wearing them would be like wearing closed flip flops, but heavy-heavy and flopping around, looking to catch on something and throw me headfirst into the ground.

i’ve been attached to them.  in some way they became part of my uniform, the same way that the black zip-up sweatshirt that no longer has cuffs or a working zipper was.  i’m attached to that too.  somehow, it felt like those kept me safe, kept me going, and brought me back home.  i suspect it wasn’t the boots or the sweatshirt hoodie.

so i’m saving the laces.  they can be used in a different pair of boots.

and i’m wondering:  maybe we should fill these old boots up with dirt and plant some basil.

read DAVID’s thoughts this TWO ARTISTS TUESDAY

bootsonrock website box


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the organ bench. [k.s. friday]

organ pipes

no one else.  there was literally no one else i knew who took organ lessons.  eight years old and i was the only one.  everyone else i knew took piano lessons.  they went to the new local music store –munro music on larkfield road in east northport – and had lessons in itty studios downstairs and came back upstairs to pick out sheet music from a big wall featuring the latest hits and books of collected artists, written out for various levels of piano-playing ability.  me?  i went to mr. i-never-knew-if-he-even-had-a-first-name sexton’s house (now, think about the torture my peers had with that name) and took organ lessons in the addition adjacent to the garage.  there was no wall of sheet music, were no cool guitars hanging up begging to be purchased, no amplifiers or drums.  just that one organ.  no windy or ode to billie joe or i’m a believer easy piano for me.  it was beautiful dreamer and long, long ago.  and hymns.  lots of hymns.  but i had been asking for lessons since i was five and the little chord organ that was my grandmother’s was moved aside and a ‘real’ organ with two manuals (keyboards) and real pedals and cha-cha button settings was added to the corner of the dining room that was next to the kitchen and the living room.

when i was ten i tearfully played the pipe organ for my brother’s wedding, the processional as my sweet sister-in-law walked down the aisle to my big brother.  yesterday i was talking to john whelan, a master celtic accordionist the exact same age as me, and we talked about the first real gig we did.  his was at 12 and he actually got paid.  mine was this wedding and, for obvious reasons, payment was out of the question.  i got to wear a really pretty peach-colored party dress and white shoulder stole and wept my way through the difficult piece.

after some time, i somehow convinced my parents that they needed both an organ and a piano and they signed me up for piano lessons.  joan ostrander, the very chic music teacher, was my first piano teacher and i adored her.  she pushed me and i adored that too.  i spent long hours practicing on the piano bench with my dog missi sleeping underneath, my dad whistling in the background.

in years to come i studied with the teacher-of-all-teachers alan walker and was convinced that the piano and i were kindred.  i taught more piano lessons on long island (and later florida and even wisconsin) than i can remember, back then driving from one house to another, delighting in each student’s joy playing the piano and progress no matter the pace, hoping to emulate the teaching style of this amazingly kind man.  after lessons we talked life and ham radio and ate open-faced crunchy peanut butter sandwiches.  music is not just about music, you know.

during my undergrad, i studied piano in college with one of the professors but kept bringing in pieces of original music and kept veering off course from assigned large scale pieces, hoping he wouldn’t notice.

as no real surprise, i majored in music composition, the first (?) step toward living as an artist, the first step in a road that leads to here and now.  so much in-between.  the gigging composer music timeline is filled with albums, concerts, performances, cd sales, radio and tv, qvc appearances, barnes & noble and borders, listening wall placement, phone calls, yamaha, traveling, shipping and more shipping, recording labels, carrying boxes, standing in the rain on flatbed trucks playing and singing, driving, driving, driving, press releases, graphic design, writing, recording, supportive family and friends and coworkers and a person named hope hughes.

but that organ.  it has kept on re-appearing.  somehow it is one of the threads that has woven its way through my life.  there aren’t that many of us out here:  people who play the organ, who can finesse a chosen timbre through the pipes and who can actually play lines of bass notes on the pedals.  those lessons from the very beginning somehow set the stage for me to work for three decades already as a minister of music.  conducting choirs and handbells and ukulele bands and worship bands, choosing music for services and performing groups, leading and shaping worship and, yep, playing the organ…it has been a constant.  there are days that i will pull out all the stops and play as loud as the organ pipes will allow.  its bellowing echoes through the sanctuary and i giggle as i think of my ten year old self, sitting on an organ bench in williston park on long island and crying.

what would i have thought if i had known that fifty years later i would still be sitting on an organ bench?

canyon love

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read DAVID’S thoughts this K.S. FRIDAY

organ pipe people website box

 


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before and after. galena. [k.s. friday]

galena songbox

your toes curl.  your breathing is shallow.  adrenaline rushes.  your legs are a little shaky. your hands feel tingly.  butterflies in your belly.  you are on the edge.  in that tiny place between before and after.

i gingerly walked to the edge of the canyon, my daughter encouraging me.  at the moment i stood there, feet firmly planted, no guardrail, nothing between me and canyon wall, my heart slowed down and i breathed in both the enormity of the moment and the taste of both before and after.  my girl and i laughed, loudly, the sound echoing across the vast canyon.  and then, it was after.

i sat at the piano, ready to record this first piece GALENA of the first album, 24 years ago, savoring the safety of before but ready for after.  at the edge of the put-it-all-out-there canyon, i walked onto the stage, brand new cds in the lobby, ready, with quivering knees and boots that gave me confidence.  and then, in what felt like a minute, it was after.

now, many album and stage edges later, many life and love moments later, many work and play split-seconds later, i wonder what the next after will be.  i can feel the edges; i can see them.  i’m aware of my toes curling.  my breathing is shallow and adrenaline rushes.  my legs are a little shaky and my hands feel tingly, butterflies in my belly.  there is a canyon beckoning.

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GALENA from RELEASED FROM THE HEART ©️ 1995 kerri sherwood