New Piano Works in the works

A couple of years ago I got a case of pneumonia. NOT the rockin' pneumonia. Just the too-tired-to-get-outta-bed-and-my-lungs-hurt pneumonia. A shot of rhythm and blues did not, alas, cure it.

But as I slowly began to recover, I spent some time at the piano. Just 10 minutes at a time, then back to bed. I still didn't have the energy to confront emails or serious business, but I did have the energy to languidly noodle at the piano for short stretches. It was midwinter, I was really sick, and I enjoyed writing pieces that expressed the mood. I recorded these pieces on my little voice recorder, and later transcribed the ones worth keeping.

I added them to a folio of instrumental pieces that I'd been intending to record someday, a kind of follow-up to Spinning World: 13 Ways of Looking at a Waltz.

The folio sat on the shelf for a couple years while I busied myself with yet further education in "how to be a father". The folio continued ripening on the shelf, while my first major creative act since the birth of my son turned out to be recording and releasing of "I'm Growing" (in 07-08).

Only now, this fall, has that folio of material tugged at me for attention. I opened it up, and liked many of the pieces there. It got me in a mood, and I wrote a bunch more pieces. The idea of recording a follow up to Spinning World: 13 Ways of Looking at a Waltz had seemed daunting - It's a lot of work to score all that music for an ensemble, and it costs money to hire the musicians and rent the studio. But, I suddenly reasoned, why not just do a solo piano recording? It's cheap - Free, even, if I record it at home on the 1927 Knabe I inherited from my grandmother.

So, I set up some mics, and settled into practicing and then recording some of the waltzes. I'm very excited, the music is, if I do say so myself, and, heck, who else is going to say so since no one else has heard it, beautiful. Was that a sentence? Never mind. I really like what I've written, and I like the way I play them.

My piano is a decent, solid piano. Not a gorgeous piano, but a nice, upstanding kind of piano citizen. Hearing it in a recording, as a solo instrument, I have my doubts about whether it will be good enough. I want to hear a better piano. But I've got an emotional attachment to it. My grandmother's father bought it for her back in 1927, and letters from my Grandfather at the time were full of warm appreciation for his wife's constant playing of it. At the time of my grandmother's death, in the mid 80's, the piano had spent 25 years in the enclosed patio in her back yard. It was a mess. I had it totally restored and refinished. All the instrumentals I've composed were composed on this piano. It's a rare thing to hear music performed on the exact instrument that it was composed on. The limitations of the piano itself inspire me to play in certain registers and use certain voicings. A different instrument would inspire other music, other keys.

I may end up finding a better piano to record on. My inner jury is still out on that. But I'm really enjoying practicing and burnishing these pieces, many of which were still unfinished, and finding the structure that they call for.

I'm hoping to be able to post some of them in the coming weeks, to get feedback from my friends around the world as to which pieces move you, and why. It'll be fun to share the music while it's being made. A CD will come, hopefully in Spring of 09.

Tibetan Book of Balding

When you start to go bald, you face yourself squarely. You didn't cause it, you didn't earn it. It is not retribution or karma. It is simply destiny rising up in front of you. You can try to hide it with implants or fine woven rugs of hair, but you cannot escape it. It's like an early death. Except that it's only a loss of hair.

But it was, in my case, good practice in getting used to the concept of mortality. Baldness. Mortality. They both are final, non-judgmental, and jam-packed with unavoidable destiny. If you can learn to accept baldness and get on with your life, you can probably learn to accept death. It's coming; that's a no-brainer. Why worry about it? Hey, once you've gone through the grieving stages of losing your hair, you've got all the practice you need in dealing with the grim reaper. He carries a scythe, right? First he shorns you of your hair, later he comes back for the rest. Relax, already.

Reminds me of the guy who was afraid of relationships and commitment. Someone suggested he start with a pet. But even the idea of caring for a goldfish was more than he could take on. So he started with a houseplant. Got used to routine plant care, moved on to fish, than reptiles, then mammals, finally fellow humans. We should get used to mortality in baby steps, too. Include and accept all the little 'passings' that are constantly presented to us. Then when the 'big one' comes, you've got some skills to deal with it.

Of course, check in with me when my time comes. See if I'm so gosh darn sanguine about it.

(and even though 'shorn' is the past participle of 'shear', it just somehow sounded right in the sentence above. So sue me. You can't shear me, that's already taken care of.)

The thing about Singing Telegrams is...

Okay, so you've just graduated with a bachelors degree. You studied music theory and composition. You've somehow got to make some money. You've got to get a job.

You write music for (and direct music for) theatrical productions, but it's not enough money, and it's not steady work.

You dress up in your best clothes and go around trying to get a job as a waiter - no luck, but you do get hired for one lunchtime rush of dishwashing, at which you are horrible and which ruins your only good shoes.

You get a job as a sales clerk in a musty sheet music store, where all the music is stored behind the counter in dozens of file cabinets. Minimum wage, but at least it's a job in the music business.

You try your hand at teaching piano to kids. But you're just not the kind of guy who can get excited about "Hot Cross Buns", and you're not really the kind of guy who knows what to tell a kid who says "I hate practicing". Your instinct is to tell them to give it up if they don't like it. Heck, I did, and look where it got me...I ended up being a musician anyway.

Then you get your dream job. Singing Telegrams. Oh, it may sound hokey. It may BE hokey. But here's the thing about it...

Me and my brother, circa 1980

Every situation is brand new. All you've got is an address. You've got your bellboy outfit on, and you have to go find a particular person and sing them a witty song (memorized beforehand). You may be singing to a couple sitting at home watching TV. You may be singing at an office party where you've got to grab attention as if it were a bull. The recipient may be mortified - You've got to tone down the performance and work it to minimize their sense of embarrassment. The recipient may be thrilled - Give them the thrill of their life. The recipient may want to sing with you and take over your job - You've got to maintain control of the situation in the most friendly and funny way possible.

It was improv at its best. No, you're not making it all up, but you're paying attention to your own performance, you're paying attention to your audience, there is no fourth wall, the people you're singing to need to be reassured, your presence may embarrass them, but you have to take the sting out of it, and yet make it as funny and sweet as possible. I loved trying to take all that in and make the situation work.

And there was the down time between telegrams. Sometimes you'd drive 20 miles to deliver one, and then you've got another one in that neighborhood in 3 hours. You go to the local library, read some books. You go to the park, stretch out under a tree and write some music. The down time was a wonderful gift, too.

Nervous? Almost never. Singing to celebrities? No problem. Amazing to think that when I sang for Mrs. Walter Mondale (the Vice President's wife), I was not vetted, did not have to sign a loyalty oath, I just went to the restaurant and sang to her. Different times, eh? The one time I got nervous was when Jim Henson sent a telegram to Frank Oz on his wedding day. I was given an Ernie puppet, and was to sing a custom wedding song in the style of Ernie. I was out of my depth - I don't know puppets, and I'm not an instant mimic. I was nervous. I showed up at Frank's parents house somewhere in Oakland, and it was just Frank, his new wife, and 2 or 3 others. They looked at me like I was from another planet. I warbled the song, feeling foolish with the puppet on my hand. I was glad when that was over.

I got my biggest tip in the same neighborhood some time later, At a house where there was big party going on. The telegram was addressed to "Stoney Feeney". The sweet smell of pot was everywhere. I was offered tokes, but Bellboys don't do that kind of thing. I found Stoney sitting on a bench in the semi-darkness of the back yard. I sang my song, and held out the telegram for Stoney to take from the silver tray. He took the telegram and, reaching into a large brown grocery bag, put a heaping mound of vegetable matter on my silver tray. It was the biggest tip I ever got (in terms of dollar value), but it was rather awkward trying to get it home. I ended up putting it in my leather "mailbag", and later spent an hour trying to get all the seeds out of that thing.

The singing telegram gig only lasted 2 years at most. "Western Onion" (aka "National Onion") was bought up and mismanaged into insolvency. But really, the days of the singing telegram were numbered anyway. Pet Rocks, singing telegrams, dance crazes- they all have their time, and then fade away.

Wedding Lover goes for Gunnar Music

Take a tip from the pros - if you're planning a wedding, get the wedding music that hard-core wedding afficianados get - Music by Gunnar Madsen. From "News of the World":

Andrea Tsarbos makes wedding plans despite no groom in sight

London, Aug 4,2008 (ANI): She might be looking for a groom, but Andrea Tsarbos, from Britain has already planned her dream wedding to the last. Lack of a fiance hasn't stopped 23-year-old Andrea from planning every last detail of her wedding, including the lingerie she'll wear on her wedding night. “I know people think it's mad I've planned my wedding when I'm single, but I've not been able to help myself,” News of the World quoted her as saying.

“I'm passionate about weddings. I daydream about my own and it's developed into a full-blown plan. “Of course I need a groom before I get married, but I'll meet Mr Right one day. In the meantime, why not start preparing?”

She devotes much of her spare time on planning her wedding. “I think about it when I'm walking to and from work and when I'm at the gym. I talk about it with my future bridesmaids. If a magazine has covered a celebrity wedding, I'll make a beeline for it and pore over the photos.”

She has chosen a waltz by Gunnar Madsen for her first dance, but concedes she may let her groom select his music. “It would be lovely to have a special song I share with my husband-to-be,” she said. “I'm not a brilliant dancer so I would consider having lessons to make sure our first dance was perfect,” she added. She has also planned a lavish champagne cocktail reception. (ANI)

What is Jazz?

I was in the drugstore a few weeks ago, picking up a prescription. While I was waiting a young pharmacist, a guy in his early 20's, was telling a co-worker about Harvey Mason's drumming on the Herbie Hancock "Headhunters" album. I really enjoyed listening to his enthusiasm, it was a great way to spend my waiting time. It was also refreshing, uplifting even, to know that a classic old recording was alive and being appreciated in the now.

It was funny, too, cause just a couple days before, I'd heard a cut from that recording blasting from a car driving past. Not the typical sound one hears from car windows these days. And, hearing it coming from the car, I had been mildly electrified, feeling again the intense pleasure of the sound of that music.

So, this morning I put it on. I still have the LP I bought when it came out in '73. And yes, it IS still so good. Classic. And I don't use that word lightly. Classics are very few and far between in my book.

I stumbled upon another classic when I was a teenager babysitting at a house where the parents were very cool - hippies. (My parents were decidedly NOT hippies). After the kids were asleep, I scrounged through their record collection, and came upon an old record from the '50s - Miles Davis' "Kind of Blue". I put it on. It was old fashioned, but it was not corny, like Glenn Miller or Sinatra. It was cool. Jazz fusion was the jazz of the moment, what I'd been listening to. Here was something that was old but fresh. I played it over and over that night. I saved up and bought my own copy.

"Headhunters", too, has held up over time. It was surrounded by 'controversy' when it came out. I don't recall if it was with my saxophone teacher, or the guys I worked with at the record store, or my band mates in the "jazz" band at college, but I remember heated conversations about whether or not "Headhunters" was jazz, about how Herbie was wasting his talent doing this simplified funk music. It was hearing these discussions that made me go out and buy it. Wasting his talent? Not in my book. This record cooks.

Is it Jazz? Now that "jazz" is any music that doesn't have words to it ("The Quiet Storm" and al), it seems like a silly question. Is Kenny G jazz? That's definitely debatable. Is "Headhunters" jazz? I say yes, but, aw, heck, who cares? It's just plain good.

Back to School

School year started. Man, oh, man, I had no idea the world worked on some kind of schedule. Oh, sure, I was once a kid, I remember the long lazy days of summer, the "Back-to-school" ads on TV and in the paper, and the nearly violent yanking from summer days to regulated Fall school time. But that was a long time ago. Since then, I've been a musician, for gosh sakes. Calendars and seasons mean very little to a musician. Sure, you can book a gig for triple the normal asking fee on New Year's Eve, and you have to always remember never to book a gig on Super Bowl Sunday (which isn't a holiday that shows up on regular calendars but is the absolute worst day on which to be playing a concert). But "Back to School"? Sorry, it doesn't cause even the tiniest ripple in a musician's consciousness.

But now I have a son going to school. He needs jeans that can reach all the way to his shoes, he needs shoes that don't squeeze his growing feet, he needs school supplies, the teachers need to meet his parents, he needs to meet his teachers, there's a whole ton of stuff that needs to be thought of and organized. And, while I know it was hard for me as a kid to gear up for a new year of school with a new teacher and classmates and all, it also just kind of blindsided me back then. I wasn't self-aware enough to know my own fears, and I just kept rolling with summer until all of a sudden I was being packed off to school with my lunch in a pail.

Now, as a parent, I am acutely aware of what a big deal it is for my son. He was, like the little Me of decades ago, merely blindsided by actual first day of school. He was overwhelmed and yet rolled with it all. By now, after a week and a half of school, he's enjoying the new routine. Loving it, even. And he has no idea of the preparation that went into getting him to his first day of school :) Parenting is a hoot, and a kick, and a whole lot of niggling work that I just never expected. Once again, I've been blindsided!

Mongolian Camel Bell Ringtone

I was at home with Q last Sunday when the phone rang. It was M, our wife and mother and fun companion. She'd found these beautiful Mongolian Camel Bells and wanted to buy one for me. But there were so many to choose from, and I'm so particular about sound and music, that she wasn't sure which one to get. Cell Phone to the rescue! Granted, a cell phone is not hi-fidelity. Not even lo fidelity. It's pretty much sub-fidelity. Nonetheless, she rang each bell over the phone, and I narrowed it down to one that sounded, at least over microwaves, like a beautiful gong.

It came home, and it's lovely. A rich, deep tone, like a cowbell slowed down to half-speed. The clapper has a gorgeous tassle on it, and the leather band which it hangs from still smells very ripe and dusky/musky - I suppose it's the smell of camel. (Hey, I'm not from Mongolia already). Here it is outside the studio...

Graham Cracker Smacker

Here's how it all started. My son, Q, is fascinated by all things mechanical. He has a book in the ISpy series in which there's a picture of a convoluted balloon-popping contraption: It involves dominoes, rolling marbles, teeter-totters, pulleys and the like. He has spent many hours looking at that picture. So, one day, I decided to look up Rube Goldberg, the original inventor of such wacky contraptions. And it turned out that were a ton of super-cool videos of amazing contraptions on YouTube, from around the world. Well, Q spent many hours memorizing those contraptions. Then he announced he wanted to build his own. He's full of ideas, that boy. Me, I'm full of ideas, too, but usually they're ideas about music or stories. I'm not really much of a handyman. So we invited a handyman friend, David Jouris, over to help us build a contraption. The goal: Pour a glass of milk, and cause a graham cracker to split into pieces so you can dip it in the glass.

I'm telling you - it may seem short, it may seem simple, but it takes a lot of tinkering to get even THIS little contraption to work. We learned a lot about the concept of patience :)

 

Novelty? No thanks.

Novelty songs. I generally don't like them. Yet I do like humor in music. Obviously. (see "The Bobs" or my family music)

But just because I end up writing humorous songs sometimes, I don't really listen to humorous songs very much. I love music so much that, even if it's funny, it better have some serious musicality to it, or it'll make me mad. So usually I'm listening to more serious music (from Leonard Cohen to Bach to Rufus Wainwright to...).

I had a roommate my first year of college who loved Fats Waller. Fats is acclaimed as a great piano player and all, but I just couldn't get past the fact that he was yapping all over his songs, like he didn't know when to shut up. Somehow, he crossed the 'humor' line for me, obliterating whatever music was going on with his patter.

Spike Jones? Even as a kid, that kind of humor made me slightly queasy. On a par with Jerry Lewis or the Three Stooges, the "I'll do anything for attention" kind of humor that makes me run the other way.

Weird Al? Yeah, he rubs me the wrong way, too. Then again, every time I think of "Another One Rides the Bus", I smile inwardly. So there's some kind of magic going on. His work, being based on hugely successful melodies, has the advantage of having musical cajones at its core. And, as silly as his lyrics may be, I'd much rather be singing the lyrics to "Like a Surgeon" than the original vapid version.

The Coasters - There was real music there sometimes, some hummable tunes, but the humor wears thin for me. I give them 2 and a half stars.

Zappa - some sublime music, then mixed with such low attempts at humor. A bizarre mixture. Still, his music had integrity, and lifted him above being just a novelty act. And, his championing of 'art music' led me to composers such as Stravinsky, Varese and Stockhausen. I was listening to all kinds of contemporary music in high school, all because Frank said it was cool. I thank him muchly for that. And I find myself humming and singing "Peaches en Regalia" quite often, and it makes me smile. It has no words, it's not trying to be funny, but it's an odd bit of music that just makes me smile.

It's a funny thing, humor and music. I think that, for me, it comes down to music being an essentially emotional art form. Even when it's striving to be detached and un-emotional, the effect it has on me is still an emotional one. And there's a difference between a funny song/lyrics and funny music all by itself. When I think of attempts at making 'funny' instrumental music through the centuries, they all fail. Music can be witty, but not ha-ha funny. Lyrics can be ha-ha, but I can't think of music that achieves that all on its own.

What think you?

Strangers in the Night

Some songs just don't go away. Even when it seems like they should. Even when every fibre of my being screams that a song is no good, I am sometimes drawn, against my will, into an intimate humming relationship with a particular song.

It came to me again this morning, as I did the dishes. I sing it mockingly, as the lyrics are laughable and unworthy of serious consideration. I hate the song. And yet it has been lodged in my gray matter since 1966, and hardly a week goes by that I don't find it wafting through my semi-consciousness.

Oh, there are tons of other bad songs that are hummable and memorable and get stuck in my brain, but usually they have more sinew, more of a self-knowing sense of their own silliness: "The Addams Family", "Sugar Shack", "Yummy Yummy Yummy". Not so "Strangers in the Night." It masquerades as a classic. I hate it for that. And yet, my god, it is so HUMMABLE! I must admit that, somehow, it is a classic. I love the melody, even though it is so lamely predictable. Perhaps this afternoon I'll sit down at the piano and analyze it, try to determine where its magic lies...

But as of right now, this morning, at the kitchen sink, I just put aside the soapy dishes, took off my gloves, and went to the computer. I had to know more about this damnable cursed song. Wikipedia Ho! (as in Westward, Ho!)

Both my fascination with and my revulsion against the song seem vindicated. It was a number one song in 1966, and the title song from Sinatra's most commercially successful album. Apparently, I'm not alone in finding it hummable. According to Wikipedia,'Sinatra despised the song, and called it "a piece of s**t", and "the worst song I ever f***ing heard". Hmm, I'm with Sinatra there.

Who the heck wrote it? Well, Bert Kaempfert is credited with the music, but he probably did not write it. According to Wikipedia: The music was originally recorded by Ivo Robic´ for the music festival in Split, Croatia. Robic´ later sang the song in German ("Fremde in der Nacht", lyrics by Kurt Felitz) and in Croatian language ("Stranci u Noc´i", lyrics by Marija Renota.

Aha! So it's some Eastern European hybrid/approximation of American Popular music. That explains it! That's why it feels and is so 'four-square', lacking in the jazzier syncopations and surprising phrasings that an American composer would have naturally put in. And yet the composer hit it spot on, making the stolid repetition of phrases balance near-perfectly. So that, when I'm doing a mindless task, I don't sing "I Got Rhythm" or "Puttin' on the Ritz". Nope. When I go mindless, I go for the gold. "Strangers in the Night".

I Wish I Were a Troubadour

A couple years ago I was in New York and went to Little, Brown & Co. to meet, for the first time, my editor for the book of "Old Mr. Mackle Hackle". I came into her office and she said "Where's your guitar?" A bit surprised, I said that I don't always carry one with me. She said "When Dan Zanes comes in, he always brings an instrument, and gets the whole office singing songs." Wow, that is SO cool. I sure wish I could be like that.

But music for me is more private. I'm a bit shy. Oh, sure, put me on a stage and I lose all inhibitions. A stage is a place of ultimate freedom for me, where my shyness does not interfere. But without a stage I don't know what to do with myself.

Also, I don't remember songs very well, so when someone asks me to sing a song, I truly don't remember them, even the ones I wrote. I have to practice them to have them at hand.

At a concert I gave at the Cafe du Nord in San Francisco some years back, someone in the audience requested a song of mine. I replied that I didn't remember it. They said "But you wrote it!" I replied, "Yeah, well Steinbeck wrote Grapes of Wrath, but it's not like he could just recite it from memory."

The line got a laugh, but I don't think the person believed the truth of it, that I really don't remember songs I've written. Perhaps it's why I don't get tired of my own music! Really, I love so many of my songs, and maybe it's cause they're always a little new to me.

As for just getting up and singing at the drop of a hat, I need some encouragement to perform. Not a lot, but a little nudge from outside of myself. I heard Glen Hansard ,from the movie "Once", interviewed on the radio. He just picked up his guitar one day and started busking on the streets of Dublin. His faith in himself allowed him to just go for it. I've got a lot of faith in myself, and I'm grateful for every ounce of it, but I can't do what Glen did. I admire that. Perhaps I'll have that ability in my next life. If I come back as a snail, be on the lookout for a singing snail on a street corner near you.

 

Haruki Murakami

There's a novelist whose invention and soul and style I am so in love with: Haruki Murakami. His is the kind of writing that I'd like to think I would do if I were a novelist. I rarely fall head-over-heels in love with an artist's work. I SO love when it happens!

Sometimes my love of an artist's work includes awe, in that I can never imagine myself doing what that person is able to do: examples in that category include Ken Kesey, Aaron Copland, Tom Waits. Other times, it is more a feeling of a kindred spirit; that that person is doing exactly what I want to do, and I can even envision myself achieving the same kind of thing: examples include Thelonious Monk, Rufus Wainwright, Haruki Murakami. Not to sound big-headed, it's just that I understand their mode of creativity at a 'friendly' level. I feel comfortable in the presence of their work. And somehow, what they're doing feels like the same kind of thing I'm doing (or imagine myself doing).

So, it was fascinating to read Haruki's recent piece in the New Yorker, in which he spoke some about his life. ("The Running Novelist," The New Yorker, June 9, 2008, p. 72)

He writes of how the idea of becoming a writer came to him in a precise flash. He was at a baseball game, taking in the clouds, the game, just chilling and enjoying, when he suddenly knew that he was going to write. I get a chill from that, because it's a feeling that has happened to me so many times: There's a flash inside my brain, and suddenly I know the next thing I've GOT to do, and I know it deep in my belly. Most people never speak of this, so, uh, I keep it to myself. But Haruki knows the feeling. It's comforting to know there's someone else out there who gets these strange flashes. And it's so cool that it's someone whose work I feel such a deep connection to.

Want to read some Murakami? Start with "Kafka on the Shore". Bloody brilliant.

Top ZZzzs, Listen up!

Want a record that will put you to sleep, but never drive you crazy?

The absolute best lullaby music, chosen by our son Q himself, is "Wings of Slumber" by the Banana Slug String Band. It's been playing every night for over a year, sometimes more than once in a night, sometimes in the very same room I'm trying to sleep in. They have created a CD that has just the right blend of styles, melodies, off-center phrasing and gentle surprises that add up to the perfect nighttime experience. I'm REALLY hard to please, so, please, take this as the highest of high praise. This is the lullaby CD to get.

Small, eentsy caveat: There's a song somewhere in the middle with a vocal by Laurie Lewis, that when it comes on just seems louder than all the rest. It always jolts me a little. I re-recorded it at minus 6db so it fits in better. If you're putting it on an ipod or some such, you may want to simply drop it from the playlist. It's a nice song, but if sleep is your goal...you get my drift(log).

Evolution of a Musician Part 2

The Listening Years...

Up until February of 1964 (when I was 7), music just didn't really mean much to me. On that particular night, we were at my grandparents house in Los Gatos, California, and me and my sister and maybe some cousins were in front of the TV watching The Wonderful World of Walt Disney. I don't remember what was on that night, it must not have been that great, because when my teenage aunt came into the room and abruptly switched the channel, saying "the Beatles are on!", none of us complained much. Heck, sometimes what was on Ed Sullivan was more fun than what was on Disney...

Then the Beatles came on and I was electrified . I don't recall ever being so excited in my life. I'd had some fun times, some good toys, some fun experiences, but all of a sudden I had a purpose in life. This was something important, something I was meant see, meant to do, it was something powerful, a force.

Thereafter I dreaded my weekly crew cuts with my father. I wanted my own Beatle hair!. That wasn't about to happen (and wouldn't for another 7 years). I received 2 Beatles wigs as presents, and wore them with a mixture of pride and sheepishness (and itchiness) as I sang along with the records every day after school.

I remember my sister Lynn, older by three years, getting our first Beatles LP. "Introducing the Beatles" on VeeJay records. I remember the Beatles fan magazine she had. I remember buying my first Beatles LP, The Beatles Second Album". I earned $0.25 a week as an allowance, for mowing the lawns, washing the car, taking out the trash, and it took 12 weeks to save up to three dollars that an LP cost in those days. For the next few years, all my allowance went towards Beatles LPs.

In the summer of 1964, I was sent to visit with my great aunt and uncle on their cranberry farm in Oregon for two weeks. I got to drive a tractor, fish in the stream for trout with a spool of thread and a bent pin, and ride the zip line across their swimming hole and fall into it on my way across. There was only one other child around there my age, she lived down the road apiece. Her room was covered in Elvis posters. I remember some really heated discussions about who was better; the Beatles or Elvis. When I went into town with my aunt and uncle they asked if there was anything I wanted (perhaps to remember the trip by). A sampler of the famous local cheese? A toy fishing boat? No. I really really wanted "Meet the Beatles". They bought it for me. The stereo version! (Not that I had a use for stereo on our sleep teaching device...).

Around this time we got a piano in our house as a gift for my grandparents. My sister started lessons right away, and she was good. After about a year I took some lessons too. It didn't really excite me, because I didn't sound like the Beatles. I practiced, but listlessly. I performed in the talent show at school, a piece called the Happy Hop Toad. Snoresville, daddy-o. My piano teacher got some Beatles songs "Yesterday" and "Michelle", and simplified them for me, but still, it just wasn't rock 'n roll. Yes, it was the Beatles, but it wasn't rock. After about a year of lessons I quit.

Our neighborhood in Palo Alto butted up against the back of a huge luxury hotel called the Cabana. It was kind of a Caesar's Palace of its time with huge colored fountains in the front featuring armless statues of Greek or Roman origins. Very fancy, very impressive. That was where the Beatles were reported to stay when they came to play San Francisco. I remember spending long summer hours perched dashingly on my stingray style bicycle, hanging out with other Beatles fans at the big wooden gate at the end of that street, which looked onto the back parking lot of the hotel. We all speculated about how the Beatles might arrive. Long string of limousines? Hidden in a laundry van or milk truck? Maybe they'd arrive more royally in a helicopter. So, the sound of an approaching helicopter, the arrival of any delivery van or large car, would send us all to the fence peering over it hoping for a glimpse of our heroes. (Here's a blow-by-blow account of The Beatles' stay in my neighborhood. It turns out that they did indeed exit in a delivery truck, and they used the very exit that we all hung out at.)

For Christmas of '65 I got a transistor radio. Wow. All of a sudden I had access to all kinds of music. My favorite station was KYA, a top 40 station out of San Francisco. I went to sleep with this transistor radio every night. There were the dippy songs that were catchy but that I didn't like that much ("Judy in Disguise", "Yummy Yummy Yummy", the soupy songs by The Delphonics ). And then there were the Great Songs. "Dock of the Bay", "Heard it Through the Grapevine", "White Rabbit", "Light My Fire". While the Beatles were number one with me, there was so much more music out there and I was on fire with it all!

Playing The Happy Hop Toad in the talent show was an experience I never wanted to repeat. The next year I had a whole different idea of what I wanted to do for the talent show. I wanted to do a Beatles song. I knew a guy that had paper drum set. I had my two Beatles wigs. And I knew another guy who had whose mother had an actual electric guitar. I had a toy acoustic guitar. None of us knew how to play any of the instruments, but that didn't matter. I knew the words to the song "Help" backwards and forwards and I taught the guys all the words. And we wore the guitars and the wigs while one guy sat at the drums and we just yelled the words to the song. We practiced a lot, I really pushed them hard, and we took it to the talent show.

All the other "rock 'n roll" acts in the Talent Show were lip-synching to records. I was somehow weirdly proud of the fact that we were actually "singing" it live. And, oddly enough, the crowd went wild. A bunch of older kids ( fifth and sixth graders) came up afterwards and said it was really funny. One of the few times in my elementary school years when I was considered cool (if only for an afternoon).

As my tastes in music expanded, I sometimes found myself a little frightened by what I heard. My teenage aunt gave me "Johnny Cash at Folsom Prison", and while I absorbed it, I found the cheering of the prison crowd at the words "I shot a man in Reno just to watch him die" really chilling (still do). The Doors records she leant me were rather spooky. And even the Beatles were getting dark and strange ("There's people standing 'round, who'll screw you in the ground, they'll fill you in with all the sins you've seen.") That was a heavy lyric for a boy growing up in a strict born-again household (more about that subject some other time).

In seventh grade (first-year of junior high school), we were required to do half a year of choir followed by half a year of band. I didn't care for choir. I found it dippy. When it came time for band, however, I really really wanted to play the drums. There were about 10 other boys, all much cooler than me, who also wanted to try out for the drums. I knew I didn't stand a chance against them, so I set my sights on the trumpet instead. And I really kind of liked playing it. But after a few months the teacher told me that my lips were shaped wrong for trumpet playing, and that I should give it up. Discouraged, I gave up playing music again.

Oh, but I still listened and dreamed. Apart from rock music, my aunt gave me the soundtrack to "2001:A Space Odyssey". I saw the movie on my birthday 3 years running (it ran for over 2 years at the Cinerama theatre in San Jose). There is some really wild contemporary art music by Ligeti and others on it that intrigued me. I went to sleep to it every night for a few months.

Then, I went to my first rock concert on May 19, 1968. The Northern California Folk-Rock Festival (lineup was The Doors, Big Brother and the Holding Company, Grateful Dead, The Animals, The Youngbloods, Electric Flag, Jefferson Airplane, Country Joe and the Fish, and Taj Mahal). It was scary (I was only 11, and there were lots of drugs, including bad acid being passed around). It was also a dream come true (just look at that lineup!). It was a marvelous, sunny Woodstock-like experience (before Woodstock, even). But then the headliners, The Doors, began setting up. Dark clouds covered the sky, and by the time Jim Morrison took the stage, the sky was brooding, and the crowd's mood changed. Someone threw a full can of beer over our heads. It hit a guy on a blanket 10 feet in front of us, and his head was bleeding from a nasty cut. Someone threw a cherry bomb that exploded a short ways away. Jim Morrison was spitting on the audience. It was huge, awesome, thrilling, terrifying, and it was exactly where I wanted to be.

As I entered my teenage years, I found more fantastic new music by Led Zeppelin, Crosby, Stills and Nash, Tim Buckley, Jimi Hendrix, Neil Young, Donovan. I spent after-school hours at Pacific Stereo, drooling over component stereo systems. I worked extra jobs and saved, and when I was 13, my older sister and I went in together on a $300 system. (I still have, and use, the amplifier from it)

But I only listened. Playing music seemed impossible. I didn't know how one could become a rock musician, that path was invisible to me. I didn't know that there might be guitar teachers or drum teachers. What I listened to was everything to me, but nothing that I could ever do myself...

Gunnar Music on YouTube

A recent search on Youtube unearthed some interesting uses for my music. None of them with my blessing, so don't think I had anything to do with them. It's a hoot to see where my music ends up.

Ants in my Pants - Some cool and interesting images and juxtapositions going on here:

Here, "Anna" is used to score a montage from the TV series Heroes:

Anna is used for a slide show of stills from the 1964 movie "Angélique, marquise des anges". I don't know the film, don't know exactly what this is about...

And then, you can even put your makeup on to my music:

It's a big, wide world out there, eh?

My Solution to Global Warming

"It's also a great Axe grinder!"

Here's my idea. Some kind of huge pedal-powered flywheel. I mean huge. 6 feet in diameter, one foot in width, made of stone or metal. I'm not a physicist, so I don't know if this is the most efficient way to translate pedal power into electricity, but I think we need to be able to SEE what our work is doing, or we'll get discouraged and give up.

If one were to pedal to charge up a set of batteries, you wouldn't get visceral feedback about what your work is getting you. If you hook up your pedal generator to a TV so that the TV works only while you're pedaling, you can see what it takes to power a TV, but...so much for being a couch potato.

And usually people want to exercise for half an hour in the morning and then get on with their day. If by pedaling you set this giant flywheel in motion you GET it, in a wonderful big way. The flywheel's energy can then be stored in a battery. For use throughout the day or night. There would be gears just like on a bicycle so that when you first start pedaling the gear ratio gets the flywheel going without too much struggle, and as you get faster and faster you can change gears and really get that flywheel moving.

I got this idea while biking around town. When I bicycle up the hill, I'm very aware of how much energy it takes to get my body and the weight of the bicycle up the hill. It's a lot a work. All these cars fly by me, most with just one person at the wheel and no passengers, and our cars are so powerful that the driver really has no sense of how much energy is being expended to lift all that steel and plastic up the hill. As such, my invention is not just about creating or harnessing the energy from an exercise regimen and turn it into electricity, but also about helping people to realize how much energy it takes to run a light bulb or a washing machine or a television set.

While walking the other day, I passed a woman who was blowing leaves with an electric blower. Now, leaf blowers are pretty ridiculous any way you look at. Are they really that much easier to use than a rake? The simplest way of reducing the energy used by leaf blowers is just to stop using them. But this woman's house had a huge solar array on the roof. So, ostensibly, she was just harnessing the power of the sun to blow her leaves around. Much better than using a gas powered leaf blower or electricity from a coal-fired power plant. Still, harnessing the sun's energy is not without its costs (the manufacture of all those silicon solar panels, the chemicals involved, et cetera). I believe that she, and all of us, need to understand how much energy it takes to blow those leaves around. If someone had to pedal a generator like mad so that she could blow leaves around the yard, we'd be back to using rakes in no time.

So I look around my house and I think about the things that I really depend on, or like to use, and the things that are not so important. I really love using the computer, I love having a music studio (which is mostly run by electricity), and it's great to have lights in the evening and the early morning. Whoa yeah, and the dishwasher and the clothes washer - those are really handy. I would love having a huge flywheel that I could spend 30 minutes on each morning and know that it would power my computer for four for five hours. I'd get exercise and I'd feel really good about the energy I was using. I'm pretty sure that even if each member of my family was peddling for two hours a day, we probably still wouldn't make enough energy to totally supply our daily household energy usage. But it would make a dent. And it would show us how precious the energy that we do have really is.

Dancing with Heavy Machinery

Did I say I never get to watch movies? Well, not entirely true. I love movies so much that I generally won't watch them if I can't arrange to sit through a film in its entirety. But some movies (like light comedies) don't suffer too much from being viewed over the course of 2 or more sittings.

So, my wife and I watched a variously inventive and charming film over a couple of nights last week: "Across the Universe". Although I'm a huge fan of the Beatles' music, the film had gotten lukewarm reviews, and I'd had no intention of seeing it. But a friend recommended it so highly that we rolled the Netflix dice and took a chance.

Firstly, I was very impressed, sometimes jaw-droppingly so, with the re-imagining of the Beatles's music. "I Want to Hold Your Hand" had always struck me as insipid faux-teenage puppy-love kind of stuff, with a melody that just wasn't their best. In the film it's done as a heart-wrenching ballad, and the lyrics, when divorced from the original bouncy beat, have a beautiful yearning in them that I'd never recognized before. There were many such moments in the film, where the depth of the Beatles music is revealed by audacious and brilliant arrangements.

Secondly, the visuals were often stunning (directed by Julie Taymor, of Lion King fame). The legendary puppet street-theatre troupe Bread and Puppet is used, and there was choreography that was grounded in the drama, not pasted on as it is so often in musicals. It reminded me very much of the work of ISO, the dance troupe that The Bobs did shows with in the 80's. As the film rolled on, more and more of the choreography was SO brilliant, in a way that I have never seen outside of ISO. I was beaming to see such great work. And when the credits rolled by, why, surprise! - the Choreographer was indeed Danny Ezralow, from ISO. I'm so glad that some of his work has made it to the big screen, in such a fine way.

I searched for youtube examples of his work - there are some, but I would say just see "Across the Universe". It's not a perfect movie, but it is full of beauty.

And, 2 other members of ISO, Jamey Hampton and Ashley Roland, have their own dance company called BODYVOX (in Portland, OR). They, too, have that powerful, witty ISO style that is so unique. I highly recommend catching them in Portland or on tour. And, they do happen to have a couple of youtube videos that are worth watching. They are short films, featuring dancing with heavy machinery. Do take a moment to watch:)

 

 

TV shows that are better than movies?

We've been watching a lot of TV lately. Well, not TV, not stuff that comes on a cable or over the airwaves, but shows we're renting from Netflix. We miss watching full-length movies, but by the time Q goes to bed we're exhausted, and need just a mere 25 minutes of chill out time before we're ready to hit the hay. And I'm sorry, but life is just too darn short to spend any of it watching commercials :) So, TV shows on DVD have been a godsend for us.

Some favorites we've been watching?

Slings and Arrows. Wow. This is truly better than just about any movie out there. The writing is so real, the cast is so true, it's so funny and so heartbreaking at the same time. It's from Canada, so chances are you've never even heard of it, but I'm telling you, this is the real deal. Rent it NOW! What's it about? Oh, golly, it's too much to encapsulate - Read about it on Netflix, for goshsakes! But it is kind of a "Waiting for Guffman" thing set at a Shakespearean theatre company.

Freaks and Geeks. So many great shows seem doomed to early extinction. This one focuses on high school years, and is one of the best explorations of the reality of high school I've seen. The parents are rather 2-dimensional, but the kids are very real. Funny and true.

WonderFalls. Only one season, so if you fall in love with it, know that it's doomed to end too soon. The heroine is a marvelously mixed-up college grad who has taken a deadening job in a souvenir shop at Niagara Falls, as a place to kind of 'drop out', only to find that various souvenirs 'talk' to her and convince her to do things which complicate her life terribly. Kind of like Joan of Arc, only funny. Or maybe Joan of Arc was funny, but this is funny in a different way.

Arrested Development. Best thing I've found on U.S. TV. A mixture of humor - reminds me of what Woody Allen would be doing if he hadn't gotten so darn serious. If you haven't seen it, give it a try. Better than so many movies (really!).

The Office. This is a funny series, but it can make you squirm uncomfortably. So, be forewarned, it may not be for you. If you've EVER worked in an office, however, you should be required to see it. (NB, I found the British series to be too acidic for my tastes - I just couldn't handle that much copper in my mouth. The U.S. version is somewhat lighter)

Sorry, gotta go. Time for more TV.

Crowing, crowing...gone

Goodbye, little crow...

On the ides of May, I found the little crow dead. The parents had already gotten the news, and though they still hung around in the trees for a couple of days, they no longer cawed or circled overhead. I missed their fierce protectiveness. I picked up the crow with a plastic bag, it was so very light. It's gone now.

An amazing couple of weeks. On May 1 I was out jogging, and about 25 minutes into my jog I had a brief zzzt, a blip where I lost consciousness. I remember turning my head to the right as I came to a cross street to check for traffic, and then the briefest moment of 'static', and when I came to I felt like I'd missed a moment of life. Very strange feeling. Heck, I'm wired differently from most people, my fibromyalgia sends electricity shooting up and down my body from time to time, my thoughts are often a little out of left field, but this was a totally new sensation.

Anyway, I kept jogging, but the same thing happened again. So I walked the rest of the way home, felt light-headed. For a few days felt kind of dizzy, so I went to the doctor. She listened to my heart, sounded fine. She explained what it probably was, an electrical misfiring of the heart. Then she had an EKG machine rolled in, just to check and see if everything was okay.

NOT, apparently. She said it looked like I'd had a heart attack. Whoa. But I always take everything with a grain of salt (metaphorically speaking only- I've got to watch my blood pressure!), so I chilled on the freak-out, left that all to her. She was freaked, I'll tell you. So I was sent for a bunch more testing. Carotid artery free and clear, stress test checked out normal, cardiologist says it doesn't look like a heart attack, looks like I'm fine. Whatever happened while jogging was just 'something'. Nothing to worry about.

Okay. I'm cool. Still, it was a couple of weeks of uncertainty. And much of that time I had crows cawing and swooping at me. Enough to give a guy a heart attack!

I'm Crowing

I've had a few days of being hectored and cawed at by nervous, anxious parental crows. Their fledgling disappeared the day after it was found here, and the Mom and Dad have kept a hawk-like watch on me ever since. They think I stole it.

Whenever I go near the windows of the studio, they Kraw out a loud alarm. When I cross the yard, they swoop down from the redwood tree where they're keeping watch. But their baby was, until today, nowhere to be seen. I searched the yard for the stray feathers that cats and other crow-eaters leave behind after a meal, but there were none. Still, the chances of the little crow's survival seemed dim, as the parents still seemed to think I had it hidden away somewhere.

Then, this morning as I came home from Choir, the fledgling was in the road in front of my house. I tried to shoo it to safety, but its parents came swooping when I threatened to get near it. I was heartened to find it alive - I was starting to feel really bad being yelled at by crows all day long for the kidnapping of their child. Now they could see their young one was alive, and would leave me alone.

Not so fast. The fledge found its way back to my backyard - it can fly well enough to get over fences, but still not so well to return to its 75-foot high nest. Now its been in the backyard for a few hours, and it caws in its little crow voice, and its parents caw back from their redwood tree, and I have to cover my head and run for it every time I leave the studio - the parents are VERY protective now.

Sheesh. Life with crow.

Crows in my yard

This morning there's a pair of crows cawing raucously all around my studio. Here's why...

As I was about to open the door to my back stoop yesterday morning, I noticed a small crow sitting there. On the doormat. A strange sight. I considered if it might have hurt itself, but there were no windows it would have crashed into, and it's an odd area for a bird to land in. But when I opened the door, the crow merely blinked, looked at me, and apparently wasn't about to move.

My first thought was "Sick bird? West Nile Virus?", so I called their hotline. They told me that unless the bird was dead, they weren't interested. They told me to call back if it died, and they'd be happy to help. Well...uh, okay.

I'd seen injured birds perk up and fly away, so I decided to give it a few hours and see what happened. Maybe as the sun moved onto the stoop, the warmth would help the bird.

A couple hours later, the bird had moved just enough to get itself out of the sun and into the shade. I went up to it to say hello and to see if I could determine any obvious injury, but a loud cawing went up from the surrounding trees, and a couple of crows came swooping over, so I retreated.

I called the local Animal Control to see what they could do. Almost immediately a guy came out, armed with a net, a box and some gloves. I led him to the back yard, and as he picked up the small crow, the 2 vigilant crows from the trees swooped around us. "Get under cover", he said, "they might peck at you."

He examined the bird, and found no injuries. He explained it was a fledge, and he quickly spotted the nest it came from, in a very tall tree a few hundred feet away. He said that often Crow fledglings didn't make it far on their first flight, and sometimes took a day or two to finally get the strength and gumption to fly back up to the nest. There was a risk of the young crow being eaten by a cat or some such, but that risk was better than taking the fledge somewhere 'safe', as the handling by humans would imprint it and doom its ultimate survival chances. So, he told me to leave the young crow alone, and that it should be off and flying in a couple of days. Sure, I'm cool with that.

This morning, I wondered if the young crow had already made its way home. As I opened my back door to go to my studio, however, loud and very close Crow Caws attacked my ears. I backed into the house. They were being very vigilant. I put on a hat, let them swoop out of sight, and dashed under the shade trees to my studio door. As I type, the Mom and Dad crows continue to caw. I can't see the fledge anywhere from my windows, but I suppose the parents are making a noise to urge their young one to fly. Crows never sounded so sweet!

45's were sleazy, mp3s are...?

Early on (like, when I was 10 years old) I had a moral judgment against 45 singles. They were a ripoff (LPs had a much better song-per-dollar ratio); they were a shallow glimpse into an artist's work (way too short); they were the sound-bites of their day. I don't know how my little 10-year old brain came to this judgment, but there it was.

This is odd, as I loved AM radio at the time, and AM radio is nothing but 3 minute songs, all artfully done, all hugely appreciated by me.

I suppose part of the distinction is that radio goes on and on. A song is played in a context - a context of other hits songs, a dj with a personality, advertisements, weather reports, etc. When you put a 45 on a record player, it begins playing, and 2 or 3 minutes later it's over. That's it. Empty silence. The song feels small and cheap when it's laid bare like that. An LP included and embraced the song with others, all by the same artist, in a large canvas of sound that went on and on... (for 15 minutes). I Loved, and still Love, an album of songs.

Okay, and there was one other thing that made me dislike 45s. When I was an immensely shy 11 year old, I'd somehow managed to land a girlfriend while in summer school. We went on a double-date to this guy's house. He had a make-out room in his garage, with a record player that played a stack of 45s. The music was dumb, it was make-out music intended to make girls somehow melt. But I was frozen in fear-of-kissing-a-girl land, and the sound of this gawdawful music along with my cold-sweat fear made my stomach turn. I loved music too much to have it used in such a way. It was sleazy. Cheap. Tawdry, even.

But, like I say, my general dislike of 45's predated that experience.

Another 45 vs. LP experience involved discovering the one-hit-wonder phenomenon. A hit song of '70 was "Spirit in the Sky" by Norman Greenbaum. I liked it. Still like it. A friend of mine had the LP which contained the song, and one day at his house he put it on. Bad LP. One good song on the whole thing. I didn't know that there were artists who made such good and bad music at the same time. I was used to the Beatles, the Doors, Led Zeppelin - people who made good LPs.

So, what about mp3s? Are they the 45 singles of today?

Being a lover of albums of songs, the playlist "revolution" that we're currently in is not my bag. I still love to hear a group of songs by an artist, all of a high caliber of artistic integrity, in an album format. One-hit wonders are okay, but just okay. But mp3s are not sleazy. Unlike a 45, they offer good value for the money. And, it's so easy to put them in a playlist and surround them with other good stuff .It's like having your very own jukebox. Which, I must admit, I did rather like when I was a lad (even if they offered very poor value for the money).

Music Doesn't Smell

Don't know why this crossed my mind, or if it's even true, but it seems to me that music doesn't smell. For such a powerful, visceral, emotional art form, that's a strange thing. But I think it's true.

Name me a music that smells - cause I can't think of one.

Oh, there's music that stinks out loud, but I'm not talking about judgments of taste.

I go to a museum, somehow a painting has a smell to it. Sculpture? I can smell it. Pencil shavings, charcoal, they all have an olfactory component.

Theatre - I can smell the actors.

Movies - well, there's popcorn isn't there?

Poetry, books, that musty smell, that inky smell.

Various musical instruments have their smell. Woodwinds, brass have metallic smells, their cases have slight moisture in them, slightly mildewed. Guitars, violins, etc., they've all got that old wood musk, old varnish tang to them. Pianos with their polish and their wool felt smells. The musicians themselves? Sure, they smell.

But once the music is in the air, the notes themselves don't carry the smell. The notes are super-fresh, clean, devoid of smell. It's not bad. It's just profoundly curious.

Profoundly curious to me :)

Do I chill to Barney?

What do kids' musicians listen to when we're not on the job?

Do we worship the Wiggles? Boogie down to some Barney? Relax to Raffi? Sip some Chardonnay on Sesame Street?

Get real. We're grown-ups. We like all kinds of music (including, in my case, some Sesame Street).

Still, even I was stunned when fellow kids' musician Tito Uquillas (of Hipwaders fame) and I got into lengthy talks about Captain Beefheart's Trout Mask Replica. I mean, I know I grew up with that music, it's part of my musical heritage, but somehow I didn't think any other kids' musicians were hip to it. Man, Tito knows his music, he's way into getting the groove right, and his tastes stretch into the far cobwebby corners of pop. It's really exciting talking with him, like high school days when my friends and I would sit around all afternoon and discover new music.

I recently did an interview with musician and blogger Eric Herman. We went on and on about about Zappa and other influences from our past. (I can go on and on when it comes to music...) Can you hear Zappa in either of our 'canons of work'? I doubt it.

I've sat with Justin Roberts in his apartment, digging some mid-60's Wayne Shorter. He spun some Kurt Elling and some new stuff I hadn't heard. Now, Justin's music for kids bears little outward signs of his appreciation of Jazz. But, the music that a songwriter listens to informs his music in ways that usually have more to do with quality and depth.

Do the Hipwaders sound like Beefheart? No, but you can hear the attention to groove and musicality. The appreciation of music is evident.

Lately I'm listening to mainly classical music. A ton of Mahler. Did it make me go all classical on my latest CD? No. Perhaps it did get me to pay even closer attention to orchestration/arrangement and interplay of voices. Or maybe not. The main thing is, I'm still thrilled to listen to music. Just about any music (except Barney or the Wiggles). You dig?

Touch the Sound - What a film!

I saw the most beautiful film the other week. It's called "Touch the Sound", about the soulful and amazing percussionist Evelyn Glennie, who happens to be deaf. She lives and breathes music, and she has learned to hear with her body. The film is drop-dead gorgeous, remarkable footage that is stirring and evocative and so fresh. It reminded me of the great Chinese cinematographers of the past decade in its attention to color and movement.

The movie, by filmmaker Thomas Riedelsheimer (RIVERS AND TIDE: ANDY GOLDSWORTHY WORKING WITH TIME), takes its time - if you're in the mood for an action pic tonight, this probably won't fit the bill. But when you're ready for something in a thoughtful vein, you've just got to see this.

It features a lot of duet work with guitarist Fred Frith in a huge abandoned factory in Germany, and includes solo snare drumming in Grand Central Station, a fantastic jam session with Taiko drummers in Japan, a visit to Evelyn's home farm in Scotland.

Don't miss the scene where Evelyn teaches, via a bass drum, a young deaf girl how to hear with her body. It's powerful and wonderful. Our bodies and minds are capable of SO much. This movie is affirming, of both humanity and art.

Evolution of a musician - Part 1

Before I saw/heard the Beatles on the Ed Sullivan show along with the rest of America in 1964, music was not a passion of mine. There were no musical instruments in our house. My parents had a slim collection of LPs. Our record player was a strange sleep-teaching device with a clock built into it that my dad had bought to try and learn more via sleeping.

My mom was the one that played records or listened to the radio. She would sing while vacuuming, and I thought she sounded pretty good, like Barbra Streisand.

When my mom and I went on errands in the car, the radio was always on. AM Radio, circa 1960-1963. With my mom. Her stations...I liked Nat King Cole ("Lazy Hazy Crazy Days of Summer") and Barbra Streisand.. Maybe I liked them 'cause they were on TV a lot at the time, and I liked their personalities. I didn't like Sinatra or any of the Rat Pack. "High Hopes" really bugged me - Sinatra sounded stupid singing about little kid stuff, I did not trust him. He seemed vaguely mean.But Bobby Darin, Mack the Knife? I liked when that song came on.

I had a teenage Aunt, who played the radio around my grandparent's pool. Top 40 radio. It didn't grab me. "Itsy Bitsy Teeny Weeny", Elvis, Beach Boys, it just didn't do it for me. Elvis seemed old-fashioned and corny. I remember seeing a Beach Boy record at a neighbors' house, and even though surfing and all was cool, something about the cover made me feel that they were 'uncool', out-of-date. Before the Beatles arrived, music in general felt stale to this 7-year old.

Still, since I remember all that earlier music, it must have some kind of influence on me. Here is what music looked like in my house in 1963 (our entire record collection):

Keeley Smith? - A nice record, but I didn't love it.

 

 

 

Spellbound - I hated when my mom put this on. Very spooky music, scared me like crazy.

 

 

 

 

Tito Puente - Not something I ever requested to hear, but it did have a good party atmosphere to it.

 

 

 

 

Harry Belafonte - Love is a Gentle Thing. I loved this record. Harry's voice was so comforting to me.

 

 

 

 

Barbra Streisand. I thought her voice was SO pretty. I had a 6-year old crush on her.

 

 

 

 

 

 

Allan Sherman - A funny record. Harvey and Sheila? I didn't quite get all the jokes, but I knew it was funny. I puzzled over the cover a lot. What is a celebrity? Why are those people standing in a field?

 

 

 

I loved this record - recorded live, so that even if I didn't get a grown-up joke, I knew it was funny 'cause the audience was laughing. I laughed right along with them. It was a special treat when years later I got to appear on their show. And yes, Tommy is very smart and organized in real life, he seemed to be the one holding the show together.

 

 

 

 

The Limelighters - Like the Smothers Brothers, recorded live, so I could clue into what was supposed to be funny.

 

 

 

Kingston Trio - I actually borrowed this from my parents a couple years ago, to revisit. I can see why I liked it as a kid - some humor, some good songs and singing, high energy. But some of the humor is really racist and distasteful. It doesn't hold up so well over the decades.

 

 

 

 

 

 

Porgy & Bess Soundtrack. This one was a little scary to me - the overture is very dramatic and big and dark in a way. But I did love the music very much, and Gershwin remains one of my favorite composers. This LP is deep in me.

 

 

 

The Music Man - "Marian the Librarian" was a favorite tune. I loved the way the long note is held out on "Maaaaaaaaaa-rian". And I loved the way Robert Preston sang. There are a lot of good songs on that record.

 

 

 

 

 

Glenn Yarborough - I never put this record on myself. When my mom played it, it was okay, just not my thing.

 

 

 

Dinah Washington. I loved her voice. More than Barbra Streisand's (although I didn't develop a crush on Dinah). Some of the record goes awash in Nelson Riddle-style arrangements (which I've never cared for), but some of it swings hard and true. And her voice is ALWAYS good on it.

 

Gershwin for Moderns - Ted Heath. While this music has been re-released, I couldn't find a picture of the original cover art. I don't remember anyone playing this record when I was young. I think it was my dad's record]. Since he never listened to music, that would explain why this record never got played. He claimed to like Stan Kenton, but his record collection was all on 78's in the garage.

 

A huge, wonderful memory of my early years was when the whole family went to the record store one night. Only that one time, never before or since, we just got up after dinner and went to the music store, where you could listen to records in listening booths. We each got to pick out a record to take home. Wow! I got this Huckleberry Hound story LP.

 

 

 

And that's what I was listening to before the Beatles arrived.

 

Economics Lesson for Today

Okay, so it looks like we're headed for a recession. Alright then, we're in a recession. Whaddya want, you want me to say, "this is the worst financial crisis since the 2nd World War"? What was the financial crisis before then? Oh, yeah...the Great Depression.

Well, that's what some say is going on. I'm not a wall street guy. I don't get simple math, let alone high finance. But there was a remarkable interview on "Fresh Air" with a guy who was able to explain the current crisis in simple terms. I mean, it was almost fun, to be able to get my mind around everything that's going on. Almost fun, except that the news is pretty grim.

However, I thought it was important enough, and enjoyable enough, to let you know about it.

"Fresh Air from WHYY, April 3, 2008 · Perplexed by the U.S. economy? You're not alone. Law professor Michael Greenberger joins Fresh Air to explain the sub-prime mortgage crisis, credit defaults, the shaky future of other types of loans and what we can expect from the U.S. financial markets."

Happy listening!

Radio interviews this week

Did an interview with KPFA's Dean Suzuki on Sunday night. His show runs from 10-12pm. My bedtime is usually 9pm these days. And Q has been on a night-terrors tear for a couple of weeks, so sleep has been at a super-premium. Still, I figured I always love talking music with Dean (he's a doctor of music, puts his stethoscope to new music of all kinds, from minimalism to pop), and that I could manage to be coherent.

I don't know how it sounded out on the airwaves, but I was struggling to find each word in a sentence. I had things that I wanted to say, but my brain and my tongue had gone to bed a couple hours before. Ah, well...At least we played tons of music, from Fall of Troy, I'm Growing, and even the cut I co-wrote with Richard Bob and sang on from the latest Bobs CD (Funk Shui from Get Your Monkey Off My Dog).

I've got another radio interview later this week - with a Vancouver BC radio station (Brent and Woofy), but that's at 10am on Saturday. Don't know if I'll be any more coherent, but at least it won't be past my bedtime!

And it's rather trippy, going from being interviewed by a doctor of post-miminmalism to a guy with a talking stuffed dog. Is life weird, or what?

How to Find Good Music

Listened to some of an interview/guest DJ spot with Ray Davies on All Songs Considered over breakfast this morning. (Great interview, btw) He recounted radio in the UK back in the 50's, how there were just 2 stations in the UK proper, then the US Armed forces stuff and radio Luxembourg. Got me thinking, reminiscing of my own days in the 60's of twisting the dial on my little AM transistor radio, looking for new music. The mystical, magical activity of twisting the dial slowly back and forth late at night, hearing something great, but fuzzy, trying to tune it in, only to have it disappear into the cosmos again. The local stations were strong and dependable, but finding even them was not completely scientific - the dial just swept across an arc of 160 degrees, there were no presets, you had to listen for what you want.

Fast forward to today, and there are new ways to find new music, or, to put it more precisely, music you haven't heard before. iTunes, iLike, Lastfm. They work, kind of. My favorite so far is Goombah. They really do seem to lead me to new stuff that I haven't heard before. I have my tastes, just like anyone, but I want to be surprised. They seem to deliver.

But I wonder if Goombah, or anyone else out there, could devise a device that simulates an AM or a short wave radio. You sweep the dial, and you hear snatches of music. When you hear something you like, you try to tune it in. Boy, that would be heaven! Perhaps its appeal would only be to a nostalgic older generation. But I think its appeal would go deeper.

Playlists, as they currently are, are intended to be turned on and left alone. Yes, you can skip past songs you don't care for, but the interaction is sporadic. With a radio dial, the interaction is in the moment, intense. You are concentrating on finding something, and only when you find a station that you like do you sit back and see what comes next. It becomes a moment of concentrated musical discovery.

If someone develops this idea, let me know. I don't need credit, I just want to use it!

Post Reviews Please

Some really fine reviews and notices for I'm Growing have been coming in. Emails of appreciation from people like you, and reviews from newspaper, magazines and blogs. I'm so glad people are liking it and hip to it.

It's especially sweet when a reviewer not only likes it, but seems to understand why I had to make this cd. From zooglobble, the reviewer writes: "One of the things I like most about the kids' music genre is the feeling that artists are following their own muse, no matter how skewed, when they jump in...Which brings me to Gunnar Madsen."

Or this, from KidsMusicThatRocks: "It's incredibly interesting to see how the course of Madsen's life affected the development of these particular tunes: Madsen didn't simply make up and throw together a bunch of songs just to have a kids' album on the market."

Makes me feel all warm and cuddly!

But I still need help getting the word out to more people. Will you help?

Post your own review on iTunes or Amazon or CDBaby. Just click on a link to post your review and/or comments. Add your voice to some of these blog reviews:

"Brilliant arrangements and performances. Period. And funny! And fun! And entertaining for everyone in the family! What more could a kid and his grownups want?" - KidsMusicThatRocks.blogspot.com

"Deliciously good music" - Thingamababy.com

"The best "Beethoven's Wig" piece never written" - Zooglobble.com

"Overall, this one disappoints" - OutWithTheKids.blogspot.com

"Spirited, quirky children's CD" - CommonSenseMedia.org

I am deeply grateful for all your support. Making music is a huge part of my life, and I couldn't be doing it without people like you!

love and peace,

 

Gunnar

Too Good for Kids?

I just had a little email conversation with Bill Harley, about a comment he received after a recent concert. The person told him "You're too good to sing for kids."

Well, that's a nice compliment in its way. I suppose one way to interpret it is "most music for kids is pretty bad, but your music is good." And that's nice. Somewhat true, even.

But, TOO good for kids? It's not like "Well, I got pretty good at writing music for kids. So good in fact that I moved on to writing for teenagers, then I got super good and started writing for college age kids. But I'm SO past that now - I've been writing fantastic music for middle age people, and now my agent says I'm ready to launch into music for the silver set..."

The goal is good music - for whatever age. I was a kid. I still have many thriving inner children, and every one of those inner children inside me wants good stuff. I suppose I have inner teenagers, inner middle aged men...So I write for me, or, uh, them, or, uh...you know. For all of me.

In a recent review of "I'm Growing", the author has a witty interchange with his wife about the 'appropriateness' of the song "Pumpkin Hair" for kids. She maintains that lyrics like "If she will let me be her guy, I'll never go free-rangin" aren't right for young kids. He counters with "But he's talking about marrying a woman and committing himself to her. Isn't that what Mom and Dad have done?" The review (on Thingamababy) has sparked a lot of comments. What is appropriate? Opinions vary,obviously.

Dan Zanes writes that one of his most-requested songs is an old sea shanty called "Pay Me My Money Down", which sings about jail, a bar, money ;the usual concerns of sailors of yore (perhaps of sailors of now, too). He apparently didn't think twice about putting it on his CD "Night Time".

Lately I've been teaching choir to grades 4-6 at my son's montessori school. It's a cool challenge to find songs that will capture them and inspire them. I mean, my childhood experience singing choir was generally snooze-ville. I wanted rock and roll, please. But rock and roll and 60 voices don't really work (except for the intro to "You Can't Always Get What you Want"). Sea Shanties survive the choir treatment well, so we're doing "Drunken Sailor". A song that cannot be done in public schools (see "drunken"). The kids LOVE it, and it's inspired some great discussion. One kid knew of other verses, including one about doing something with the captain's daughter - Why didn't I include that verse? he asked. Because, I said, that verse was inappropriate. We went on to talk about why sailors (of yore) felt the need to get drunk, and how a "dose of salt and water" was to make the sailor throw up and get sober faster ("eww, yuch!").

Kids know a lot about life. Sheltering them from inappropriate things is, well, appropriate, but they're bound to learn of things outside of your control, and then they're going to have questions about that stuff. Are you just going to pretend not to hear? Why not let sea shanties about drunken sailors and jail be a starting point for talking about these real issues? Songs offer a 'safe' way for kids to explore and approach issues that are all around them and can feel overwhelming.

It's not like I have any songs about jail or drunkeness on "I'm Growing", but still the review on Commonsense Media has a kind of disclaimer, saying that the cd "might require just a bit of discussion or explanation". I would hope! What a wonderful thing to fill a child (or a grown-up) with questions, with a yearning to find out more? That's why I don't dumb-down the words in my songwriting. I want kids running to the dictionary (or the computer) to figure out what "obfuscate" means. I want them to challenge their teacher to use it in a sentence!

I want music that a family can enjoy together. My family all sat around the record player and laughed when we put on the Smothers Brothers. Much of it was over my head, but because my parents were laughing, I wanted to know MORE. And this was something we could share together. My dad didn't like the Beatles, I didn't like my mom's LP of the soundtrack to "Vertigo", but we could all get behind the Limelighters and the Smothers Brothers. (Okay, I'm beginning to carbon-date myself...)

So it is today. I'm writing music for families to enjoy together. That's what Dan Zanes is doing. That's what Bill Harley is doing. Making music that's too good to be JUST kids music.

Welcome to the Blog Spot

Hello friends,

Why blog? I need a way to keep in touch. So I decided to write to you on my website.

It's not as good as sharing a delicious meal together and chatting long into the night. It's not as good as a phone call, hearing each others' voices. It's not as good as a letter, where the words are scratched onto the paper by a hand that you know and love. I know, it's not even like email, where there's a back and forth to it all.

But I had to do SOMETHING, fergoshsakes!

I miss performing in front of living breathing sneezing laughing people. I even miss the part of touring that meant that I came to your town and sometimes had time to share a delicious meal together and chat long into the night (though I don't miss sitting in airports and on airplanes).

But life takes us in unexpected directions. I knew life would change when we decided to have a child 5 years ago. I just didn't know how it would change. That's the whole point of adventure, right? To NOT know where you're going.

Well, it's a fine adventure so far. I had pretty good, concrete notions of what love and exhaustion were about. But then Q was born, and it felt like a piece of my heart lived outside my body, like love was an actual physical part of my body that could be held and amazed over. And it felt so precious! I understood that fierceness that comes with parenting, the need to guard the precious being. And then, there was the exhaustion.

Hey, I know exhaustion. I'm in the performing arts. I've gone weeks without sleep to get a show on its feet, working 20 hours days. Don't tell me about exhaustion!

But let me tell you about exhaustion. When you're involved in a project, say a play, you work long and hard, but there is an end in sight - an opening night, a closing night. There are limits, boundaries to it. This does not apply to parenting. Sure, you can look forward to school starting at age 5, or college starting at age 18, but we're talking years on end of 4-5 hours sleep a night. It's a whole different ball game. And, now that Q is 5 and has started school, it turns out that starting school was an ephemeral boundary. Yes, we're no longer changing diapers, but there are other, new, screamingly important issues that need to be addressed. And, in our case, Q still rarely sleeps through the night. I'm exhausted!

As for my music, much of it was on hold for the first few years of Q's life. I was able to tend to projects that were already in motion, but had no time or energy to do new things. That began to shift 2 years ago, and I now have a sketchbook full of new ideas for instrumental music (Spinning World 2), and was able to write and record and put out a new family CD ("I'm Growing"). That CD took so much longer than I thought it would. But I only have a few morning and afternoon hours when Q's at school to do my work. After that it's childcare, cook dinner, get to bed and grovel for grains of sleep until the sun and Q pop up.

Will I perform again? You betcha. I really do miss it. It's just not the right time now for me to get outta the house. Q needs me, my body needs to rest. So here we are, communing in cyberspace, making a connection that makes sense for the time being. While this blog is currently not set up to take comments, you are of course welcome to email me. Or write to me, a real letter!

What about the guestbook? Well, it was getting spammed hard, and took too much energy to clean up all the time. Sorry I couldn't keep that open.