“…sometimes you just need some space in between. a few moments to think.” (liner notes)
time to sort, to ponder. a breath. in music, it’s used in between verses and choruses, a time for an instrumental, a time for a pause in lyrics, a pause for thought.
right now feels like an interlude. space that is falling between the verses, it’s quieter with more pondering. it’s a time of figuring out, a time of ‘what’s next?’ not every interlude is comfortable, but that space in a piece of music, in life, is a time that can be rich.
as mozart said, “the music is not in the notes but in the silence in between.”
i can feel it. it’s not something i can put words to. it’s mysterious and undefinable. but it’s coming. there is a turning point. right around the corner.
i walk into this new year and there’s something different…there is an underlying vibration i can feel – viscerally – a pulse, a quivering – that is present.
when it was time to pick a piece of my music for this week’s studio melange, i was drawn to this one….full of angst and wonder and sedimentary layers and mica and minor…..full of questions.
2019. it has been nine years since i recorded a full-length album of any sort and seventeen years since a full-length vocal. is it time? to record? to let it go?
i can feel it. it’s not something i can put words to. it’s mysterious and undefinable. but it’s coming. there is a turning point. right around the corner.
just last saturday evening, out on cape cod, we lingered over seafood and glasses of wine with jonathan, our bass player. we were sitting around his table, chatting about music.
he told us about a group of musicians he rehearses with on an irregular basis. they play a wide variety of instruments and they all just gather casually together and jam on some “good music”. “…and once in a while we play the same stuff…” he stated. his voice trailed off as he thought about what he had just said and we all laughed. we can picture a whole group of jonathans in the room – all exuberant and, each, lovers of all music, all pick-ready, mouthpiece-ready, reed-ready, hands-poised-over-the-keys-ready. that kind of enthusiasm shouldn’t be curbed or restrained. the sheer joy of playing – now that’s the reason to be all together. it’s not about playing all the notes on the page, playing them all perfectly at the same time, playing them with no mistakes. it’s about heart. it’s about the breaths and the rests of silence, the flip-flop your heartbeat makes when soaring notes come together in a sweeping harmony, the tears you get in your eyes when something you just played or heard is sublimely sweet, dynamically touching, deeply resonant, the belly laugh with the ridiculously dissonant moment.
the ukulele sip ‘n strums are about just that. if we can choose to teach anything at those sip ‘n strums, i would choose to teach just these things. the things of joy. music is all about individual hearts…coming together with the immense gift of twelve notes at our literal fingertips. no matter what we play, we are playing the same stuff.
it’s not a complex piece of music. it’s a line out of my heart at the moment in time i was recording it. it’s the mystery that surrounds waiting. it’s the depth of biding one’s time. it’s the expression of sitting tight and holding on, of not-knowing. it’s the tentative simplicity of before…before the time of getting to the end of waiting. it’s the time of anticipation, of advent – the time of emergence, of arrival, of birth.
it’s not complicated. it’s just waiting.
download JOY – A CHRISTMAS ALBUM on iTUNES or CDBaby
i’m thinking this is just a fancy term for procrastination? you know, those moments when you have a list-of-things-to-do and you do something NOT on the list. to be honest, i ALWAYS add the things i ended up doing TO the list so that i can cross them off. there is something i find so very satisfying about crossing things off. even if i haven’t gotten to the crux of what i need to get done.
d says that i work in a circular manner. i suppose he’s right. but i swear it’s a woman-thing. we are spinning many plates at the same time, keeping them all in the air, and, although everything will eventually get done, we move from one thing to the next and then circle back. i know very few gals who – in an OCD kind of way – stay cemented to one task until its completion without punctuating it with others.
when The Girl and The Boy were little i was constantly moving from writing at the piano to reading books aloud to playing with matchbox cars to making business calls and back to the piano….many layers all at once. i remember having a phone conversation with one of the VPs of barnes and noble when they were placing one of my albums on the listening station wall. in the middle of this phone call, you could hear one of my children in toddlerhood – i will not mention which one – in the background, beckoning me from the bathroom, yelling, “i finished! i pooped!” the VP heard it too and he was gracious enough to tell me he would hold on. it’s a mom thing, right? those spinning plates.
we work differently, d and me. we are both productive, but i’m guessing he would oft label me productively avoidant. eh. he just doesn’t see how i accomplish that ever-growing-ever-crossed-off list in my head (or on paper, for that matter.) it’s amazing what i can accomplish when i am “supposed” to be accomplishing something else. i know you know what i mean! #allwillgetdone #whatdoesitallmeananyway?
right at 2:08 in this recording is an ambient sound. it is a sound that my producer and i deliberately decided to leave in the recording, an audible sound of divine, a tiny punctuation in our project from across the barriers of physical being-ness.
we were recording remotely on one of the northwestern university stages, ken (my amazing “it’s fine” producer) having built a small studio off in the green room, separate from the stage space where the piano was. everything was moved or padded so as to avoid interruptions or rattling or vibrations or overtones, anything we didn’t want included in this solo piano album. it was a tedious process and we recorded straight through a twenty-three hour stretch. with me were items – totems of a sort – to keep me company as i recorded this first album. one was a stuffed animal i had given my beloved big brother during his chemo treatments, three short missing-him-years prior.
divine intervention was the last piece up. the last piece of the very first album i was recording, released 23 years ago november 11 on my sisu music productions label. teetering on that balance point, no idea of where i was to go next or what would become of this album, i was emotional and exhausted, determined and vulnerable. i spoke words of prayer and began the next take of this piece.
at 2:08 i heard a sound. it sounded like an old wooden screen door closing, but i didn’t really know what it was. i was sure, however, it would be on the recording since i could hear it on-stage. i kept going anyway, thinking we’d go back and re-record the piece. when i finished playing, tired tears in my eyes, i walked into the green room to find ken standing in astonishment. there was an empty can of pepsi in that little studio, one i had put in there and secured by towels deep onto a shelf. at 2:08, the can somehow moved out of the spot it was nestled in and clattered onto the floor. the sound. even without listening to the cd i can hear this sound in my head every time i play this piece.
we listened back to the raw recording. sure enough, it was there. and so was something else. a feeling that somehow, some way, the divine interrupted. intervened with a small nod. perhaps it was my big brother, in jest, stopping by in the middle of the last take of the very last piece of my very first album, to make a little noise. perhaps it was something else. either way, we knew. and we left it in.
i still have the can.
15. divine intervention (3:16): the feeling i have about this whole project. there really isn’t any such thing as chance. those who are just on the other side sometimes help us to sort and place the clues of our life’s story. (words from released from the heart jacket)
wendy aka ben aka saul brought the movie so that we could watch it together. the musical the greatest showman was completely entertaining. there are so many quotes and moments in that movie that are worthy of repeating but the one that is on-screen at the conclusion is by far the umbrella quote. “the noblest art is that of making others happy.”(p.t. barnum)
so often, it is the arts that people turn to for a breather, for something beautiful, for something to relieve their stress. a person will listen to music, gaze at a painting, get lost in reading a book or watching a play, feel their breathing slow down during a ballet, sink into a poem. invaluable offerings of peace, of happiness, the arts give pause.
it is humbling when someone tells me that a piece of music has touched them, that a song has made them weep, that something i wrote made them stop a second and ponder. it is my job as an artist to do my best to reach out with my work. i can’t determine if it will resonate with anyone; i can only “put it out there” as they say.
it is more often lately that i bemoan the priceless value of the arts that coincides with the oft-price-less earnings of the arts. for what better work than to make others happy. what better work than to be part of what people turn to when they need to breathe, when they need beauty, when they need to de-stress.
it is noble work. however you achieve it. for at the end, will we remember anything other than what made us happy and, more importantly, how we made others happy?
in all the chicken-scratch-notes i have about this piece of music, i have written in the presence of a heartbeat. the pulse that spans the entire 6 minutes 14 seconds, this heartbeat starts the piece. it is throughout the piece. it ends the piece. it is no accident that this composition seems interminable, ever returning to the theme; figuring “it” out often seems that way, a curse of perseverating analysis paralysis, depending on what “it” is.
i just erased what i had next written about this. i couldn’t help but talk about my repeated use of a rising leading tone gesture in the theme, f# to g, f# to g, off the beaten major root path, but instead the path of starting on my ever-loved ninth in the e minor key, a key that resonates so often with people. then i thought, “blahblahblah!!” geeeesh. that’s way too much information. so i erased it. (yes…there were even more details before i erased it!)
i composed this at a time that was laden with things to sort, to figure out, to resolve. it is one of the longest pieces i have recorded. there are moments you can hear the almost-there-ness of it, but, like life, it reverts back to the initial themes, the initial questions. and then, punctuating it, from time to time, a firm melodic gesture (f#-g-f#-e) where you can hear the lyrics in your head, “figure it out.” much easier said than done, eh? but our hearts keep beating.
it’s circuitous…the way i would define where i’m from. you have to be prepared to listen a spell if you ask me this question.
just like anyone, i have taken pieces – absorbed – every place i’ve been, every community i have shared in, every experience i’ve had, everyone i’ve met or been influenced by; indeed, those have become where i’m from. in jeans and boots on stage i talk about where “home” is and try to differentiate by referring to wisconsin as “home”, florida as “home-home” and long island as “home-home-home” which sounds semi-ridiculous, not to mention annoying for people who cringe at redundancy. plus it doesn’t include time living on a sheep farm in new hampshire nor profound moments i’ve had visiting places that have sought space in my soul. but it might give you a place to listen from; with your eyes closed you may hear your own story.
when i wrote this piece, 21 years ago or so, i knew it needed to swirl around the theme, travel from one key to another, return to its theme…have continuity yet have places where it started again. in celebrating my sweet momma and dad this week with the introduction of my song YOU’RE THE WIND it brought me back to my deepest roots, transplanted time and again though they may be. no matter what, i will always be a northeast girl. new york is in my blood and long island is ever a part of my heart.
where i’m from…it’s time ago…it’s now…it’s what’s to come.
if you listen you can hear the tide. in and out…like day, like experiences, like finding home. it changes. it’s the same.
yesterday, the senate passed the Music Modernization Act, a complex bill that is supposed to help songwriters in these days of streaming. as quoted in one article questioning the feasibility of pushing through this bill as is: “…niche labels and independent musicians face either a zero, or statistically insignificant, chance of a return on their investment through streaming. many report barely paying for a sandwich with their royalties.” (maria schneider, musicanswers.org) yes. creatives are still facing a grotesque misalignment of power and income despite an effort to supposedly be “helped”.
i didn’t know, back when i released my first album, that there would be another…and another…and another…
i didn’t know how vulnerable i would feel each time i released a collection of my soul, turned into tracks of music.
i didn’t know how grateful i would feel each time i stood on stage and spoke to an audience that was there to hear this music – my music.
i didn’t know how many stores, in the early days, would carry these cds (and cassette tapes, way back when), how many times i would be live on QVC-TV, how many radio interviews i would be relishing.
i didn’t know how humbling it would feel that many people would respond to something in my music, something would resonate with them, something would be healing or heartening or touch them.
i didn’t know, through the years, how many thousands of cds would sell, how many boxes i would carry, how many wholesale shows or retail shows i would be present at or how many phone calls i (or wonderful people who worked with me) would make or receive, taking and shipping orders.
i didn’t know that the BMI royalty statements i was getting earlier would soon decline as our world and the internet changed them drastically. the one i got two days ago for a period of the year included 59,000 performance counts and a $47.47 check. streaming has made it unnecessary to purchase a physical cd or even pay for and download an artist’s music and so i agree with the writer who said: “streaming revenue for most independent musicians doesn’t even amount to pocket lint.” (m.schneider)
i didn’t know that the yearning inside me to compose and record more music to be released on cds would be stymied by the cost vs earnings debacle that has been created by an industry that doesn’t lift up the independent, while the behemoths remain behemoth.
i didn’t know how sad it would make me. i didn’t know how it would change me. i didn’t know i would keep wondering ‘what next?’ i didn’t know i would be seeking answers to where i stand as a composer. i didn’t know my piano would call from my studio and i would ignore it, feeling betrayed by a profession that should pay my bills like any other.
reverse threading 