Hello, hello from inside the mirror! This is my attempt at a practice session selfie – using a dinosaur of a camera, no less. Notice the placement of the pillow, the height of the footstool and yes, indeed, those comfy tennies. This is my normal performance set up; albeit with a change of clothes and shoes.
However, in the recording studio, my beloved Dynarette pillow makes plastic-y squeaks during my playing as I tend to move a bit from time to time while I’m ‘in the moment’.
This is not a good thing.
Hardly noticeable by anyone on stage or off during a live performance, those squeaks wreak havoc to one’s ears while listening to playbacks of pieces played to perfection in the recording studio.
In my early attempts to silence those squeaks, I tried covering the plastic pillow with a cloth, but it only caused my guitar to slip and slide its way off its intended perch. Bottom line: getting rid of those squeaks meant getting rid of that Dynarette. But – how to replace its much needed function in the positioning of my guitar? Then I remembered an old trick: just hike up the footstool to its highest position. Once done, I quickly remembered why I had neatly forgotten that trick: it doesn’t do anything but complicate playability and crumple up one’s posture.
Back to square one.
Often when I am stumped, I’ll do something mindless, like say, clean house. So, I placed the Prisloeon its stand, turned around from the mirror, opened up our tiny clothes closet and began decluttering.
And what did I come across at first glance, but that pair of black patent leather shoes with the chunky 3 inch heels. That pair of shoes I hardly wear, but keep ‘just in case’.
Let me just say right here and right now, I have never ever been a high-heel type of gal. Especially the tall, pointy-sharp kind. Wedgies, yes. Pumps, yes. And sometimes in an extreme circumstance, ones with chunky 3 inch heels. I’m not the most graceful lady on the planet and even less so while bumble-walking wearing skyscraper footwear.
Here in the South, that’s sacrilegious – Meh! – I’ve always been more of an Earth Shoe Mama.
shoe & footstool setup for recording purposes
shoe, footstool & pillow setup for performance purposes
But here’s the thing: I got this wild idea to slip on that left foot black patent leather 3 inch chunky heeled shoe and try it on for size in tandem with my footstool.
How’s that for a clever classical guitar recording tip?
Dad’s (Al Bruno) promo photo ~ Chicago, circa 1945 (?)
Shortly after my jazzman Dad passed away last year, I received a letter in the snail mail announcing a contribution had been made to the Bringing Music to Life’s instrument repair fund in his memory by one of my cousins* and her husband. What a perfect way to honor my Dad!
Founded in 2010, this non-profit organization not only provides musical instruments to students in underfunded schools throughout Colorado, but refurbishes each donated instrument before being placed in their eager hands.
“If you take a musical instrument that is in bad need of repair or even partial need of repair and put that into the hands of a 4th or 5th or 6th grader, they’re going to be very defeated when they try to play that instrument. They’re going to think it’s them – they’re not gonna know it’s the instrument.” (Dan Parker, pres. Colorado Institute of Musical Instrument Technology)
While instrument repair is an on-going service, the instrument gathering phase of this organization blitzes two weeks in March annually. This year, it runs from March 13th to March 25th. If you live in Colorado and have an instrument to donate, please consider taking it to one of the drop off locations listed here.
Others of you interested in this non-profit’s mission can go to their site and decide if you’d like to make a donation to their year-round instrument repair fund**. Or, closer to home, present this non-profit as a template for your own local community to use in aiding the enabling of the arts in the public schools.
2017′s promo video presents a special slice of the impact a single instrument donation made on a single student. However, last year’s promo video tells a more complete story of the Bringing Music to Life’s mission – I present it here for your own consideration.
* thank you Joannie!
** if you wish, feel free to donate in memory of Al Bruno.
Like many others, I feel at a loss to shape words into coherent phrases expressing outrage, sorrow, compassion and balanced thinking in the midst of our current flood of events in today’s world.
In light of this, as always, my medium of choice is music…and music as protest/social statement has a long history. Yes indeed I, myself, did the singer-songwriter scene in my early adulthood. Coming of age in the midst of another time of social unrest – I still embrace that genre.
Life goes on and in today’s world, my own current brand of compositional expression tends towards instrumental music. Personally, I feel it allows for individual interpretation, un-dictated by lyrical suggestion.
Which leads me to Max Richter, a favorite contemporary composer of mine.
Some time ago I stumbled upon an interview-article with Max published on Fifteen Questions. This on-line journal engages “production experts, performers, journalists, scientists and composers to discuss what music means, how it’s made, where its limits lie, and why it affects us all so differently and yet remains universal” rather than discussing the private lives of artists or their latest releases.
Here are a few of his thoughts to which I relate and are relevant to the subject of this blog post. I encourage those of you interested in musical composition and the driving forces behind it to read the full interview.
Max Richter – interview excerpts and short musical clip
Music for me is storytelling, so I usually start with an intention or something I want to say. From there I kind of struggle around in the dark, trying to find ways to say that. Sometimes it’s a linear thing where I have an idea and then go about trying to find ways to express it. Other times I will discover things along the way and the idea ends up turning into something else altogether. It’s a mixture between intention and chance.
I think the reason I write music is because I’m trying to say things that I find difficult to encapsulate verbally. Music is its own kind of language and it’s very good at saying things that words struggle with, so that’s often the impulse for me.
The role of the composer has always been subject to change. What’s your view on the (e.g. political/social/creative) tasks of composers today and how do you try to meet these goals in your work?
Music is a social art, kind of like talking, but in a way, music as a vehicle for political critique has evaporated in the last 20 years and that’s disappointing.
I think if we’re talking about something in music, we should be talking about the big things that are worth talking about and those things are: the state of the world; how we live and how we spend our time. That’s something that really drives me. For example, the track The Shadow Journal on Blue Notebooks, for me, is a protest song. It was composed and recorded the week after the first big anti-Iraq war march in London. And even though Czeslaw Milosz’s words are actually describing the Second World War, the imagery he used resonated with me at that particular moment in time and so social comment was most definitely the primary motivation behind this piece of music.
Generally speaking though, people are not thinking about music in those terms anymore, not if you compare it to the counter-culture movement of the sixties, when social commentary was one the absolute driving forces of music. It’s a shame and a lost opportunity in many ways.
Herbie (and the Headhunters) Hancock – interview excerpts and musical clip
And then there’s Herbie. Rummaging through some of my paper files a few weeks ago, I came across a Music and Musicians (June 2010) article I kept on hand entitled, “Herbie Hancock: Imagining the future with a plan, a piano and a vision of peace.”
I first heard of him as Herbie and the Headhunters in 1973 during my second year of college (University of Colorado at Boulder, 1972-1977). I fell in love with his ‘new’ funk sound while listening to his Chameleon on the then ‘underground’ Denver radio station KLZ FM.
Give the piece a listen as you continue reading excerpts from that article.
I wanted to make a global record. Although I’ve recorded with artists from other countries at various times, this truly was about emphasizing global collaboration as a path toward peace. I started thinking about America basically being an immigrant country.
Most of us have ancestors who were not from these shores. So we have these issues that are happening now about immigration and closing the borders and locking things down. I understand the motivation – the fear from 9/11 and terrorists. If you couple that with the insecurity that has come about because of the economic downturn, it’s drawing people into a state of chaos.
They’re trying to find ways to blame something, to put it on somebody. I think it’s time to stop looking outside for who to blame…now is the time to proactively begin the process of creating the kind of future we want for our children and for our children’s children.
How did you translate those ideals into music?
The first thing you have to do is be willing to be open and to embrace cultures outside of our own. The second thing is respecting the cultures and the people of those cultures. What other ways can we show our respect for other cultures? One of them is through language. It’s why I decided that if I truly wanted a global record, the record couldn’t just be in English…
Today’s World – in conclusion
Max and Herbie’s comments reveal the motivation behind much of an (he)artist’s work.
Communication – whether of a personal social statement or expression of some inner emotional response to life’s experiences – is often the result of a composer’s work; intentional or not.
For most musicians, even if performing non-original pieces, interpretational nuances shape one’s own message to be received by the audience as a gift from the heart.
For myself, my Swimming with Swansproject is one such work…to give voice to the fact that those of us who have experienced or are currently in the midst of a period of displacement in a living situation or even state of mind, are not defined by that but live day-by-day and create works of beauty regardless. And share it with all who will listen.
That’s just who we are and what we do – we count, we matter and we make a difference.
“I have told you these things so that in me you may have peace. In this world you will have trouble. But take heart! I have overcome the world.” John 16:33 NIV
Long story short, several years ago I fell in love with a National Res Guitar at McCabes Guitar Shop in Santa Monica. At the time, I didn’t follow my gut (even though hubby encouraged me to just ‘get it’) but rather my more practical side. Part of that practical side being financial, but mostly wondering how in heck I could keep from compromising my cg-nails in playing it (even if I could always just use a pick, but still…) and the whole heaviness of the instrument and well, I ended up talking myself out of taking the plunge and entering into its wonder-world.
Zoom to Thanksgiving 2016. Hubby and I drove up to Lansing, MI for the Family Holiday at middle daughter and son-in-law’s new home. The day after our festive feasting, son-in-law and I took an adventure trip to Elderly Instruments just a few minutes’ drive into town. I like to think it was a great excuse for this mother-in-law and son-in-law to further bond as fellow musicians. We browsed the instruments, soaking in the eye and ear candy. Nothing much tempted me to pick up and caress until my gaze happened upon this gorgeous tenor resonator.
Fascinated by the four strings on a res body, I lifted it off its display stand. Son-in-law was playing a nearby steel body 6-stringer res but I was not impressed with its sound…curious as to tonal differences between the two instruments I sat next to him on the bench and began a simple strum on the tenor res. And yes, she spoke to me. That long ago urging deep inside tugged, and this time I followed my gut! Hubby encouraged me to take the plunge in honor of my folks.
I view this newest addition to my musical toolbox as a special gift given from my folks posthumously.
The promised update on the results of my project4now experiment follows, but first a photo of the completed project is in order.
Now then, as a reminder, I decided to challenge myself by using different materials and assembly methods in this project. Those challenge-experiments are presented here with results noted in italics. Continue reading →
please, enjoy the music while you read the following, I promise it is related to the main thrust of this blog post…and since there are several guitar solos, well, you don’t really need to watch the lyrics up on the screen
Okay, so I’ve been starting and stopping in the writing of several blog posts.
I need to feed the blog, yes, but I gotta say my focus has been a bit wonky since returning from my five weeks visiting Dad. I started to write about that in a post entitled “Spider Webs, Jacob’s Ladder and Losing the Strand” but could only get so far when I’d lose the strand…(to befinished and posted at a later date).
Then on to a relatively easy Shoutout about the great Maestro Ricardo (and my friend) receiving a prestigious award at the annual GFA Convention in Denver, held just one week after I left. I wanted to attend, but those plans got trumped (don’t know if I like that term anymore…) with the Dad-card. No regrets at all, but it does leave the “Shoutout: In Honor of the Maestro Ricardo” in the queue to be sent sometime whenever I can do a final edit on it…again, the focus thing is the limiting factor here. It may never get finished and sent out since it’s more (out)dated news.
I discovered early on that I didn’t have the energy required to return to my current Swimming with Swans projects. This of course lead to frustration because I needed something to do in the realm of creating while navigating this new pattern of four weeks here and two weeks there; along with the emotional stuff that goes along with end-of-life and long distance elder care.
So I picked up the needle…that phrase is loaded, eh? I first mentioned this phrase in my post “The Rusty Quilter” that describes my history and re-introduction to quilting and fiber art.
Whole-cloth quilt top basted and ready for straight stitch machine-quilting
That said, I began in earnest my new ‘now’ project totally unrelated to anything other than as a pleasurable creative outlet: the whole-cloth quilted throw; which will be discussed in greater depth in yet another WIP blog post, as yet unnamed.
During today’s immersion in some straight line machine quilting, I listened to an Amazon Prime Classic Rock Song List.
When ZZ Tops’ tune, The Sharped Dressed Man came on full blast in my earphones and into my brain, I remembered my Jo-Jo and his new obsession with dressing snappy for work.
Joe Lilly is the Sharp Dressed Man
Here’s Joe in his Tuesday morning duds, posing in the dining room of my folks’ house, with the telltale cleaning supplies and messiness in the background. One of the fantastic things I got to do while visiting Dad was to make dinner for our kids. Some of Ma’s cooking stuff is still in the kitchen and so I was able to throw together some makeshift family favorites.
Since Joe still lives in the Denver area, he purposely carved out time to stop by after work and/or pick me up for doing fun stuff together during ‘down times’.
One such outing was going to his gig at the Oriental Theatre. Actually, my sorella-amica Lisa and I went to see our sons* at this wonderful venue. Like most musicians, he’s in several bands/ensembles. This one, Heavy Medicine**, added a horn section recently, of which Joe is their main sax-guy.
The Sharp Dressed Man with his Heavy Medicine Bandmates playing the Oriental Theatre, Denver, CO 6/2016
Me and my son – the sharp dressed man
Lots more of this mother-son stuff is in the future with each trip back to visit Dad.
Oh and on the marquee behind us is the name Leon Russell, significant in that another blog post in the queue needing to be finished is called, “The Buena Vista Social Club, Leon Russell and Dad”.
Last Thursday marked the beginning of forward movement towards the recording of Swimming with Swans: the music. I met with Ken*, the sound engineer and owner of Southern Harmony recording studio here in FloTown**. I had a fantastic time sharing my project, discussing needs, working through technical details and listening to his expertise as applied to contexts unique to solo & ensemble classical guitar.
I am so glad I went with my gut on using this studio for my solo pieces. The selection of quality recording studios nearby is limited. I vetted several this past year covering a 3 hour driving radius and came up with a scattering of possibilities all over the state, but really, the best for my needs are located in Raleigh/Durham, NC. Hubby being my #1 patron and supporter of my art is keeping those options open for me to use if I decide to go that route, regardless.
A page from my journal…
I have to admit that until moving to and living in Florence, SC I took basic musician needs for granted. This scarcity of a vibrant, well-rounded arts-scene will no doubt be a foreign concept/truth to grasp for many of my colleagues. It certainly was for me, but – it is what it is and I’m thrilled to have cracked the code to a satisfying solution; enabling me to thus move forward and march*** to the studio.
There is one other semi-appropriate studio in Colombia that Joe and I toured during his Thanksgiving visit. It was more attuned to the needs of classical/jazz musicians, but the space didn’t feel good. It offers the use of a superior quality grand piano, but that’s not something I need. Also, the sound engineer didn’t have any project tracks to play for me to listen to that were relevant to my instruments. The ones we gave a listen to were mostly of brass instruments, which sounded great…but. After doing some of my own digging on the internet for sound samples from his client list, I found a few background tracks with acoustic guitar that sounded – well, let’s just say they were not to my liking.
As a musician, the bottom line is one’s tone, one’s sound. If that gets messed up, no amount of playing technique or flourish will save the day. After listening to some of Ken’s current projects highlighting a variety of acoustic instruments, I believe I can trust his ear. We certainly have a great rapport, which also counts as a keen element in the recording process/experience.
Meanwhile, I’m doing time on the ole’ practice stool, fine tuning my solo pieces, getting ready for recording and keeping up my chops. I hope to start sessions by mid-late March.
I am definitely psyched…
*If you visit Southern Harmony, you’ll find Ken is quite modest…his creds include an impressive resume of work in the LA scene for most of his 20 years of experience before moving to FloTown, yet not listed on his website.
**Local name for Florence, South Carolina
***Yes, pun is intentional.
My hand scored copies alongside newly entered NOTION scored parts of Mo Giolla Mear
The other day I came off of the practice stool elated. It was one of those sessions where everything went right. The tone from my perfectly honed right hand nails emitted a luscious aural tapestry of sound while working through completed scores of my own creation or arrangement. Fluidity of movement in the left hand during execution of certain passages, coupled with the flow of interpretive playing all within acceptable tempos…this is my dance, this is my place, this is my praise to the Giver of Gifts.
I was particularly pleased to master specific measures in my classical guitar arrangement of the traditional Celtic piece, Mo Giolla Mear. Written during our between homes time, it is part of my Swimming with Swans: the music project.
Yes, there is an entire story behind the discovery of this piece of music and how it relates to our life on the road. It remains scattered in the bits and nits of my mind, journals and ‘little list’ e-mail updates jotted down at the time. For some reason the words do not come easily right now. The challenge remains for me to sit down, focus and craft a vignette to include in my Swimming with Swans: vignettes of our three year journey between homes manuscript.
However, while immersed in my music, that challenge is mercifully set aside. Continue reading →
Surrounded by Introducing Fractal Geometry and May Sarton’s Journal of a Solitude, Julia Cameron’s The Sound of Paper sits amongst an elite stash of books which grace the backside of my desk work surface. Picking it up, I opened its pages to where I last placed a 2004 Barnes & Noble bookmark and began reading.
Searching for words to cup a myriad of incoherent and vague thoughts swarming about my heat-wave induced spacey-brain, I came across practical encouragement in my current state of conundrum. That state of wild productivity amidst desperate isolation, struggling to finish projects that are taking on the shape of completion.
Oh – so – slow – ly.
I wouldn’t go so far as to say my ‘Mojo stopped Mojoing’ but I have come up wanting in the energy department of late. The constant drain of daily in-ing and out-ing in this humid triple digit heat has taken its toll. The term languid suggests more than a glamourous lady lounging alongside the pool with margarita in hand to weather the weather. It conjures up a wild-eyed mad-hatter creative, scurrying from instruments to computer to manuscript paper to WORD documents to notebooks to research to pacing to exercise machines to eating tons of watermelon to striving to keep cool to…ad infinitum.
Oh – so – slow – ly.
Quilted design on backside of potholders
See here the fruit of my labors.
A set of potholders made from fabric purchased some 21 years ago.