it continues to peel back. each rainstorm, each gust of wind, the ice and snow of winter, the baking hot sun…they all have impact. and the layers of barney keep peeling back. every iteration of this piano reveals its soul, a soul that never changes. despite disappearing obvious visual cues that say “piano” it is still a piano. the keys are virtually gone now, but remain, nevertheless, in essence. the stand that held music way earlier in this past century of its life has broken down. the sheen of lacquered varnish highlighting the grain of the wood has faded, melting into rays and raindrops. changed, barney is unchanged.
i wonder at the tenacity of such a soul. i wonder at the steadfastness of spirit. i wonder at how much more beautiful it continues to get – each and every day – despite all it has endured, all it endures.
there is a piano in our basement. it is my growing-up piano. it is a spinet, completely out of tune, even with itself. we had it moved down there and then built walls around the stairwell that turns and turns again, 90 degree angles making a complete 180. that piano may never be able to be moved back up those stairs. but if it could, i would bring it outside. the journey that barney has taken – with flowers and plants and chippies and squirrels – has only enhanced its real presence in the world. if i could, i would honor this old piano – this relic of my growing-up – with this same weathering of time.
though currently exponential, like most generations before us, we are living in a strange and scary time. the facade of our country is being peeled back. yet, what we are finding beneath this shiny well-lacquered veneer is not wholesome or all-american. as the soul of constitutional goodness is stripped – layer by layer, right by right, freedom by freedom – there is an ugly that is revealing itself.
when the keys are gone and the music stand is gone and the sheen is gone and the wood is splintering, falling into the garden to turn to mush, what will we find at the center of this country?
i fear it is not stalwart like barney. it is not getting more beautiful. its endurance is limited. changed, it will be changed.
and nature hung chandeliers all over the woods. shooting star chandeliers in celebration of warm spring days – tucked next to majestic oaks, stars flying across the meadow. but not for long. as summer heats up these will fade. everything has its time.
aging is a funny thing. but it is not in the way of the enchanting shooting star – for those will come back the next spring, ever-resilient, perennial.
instead, aging is a bit more like an annual. periods of growth followed by fallow. uncertainty. we struggle with what is ours to do – we struggle with how that changes – we recognize endings and, thankfully, beginnings. but our time as chandeliers is not limitless. and, as we process that, we are less devoted to the zealous striding of our younger selves and more to the mission of the expression of ourselves.
i have thousands of cds in the basement. all cds with my name on them, ready to be shipped. smack-dab in the heyday of my career-with-a-much-delayed-start, writeable cds became a thing and streaming became rampant. it changed everything. dramatically. suddenly, the tens and tens of thousands of cds i was selling – which merited the thousands in waiting stock – dropped in numbers. streaming and download reports showed hundreds of thousands of hits but merely tiny slices of a penny for each one. it is stunningly gut-wrenching to look back at the shooting stars as they burned out.
people ask me if i am still “doing music” when they see me. because it is who i am i always say yes. and then i think about the boxes of cd stock in the basement and any latent desire to record more. it is hard to justify. very.
but the call of a piano and a boom mic on a stage or in a studio is ever-present. they are part of my chandeliering. and – like wishes on a shooting star – i wonder if one day pale purple flowers might bloom out of the fallow and i might give myself to the astonishing and to the illusion of the standstill of time.
“you are a child of the universe. no less than the trees and the stars, you have a right to be here.” (desiderata)
i don’t suppose i ever really fit in. i was the youngest in my family – separated by a decade – while most of my friends had siblings their own age. i grew up in a neighborhood where the kids were somehow athletically gifted, while i took organ and piano lessons and sat in my tree writing poetry. an early entrepreneur, i pulled a wagon around our neighborhood selling baby cactus cuttings and candles i had made. i didn’t go to – or get invited to – wild parties or cut class or skip my homework. i took bike-hikes and walked on the beach in the winter while everyone was at the mall or the bowling alley or the movies. i didn’t listen to the stones or grateful dead or led zeppelin (with the exception, of course, of stairway to heaven – everyone’s prom theme). i listened to john denver and gordon lightfoot and the carpenters. i wore off-brand clothing and didn’t keep up with fashion trends. my momma bought me less expensive boy-pants and found the offbeat stores for shoes-that-look-like-trendy-shoes-but-are-not, like my cherished construction boots. my first car was my dad’s vw beetle, nothing fancy but beloved. i had numerous part-time jobs through high school and then in college and knew the joy of serving corn flakes to both me and my dog missi for dinner. i never thought of myself as weird. but i suppose – if one considers the definition “may have unusual habits, interests or ways of thinking that set them apart” it could be true. i don’t see that as negative, though i also suppose that – depending on the way you see yourself fitting into the world – one might consider it such.
so the sticker “stay weird” hung upside down and backwards made me laugh aloud. somehow my laughter summoned mary oliver and she and i enjoyed a good chuckle about the infinite extraordinary of the insignificant and the everyday, the value of seeing the usual through a filter of unusual.
weird took a very long hiatus – it was safer, less vulnerable, and kept me out of trauma i had shelved. i pursued the inevitability of having to make money, to help support a household in a more meaningful way than the way of an artist. for this society – though its love for the arts is profound, its support of the arts is less so.
it was after my children were born, after the imperative was too loud to ignore, after the perils shushed a bit – when it was time to start releasing music. writing, practicing, recording, performing, marketing, booking, hawking – none of this is necessarily standard-work fare – it is unusual, it is tenuous, it requires a bit of courage. it doesn’t have the same parameters as a workday in corporate or structured america. it has no guarantees of reward, no regular paycheck. it is steeped in personal challenges, the need to be scrappy and the sisu to put it out there.
in the time that was the heyday of my recording career i would call absolutely anyone, regardless of their position. as the owner/artist of my label i have talked directly to vice presidents of sales of barnes and noble and borders books and music, owners of publishing houses, the personal managers of ridiculously successful recording/performing artists. i’ve sat in j. peterman’s messy office chatting (of the j.peterman catalog and seinfeld fame) and in the spare chair of radio program directors. i’ve danced across the stage at qvc-tv under a disco ball and played songs live over phone conferences with oncological pharma higher-ups. i’ve stood in the rain on flatbeds playing, embraced boom mics over my piano on theatre stages of all sizes, sang in front of 35000 people in support of cancer survivorship in central park. pushing the boundaries, carrying a little chutzpah along with belief in my own artistry was everyday life – and necessary. and i’d remind myself each time i picked up the phone or stepped into the unknown the very fact that we all breathe in and out the same way. this thing we have in common, i would tell myself – breathing. surely i could connect on that most basic of levels.
as outside the conventional box as it all seems, i didn’t feel weird. i felt in my skin.
and so, apparently, the weird continues. we know we are different than others. we have a certain run-and-jump into vulnerability that others do not. we have a certain pull towards creating, experimenting, learning – all in the public eye. we share because we have to, not because anyone has to receive it.
so, yes, the “stay weird” sticker really spoke to me.
though my life – and our life – is quite a bit different than the traditional lives or retirements of lovely people we know and care about, it is somehow just right for us. i never forget the corn flakes and he never forgets the sleeping bag in his studio space. every everything counts and we are reflexively careful about not being frivolous. for us, weird has granted us a certain appreciation of the littlest things, honoring simplicity and leftover pasta, redundant black thermal shirts and a shared bin of socks, used notebooks and repurposing taken to a new level.
what one does with one’s “wild and precious life”*…
last year a black-capped chickadee returned over and over to this old barnwood birdhouse on our tree. each time it balanced on the the hole and pecked at the edges all around the entrance to the house. we wondered if – perhaps – it was not quite big enough for this bird and its intentions to build a nest. it worked at it – diligently – finessing the birdhouse as it could, enlarging the entrance and pecking off the sharp edges. but it did not end up nesting there.
this year two black-capped chickadees return over and over to this birdhouse on our tree. this year they carry in supplies – long strands of ornamental grasses, bits of branches and leaves. we believe that – this year – there is a nest inside this birdhouse. we hope we are right, for the idea of baby birds just off the patio – in this sweet birdhouse – makes us a little bit giddy. together these chickadees have made a home, taking turns with the chores of preparation and standing vigil, keeping it all safe from harm. we stay hopeful that there will be babies and that this sweet bird-family will endure all the hardships of nature and the passing of time.
yesterday was the 43rd anniversary of my (first) wedding.
i think back to the preparations and nesting through the years, as we worked together – successfully and not – as a couple and then as parents of two beloved children. like the chickadees, we had no guarantees – we just worked at it, best we could.
i look back – as we all might do – and see the moments in time we might have done better, might have made different choices, might have pecked at the edges of the entrance to our house instead of other things we did – things that would have finessed our home in lieu of harming it in some way or another. but we are human and our failings are as numerous as our triumphs. it is easier now – years later – to offer generous grace to our best attempts, despite how it all turned out. our two children are good people in the world – making their way in work, in their own passions, in love.
i am grateful for those years. i am grateful to have married a man back then who also tried his best to build a life together. as in any relationship, we brought different baggage with us – some of which was surmountable, some of which made life challenging. we started out pretty young. time has smoothed out the edges – pecking off the sharp parts – and what remains is softer, gentler, accepting. it is with deep affection that i now tell the tales of our thirty years together.
d and i met twelve years ago now – after six months of being daily email penpals. this year will celebrate the 10th anniversary of our wedding on a warm and sunny october day.
we have done our share of edge-pecking. we have finessed our home and stood vigil for each other. we have shared in the hardships of nature and the passing of time – for that – the passing of time – seems exponentially fast starting later in life. we have been fortunate and we work at it, best we can.
i am grateful for these years. i am grateful to have married a man who is also trying his best to build a life together. as in any relationship, we brought different baggage with us – some of which has been surmountable, some of which made or makes life challenging. we started out later in middle age. but time smooths out the edges – pecking off the sharp parts – and what remains is softer, gentler, accepting. it is with deep affection that i tell the tales of our life together. it is with humble and immense gratitude that i look into the future with him.
there is no telling what chickadees may do in life. but they seem to realize the very preciousness of it as they zealously prepare and tend their life together with another chickadee. sometimes they stay with the same mate all their lives. and sometimes they don’t. either way, chickadees have strong pair bonds – which is the very best we can all do for each other.
there are about 200 seeds in a single dandelion fluff. even in the gentlest of breezes, the dandelion field scatters everywhere – seeding, seeding – more dandelions, more dandelion fields.
oh, the mayhem.
88 keys.
the clusters of piano keys that might be in any piece of music. consider just a three-note composition. in the simplest of equations, assuming once the first choice is made you must move on to the second choice and then the third choice, one has 88 keys to choose from x 88 keys to choose from x 88 keys to choose from – merely 681,472 options for any given composer on any given day working to write just the first three notes of a melodic gesture.
oh, the mayhem.
choices.
for the painter and a canvas, a writer and a pad, a dancer and a wood floor, a potter and blocks of clay, a blogger and a computer keyboard.
it – the imperative to mayhem – calls us. to make something out of it all. to birth something out of the raw materials, to use our tools to create, to choose direction, to express artistic vision – what we see or hear or feel – a passion – that might – or might not – touch others.
there is no guarantee, no real proverbial “if you build it, they will come”. it doesn’t just happen that way. it is an imperative nonetheless.
the imperative to show up, to engage in the mayhem.
i’ve done much of my composing in-between other things, stealing time – minutes even – to write something – anything, something that might be universally understood, something that gives air to a thought, an emotion – something in my internal or external world. scraps of melodies, bass line roots, ideas only until i might make them airborne.
mayhem steals my imagination and lifts it past the stuff-of-the-day. it pokes and prods me, not allowing for passivity, foisting ideas and snippets of muse upon me.
it’s a bazillion seeds in a dandelion meadow, a bazillion pianos, a bazillion pencils and pads, a bazillion brushes and a bazillion paint pots.
barney has been stalwart, steadfast, unwaveringly standing in the garden through every infamous weather challenge – the rain, the sleet, the snow, the ice and the wind, the extreme heat, the drought.
it is one of the most gorgeous things in our backyard. we have watched it age, its wrinkles, its furrows, its jowls. we have watched it struggle to stay young, fresh, shellacked. we have watched it give in – to time and the elements. and, in that giving-in-ness, we have watched grace in real life.
in this insane world, i have thanked our old house and its painted-wood countertops, its old floors, its cracked plaster, its doorknob-less six panel doors. i have admired the tile floor in the bathroom and the way light streams in through the double-hungs. i have relished the paintings on our walls and the fabulous chunks of concrete that serve our living room. i have whispered to our house and i have thanked its familiarity and its comfort. i have taken refuge in its security. i have reveled in our comforter, our dogga at our feet, coffee by our side, happy lights. i have simplified need and put want to the side.
in this insane world, i have patted littlebabyscion as i get in and out, stroked big red as i have walked past it in the driveway. i have noted with great appreciation the wild geranium and the day lilies pushing up through cold dirt, the buds on breck. i have sat on adirondack chairs on the deck – still a bit bundled up – watching birds and squirrels, sipping wine and eating maybe too many chips. i have been grateful.
and i have gazed at barney-the-piano, over there, in the garden. i have felt it steadying me.
in this insane world, i have thanked barney.
“pardon my sanity in a world insane.” (emily dickinson – and barney)
barney – through wind and rain and snow and ice and blistering sun – has shed all the clothing of its keys – both black and white. this is the very last of it.
and, even stripped of so much, of the things that make barney look like a piano, barney is still a piano…barney’s soul is tenacious – still a smith-barnes upright – and we can feel evidence of scales and arpeggios and glissandos, of etudes and ballads, of pieces ethereal and bombastic. barney is changed and yet unchanged.
we will each face the storms of the future. we will surf waves and, sometimes, despite heroic tenacity, succumb to the inability to surf. but we will endure and persevere. we will look different and we will feel the same: changed-unchanged.
and, in the center of all of it, while we are on the way to later, stripped and naked of all that is superficial, smack in the middle of our souls, we will still be able to touch the black and white of our lives. just like barney.
“meaning is what’s left when everything else is stripped away.” (suleika jaouad)
fall has cracked the door open. and, though it may tiptoe around a bit in this teeter-totter season, it will not backtrack. it is on its way.
and nature – in its wisdom – is doing the work, prepping for cold to arrive, stoking up, storing up, guarding its ability to survive, seed heads readying to spread far and wide.
she asked me if i would be recording again. I wasn’t sure how to answer. i don’t know. it has been some time since my last project. recording is expensive and – because of today’s world of streaming – not particularly financially rewarded, making it a kind of skewed investment…heavy on the cost, extraordinarily light on the payoff.
yet, every independent artist knows recording is not solely about the financial reward. it is the expression of what’s inside, just waiting to hit air. it’s doing the work, prepping, stoking, storing, guarding – all for the seed heads to fly.
she asked me other questions as well – how i compose, if i hear music inside. her questions cracked open the door to a conversation I haven’t had in a long time, a real conversation about my music. i felt grateful – not only for her inquisitiveness, but for her obvious support of what i have already produced. it was a sort of balm on a wound that was just lingering, lingering.
I don’t know when – or if – i will produce another album. i’ve teetered-tottered just like the waning of summer and the rising of fall, just like daisies struggling to stay vibrant, open, to stave off utter fallow. i’ve wondered through these last few years if, after fifteen albums, i was “done”, wondered if, at 65, i was no longer relevant, wondered if i still had the necessary chutzpah.
i miss the stage, a piano and a boom vocal mic, a wood apron beneath my boots. i’ve missed telling the stories of songs and the gestures of instrumental piano. i’ve missed eye contact with an audience, finding resonant bits, making people laugh or reminisce, the moment you know they are right there with you.
the daisy seed heads are getting ready. it’s pretty certain they will proliferate gardens again in the spring after their fallow through fall and winter.
maybe – somewhere in here – i am getting ready too. i guess we’ll see.
in 1971 he came up with it: “rural folk piano”. uncluttered, melodic, uncomplicated, “inspired by the seasons and the topographies and regions, and, occasionally, by sociological elements” – a reflection of where he was at. we – solo pianists and composers – owe george winston a debt of gratitude. he has just died, in the last days, but the impact of his work will continue to reverberate through speakers and earbuds and, significantly, through the works of those of us who have followed him.
i chatted briefly with george once. it was after one of his concerts early in my recording career and i can’t remember if he had put his shoes back on. he doesn’t speak much in concert; he lets his melodies do that for him. they are profuse and intelligent and articulate, always evocative. but just like some might think that they know everything i am thinking or feeling because of this blog or my music, a listener might think they know everything george was thinking or feeling because of his music. i’m guessing for george, but think neither is truly the case, entirely. blogs and music compositions, words and notes can certainly disclose some of the soul, but i suspect that, just as is true for me, the complete autobiography is not found in completion there – it is also found in the reflections all around us.
there are few people – instrumental aficionados, especially – who have not listened to george winston’s 1982 release “december”. it is exquisite. it went triple platinum and was on the billboard 200 for 136 weeks. his work – a plethora of gorgeous albums – gave serious credence to melodic solo piano and set the stage for a next set of composers – those of us writing emotional piano pieces, some solo, some with orchestration – and the subsequent contemporary radio airplay that ensued. by the time i wrote my fourth album, a/c airplay was possible and – for that purpose – pieces were kept under 4 minutes, and, even, closer to 3:30.
the reflections in the building across the river are entrancing. black on cobalt, it’s all a curiosity.
the reflection of those-who-have-come-before-us reveals in our own zeal to create, to speak, to have voice. artistry.
it is with gratitude and a deep appreciation for his wizardry that i thank george winston. his star will always shine with brilliance and his legacy will resonate throughout the ages.
green sounds different than red which sounds different than blue. green looks different than red which looks different than blue. green feels different than red which feels different than blue. so a color field of all three would seem to emit, depict, emote a wide spectrum.
i’m pretty sure that mark rothko and i would have been friends. his goal: “to capture the essence of basic human emotions on the canvas and then evoke those emotions from his viewers.” (masterclass.com) my goal: to capture the essence of basic human emotions on the piano and then evoke those emotions from my listeners. instruments – the canvas, the piano – that tap in. yes. friends.
in my mind’s eye, i can see a tour. all over the country to different art museums that house a mark rothko or two. a big yamaha concert grand on the wooden floor, placed in front of the giant color field painting, paused in silence, waiting. abstract expressionism on the canvas. and then, the translation – abstract expressionism on the piano. action. color field. repeat.
i’m pondering this painting green, red, blue. in thinking and feeling green, i ponder what i’ve already composed that sounds, feels, looks green. in thinking red, i ponder what i’ve already composed that sounds, feels, looks red. in thinking blue – specifically blue-around-the-edges in this case – i ponder what i’ve already composed that sounds, feels, looks blue.
in a push of creative courage, i can see this tour. in a room void of people or full of people, i imagine me and the painting and a piano. high ceilings, the swoosh of the sustain pedal brushes against the walls and swirls around. no other sound. yet. and then.
i’ll play for you i’ll play for you i’ll play for you
and you will hear green and red and blue as you will see green and red and blue. and maybe, if you are open to it, you will feel green and red and blue. and mark and i will have done our job.
it’s the work of all artists – really, everywhere: play for you.
reverse threading 