Michael’s Blog

Michael’s Blog: January 18, 2017

He is My President

For those of you who are longtime readers of my blog, this may seem to be a strange way to come out of almost two months of hibernation. Truth be told, this last election left me numb. In the days following it, I had students from places like Oaxaca and Oman wondering if they were going to have to leave. What could I tell them? What did I know? I certainly didn’t see this coming.

Well, OK, I saw it. I spent a lot of time this past year in non-Colorado zip codes. I saw a lot of signs, bumper stickers; I heard comments; I read editorials in small-town America newspapers. But I didn’t believe that what I was seeing and hearing was going to translate into the person taking the oath of office on Friday. I believe the medical term for my condition of paralysis since November is gobsmacked.

And as I tried to process where we go from here, I had to step back from the vitriolic backlash, on Facebook, in conversations, in print—from people I love and respect. I keep hearing “He’s not MY president.” “I can never support him.” And the like.

I don’t like him. But he IS my president. He was elected. Even if we put an asterisk next to his name, he wouldn’t be the first. Al Gore likely had the 2000 election stolen from him. The Electoral College has decided a couple of contests—maybe, in my lifetime, that dinosaur will finally sink into the tar pit of history, but I doubt it. And before you invoke Russia, espionage has played its part in our politics before as well. The US certainly has a laundry list of ‘actions’ that preclude any disingenuousness over Russia’s tampering: Iran. El Salvador. Cuba.

By saying he is my president, it doesn’t mean I buy into the current meme-speak that we must all unite, all pull together. Hardly—this was a divisive election. Those divisions need to be recognized, not swept away. To the Democratic Party, I would say: Reflect on what was lost here. Reflect on the portion of the electorate that you disenfranchised, allowing someone better skilled than anyone on the planet at picking up a bargain asset to tell them what they wanted to hear. To the Republican Party, I would say: now it’s your turn. Governance is hard work. Governance in a combative, scorched-earth environment such as the one you incubated for the outgoing president, is highly unlikely. You’ll see. To those not of either party, I would say: cultivate your tribe. Sitting this one out wasn’t a good plan. Articulate what you want to do, find a candidate who can articulate it to a larger audience, then begin the slow process of building a constituency. Schoolboards. Councilwomen. Supervisors. State senators and delegates. Then, in baseball parlance, move up to AAA, then the Big Show. Then, become adept at forming coalitions. That’s how you build this thing.

And to the president-elect, I would say: You are my president. That means we both have a responsibility. You need to move past a mindset of winning to a mindset of reflective leadership. My responsibility is to be vigilant, of you and the bicameral chambers that spent eight years being an obstruction to progress. You’ll be called out, you’ll be judged by what you do, what you say, how you do it, and how you say it.

Despite your tendencies, you don’t have to go it alone—history can be an ally. Oh wait, you are recently on record as having said that you see no value in looking at history. But If you can cease to be the smartest person in the room for just a moment, and take a look at presidents recent and long gone, maybe you’ll find a model. Which president would you emulate, if you could ever allow yourself that conceit?

That painting that will be hanging at your inaugural luncheon depicts a scene as divisive as we are today: the 1856 election. Pop quiz time: who won? Time’s up: James Buchanan. By most accounts, he didn’t rise to the occasion as a great force of unification. In fact, he may well have been the worst president ever.

Are you like George W. Bush, who, like you, saw as his destiny winning the presidency without having a clear articulation of what to do with that? His doe-in-the-headlights approach gave us two wars, a mountain of debt and a housing crisis that led to economic turmoil.

You might be more like Andrew Jackson—also of bad hair and bad manners. The ‘cultural elite’—Northerners, since California was still another country–were repulsed by his buckskin-badass behavior. Your two thumbs exact revenge with a Twitter account; his were ever at the ready on a brace of dueling pistols. Oh, and he had a fervent willingness to expel an entire race in the name of making the country ‘great’.

Need other examples? Harding, also the product of a contentious nomination, bounced from one scandal to another. Some actually evolved: Eisenhower didn’t even want to be president. Lyndon Johnson began as a bigoted misogynistic Texan to become the author of The Great Society. Lincoln heard it for five years: “Not my president.” To this day, I know people in Virginia who still consider John Wilkes Booth a hero.

Perhaps your best example by which to model your behavior into something more presidential than you may be capable of by yourself is the most recent. Barack Obama heard for eight years “He’s not my president” and “our goal, in the Legislative branch, is to obstruct him every step of the way” and even “He wasn’t even born here.” Oh wait, that was you. In any event, that was the terrain he had to navigate—8 years of obstructionism. You can expect much of the same.

You’re always looking for a deal, so you might ask—what do I, as president, get out of this? Support? Trust? Respect? You’ll have to earn that. So far, from me—not so much, but I’m open to negotiations, if you begin to assume some semblance of presidential decorum. Meanwhile, I refuse to sink to the level of those who said for eight years “He’s not my president.”  But I and others will be watching. We will call out every despicable bigotry. Every convoluted conflict of interest. Every ill-considered insulting tweet. Every whiff of scandal. Every lie. Every oversight to the details of governance you can’t seem to be bothered with. You and the party in power can count on a 24/7 approach to accountability—now, in 2018, and 2020.

Because you are my president.

© 2017 Falling Mountain Music


Michael’s Blog: December 8, 2016

Face Time

I was comped a ticket to a matinee concert yesterday afternoon. I’m seated in Row D. Two women sitting in front of me in Row C get a little chatty during the concert. A gentleman in front of them, in Row B, calls up a .jpg on his iPhone that read in big loud letters: “Be Quiet Please”—yes, I could read it, two rows back. Without turning around, he flashes his phone over his shoulder at the women in Row C(hatter). Naturally, I thought of a nun I knew long ago.

I haven’t thought of Sister James Bernard in decades. She was my second-grade teacher at St. Michael’s while growing up in DC. Her eyebrows met—almost–just above her rimless glasses, and just below her sexless wimple that hid every follicle that wasn’t an eyebrow under that almost exoskeletal face-framing armor. She was smallish, soft-spoken, and didn’t tolerate chatter during classroom time. If she needed technology reinforcements to restore order, she could call upon her four-foot long wooden pointer that she used to metronomically pound the board, and certain mathematical truths into our brains, in 3/4 meter: “ADDend plus ADDend equals SUM!! (Rest-Rest).” If you didn’t feel like playing call and response with Sister James Bernard, that pointer would come crashing down on your desktop. She didn’t need a .jpg image in 24-point sans serif font when she could silence a room with her patented STFU countenance. She valued face time.

Sometimes, I miss good old-fashioned face time. I get it—this is the digital age. If you’re so inclined you can access my music, book, writings, scores, pics of me in digitized form. You can catch vids of me in performance without ever leaving your couch. You can even learn to play guitar by staring at me through a screen. And, it would seem, if you need to hush someone up just a foot behind you, you don’t need to even look at them—just show them your screen. Or post. We’re way too dependent on our phones.

And that guy in Row B(othered)? I think he should have turned around with an unmistakable look, or a finger to his mouth, or even a subtle ‘shhhh’. Instead of a genuine moment of connection that only a face-to-face encounter can provide, he chose to engage in just another impersonal screen moment. Where is the human connection in that?

For me, if a similar situation arises where I have to call someone out, I will do so by looking them in the eye from my perch in Row D(eLalla).

© 2016 Falling Mountain Music


Michael’s Blog: September 7, 2016


While packing to fly to Florida for a week of production, my mind wanders to the various ways one can avoid misfortune. Meanwhile, as I write this, I’m also immersed in a discussion with my online class Music Business I—we’re talking about the ‘team’ that one assembles to grab that brass ring of commercial success, if you choose to climb onto that particular carousel. Admittedly, not my chosen up-down-go-in-circles ride.

As it often happens between my ears, these two streams converge into a river of related thought. While I tend to not be superstitious, preferring to believe we make our own luck, good or bad, through our actions and inactions (that includes gold ring grabbing), I do worry about things beyond my control—specifically, luggage snafus. So I went shopping for an assistant. An AE (producers will know this). An ally.

Catholics petition saints, while the Yoruba of West Africa put out a shout to the Orishas; in the Caribbean, Santeria is perhaps a love child of the two. My Yoga practice introduced me to Hanuman, the quintessential ‘get-it-done’ ally. But I’d like to assemble a team with more specific skill sets. A quick Google search for “Patron Saint of Recording Gear” turns up nothing. Cecilia (Music) might be helpful, Anthony (Lost Stuff) is just one step above Jude (Desperate Situations). From the Yoruba culture, maybe I could bring along Eshu (both protector and trickster, he can both cause and prevent accidents or misfortune) with me to Baggage Claim.

So then I wonder: maybe I need a more comprehensive ‘team’ to get through the rest of the week with little scar tissue. Maybe I’ll start with some help in the Southwest Airlines cockpit (St. Therese of Lisieux). My client, longtime friend Marcille Wallis, always takes care of me, but just in case, there’s a patron saint of accommodations (St. Gertrude de Nivelles). There is a patron saint of engineers (curiously, St. Patrick; nice, because this project is a Celtic band), and one for ears (St. Cornelius). There’s even one to ward off the anathema of open-mic recording: coughs (St. Walburga).

Whew. Teams are expensive, a major headache (St. Teresa of Avila). I need a break, maybe a little diversionary time on Facebook (Isadore, patron saint of the Internet—really). Otherwise, my flight cases packed with mics, preamps, interface, Glyphs and assorted connectivity are at the mercy of Southwest. Superstition (St. Stevie of Wonder) be damned. Let’s go.

© 2016 Falling Mountain Music

Michael’s Blog: August 15, 2016

Tan Lines

(GIS Story Map Online rendered by Elaine C. Erb–click here)

I’m back home in Niwot CO after many weeks of touring/workshopping/vacationing. Over the top of my laptop I can see my toes. Nope, no pics–I don’t need you laughing at my toes; they’ve been through a lot. 4 badly bruised toenails look like they are ready to fall off, the scars left by high-country hiking, biking, camping…I even hurt one while conducting a guitar ensemble (don’t ask).

I’m OK with all of this–I think a good summer leaves marks. Maybe it’s tan lines; or, if you are an athlete in Rio, maybe it’s cupping hickeys, or a well-oiled Tongan torso. Regardless of the season, travel, and especially touring, leaves indelible memories. Or should. And while I didn’t score any gold medals, I did score the best crab cake (southern Maryland), the best ice cream (western Maryland), and the best cup of coffee (Hot Springs Arkansas).

Between the East Coast tour and shows in Colorado’s high country, the mileage total rang up around 6400. Once Elaine, with her stellar navigational skills, joined me in DC for the westward swing home, and with a little down time before needing to be in Aspen/Steamboat Springs, we managed to do this with surprisingly little interstate time. If you really want to understand the diversity of landscape and people in this vast country, you won’t find it on I-70, where every exit has the same corporate signage. Instead, try MD highway 231 to Benedict (the crab cakes); make time to stop for a sunset view of the house of Dr. Mudd, who, after being convicted for conspiracy in the murder of Abraham Lincoln, spent his last days caring for the ill prisoners in the Dry Tortugas. Then, take US 301 across the dizzying little bridge into VA, wind along the Caledon Woods Road—I promise, you’ll eventually get across the state to the Blue Ridge Parkway. Leaving Asheville, NC, instead of I-40, try US 129 across Deal’s Gap—The Tail of the Dragon, with 318 curves in 11 miles—a new view with every blink. Pick up the two lanes of the Natchez Trace in Franklin TN, then Hwy 46 into Leiper’s Fork if you want to find a town full of people who have metaphorically and literally eschewed the fast lane. Hwy 88 (AR)/Hwy 1 (OK) is a sublimely beautiful entry into Oklahoma via the Upper Kiamichi River Wilderness—I’ve never seen a roadrunner that far east and that high up. The Mother Road, Route 66 is a must. And I can now say I’ve entered Colorado from every one of its contiguous states, having traversed US 287 from the OK panhandle into my home state—the same highway that becomes Main Street in neighboring Longmont. Independence Pass into Aspen may be the most beautiful piece of almost-two lane road in America, as is Hwy 131 up to Steamboat.

Best of all, I met some wondrous souls during these travels; I hope our paths can cross again sometime.

I’m cooling my jets (and my toes) before leaving again in a couple of weeks for a show in South Dakota followed by some studio time in Florida. I also have to flesh out a new online class—Music Business I. The textbook is OK, but I might make my blog supplemental reading as well. In the next few days I’ll also try to post videos from some shows. In the meantime, thanks to all who shared in these travels, and may the tan lines be slow in fading.

© 2016 Falling Mountain Music


Michael’s Blog: June 16, 2016

Fear and Loathing

For the many millennia that chart the human experience, fear has shaped society. When earthquakes and tsunamis happened, people looked to the heavens and asked “Why?” We’re hardwired to try to understand things, so as to influence a more favorable outcome next time. To appease the entities that threw lightning bolts and poured down flooding waters, prayers were offered, supplication uttered, and sacrifices were executed—sometimes literally. When bad things happened it was someone’s fault, and they should pay with their lives.

This was a trait recognized as exploitable by those up the food chain. Clerics and kings would encourage this fear; it became part of politics and faith systems alike. After some poor victim, whether human, flora or fauna had served as the sacrifice (this is where the word ‘scapegoat’ comes from), and the storm coincidentally cleared, that cleric or king looked pretty smart. This kept power in the hands of the powerful, and ignorance was the currency of the realm. As for the poor woman with a knack for using medicinal herbs who was burned at the stake, well, the fear mongers would just change the narrative and brand her a witch.

Fear’s partner in crime is loathing. When someone or some group is identified as culpable for what ails the rest of us, hatred sets in. Forget ancient history–do I need to enumerate all the instances in my lifetime? Remember the made-for-TV evangelists who said AIDs was their god punishing gays? A couple of years ago while on tour in eastern Oregon, I saw a bumper sticker with the silhouette of an AR-15 aimed at the word ‘libtard’—I couldn’t wait to leave town. There’s a long list of words ending in -phobia that makes the point: loathing is thriving, fertilized by fear.

Omar Mateen, the latest murderer known by a zip code (Littleton, San Bernardino, Paris—now Orlando) is a special case in fear and loathing, because both happened on so many levels within him and around him. As the grisly facts trickled out, hasty conclusions were drawn. His victims were patrons at an LGBT nightclub. He was ‘Middle Eastern’ (neither fear nor loathing need pass a geography class—he was an American, born of Afghan parents). The resulting syllogism was that he must be an Islamist terrorist, since ‘they’ hate the LGBT community. But the last few days have shed more facts. His understanding of Islam was, at best, cursory—in one of his rants he couldn’t even speak to the differences between a Sunni and a Shiite. His father claimed that Omar hated gays; yet, it’s now known that he frequented Pulse and was a member of a gay dating website. His wife definitely paints a picture of an individual driven by many polarizing demons. So in Mateen, the loathing may well have been self-loathing.

Meanwhile, other purveyors of fear and loathing wasted little time. A presidential candidate said “See, I told you so. Vote for me because I was right about Radical Islam terrorists.” I equate this statement of congratulatory self-reference right up there with ISIL taking credit for a wanna-be jihadist’s demons–shameful. An hour after the tragedy appeared on the news, the governor of Texas quoted a biblical verse to basically say “All y’all queers had it coming”. People afraid of losing their precious guns went on the attack to ward off any talk about gun law reform. And so on. There were so many reactions of fear and loathing to this tragic story, my head was spinning. I couldn’t even process my grief.

Trump pedals fear and loathing. He’s like that old woman in “The Princess Bride” who screams from the crowd “Boo! Boo! A curse on you!” (she had bad hair too). Or maybe he’s more like Iago. Shakespeare, even 400 years ago, understood the psychology of fear and loathing. Iago fosters doubt, jealousy and rage in Othello (coincidentally, a dark-skinned man from an Islamic land) by nary uttering a lie. Instead, he utters innuendo that feeds Othello’s fear and loathing, all with the hubris of telling us, the audience, exactly what he’s doing. How many times has Trump started a rant with “I’m hearing a lot of people saying…” Of course you are, Donald. When you pour that poison in the ear of your followers with tweets that get re-tweeted, they’ll eventually come back to you, making that statement about what ‘a lot of people are saying’ perfectly true.

I had a conversation about the tragedy in Orlando with a friend who told me he wasn’t interested in ‘beseeching’ (“Why did this happen?”); he was interested in opening himself to receiving. It struck me as a powerful idea, the opposite paradigm of fear. Asking ‘why?’ can end in fear (though it doesn’t have to); opening oneself to receiving is an invitation to more information, deeper knowledge. The fear mongers will tell you they have all the information they need, even though the facts are far from known. Like the fear mongers of old, same agenda: power.

Finally, fear can lead to inaction. Or inaction disguised as right action—think about the handwringing at the lightning bolt throwers. Moments of silence, recoloring one’s Facebook picture, ‘standing’ with victims, and (sorry, musical brethren) dedicating a ‘special’ song in concert—these things should not be the extent of our response to fear mongers. If you want to take action, roll up your sleeves. Research your down-ballot candidates: from whom do they receive money, where do they position themselves against fear mongers? Personally, I won’t vote for any candidate who has received money from the NRA. They’ve turned fear into a profit margin. They’ve twisted the narrative of history to suit that agenda. 300 million-plus firearms later, they’ve done a lot of fear mongering. OK, subtract the hunting rifles; the point still stands. If you’re going to use the founding fathers’ version of the Constitution as your evidence that your fear is founded, then be prepared to accept that they saw the need to let it be an evolving document by including the process of ratifying—and repealing—amendments. Stop your handwringing; I’m not advocating repeal of the 2nd Amendment. But I’d welcome some laws to regulate who and who doesn’t get to buy an attack rifle. In short, stop beseeching. Inaction is also an action.

Chapter 1 of my book The Mindful Guitarist begins with a quote by William Butler: “The only things we truly hate are unfamiliar things.” When we choose to receive vs. beseech, we become familiar with those things we formerly feared. And fear dissolves.

© 2016 Falling Mountain Music

Michael’s Blog: June 9, 2016

Walk and Bike Month

The last time I started my car was Sunday—I needed to drive to Lyons to do a gig. Tomorrow, Friday, I must drive, to get the car serviced before I drive east for tour that will last most of July. “Something wrong with your ride, DeLalla?” you might ask. Not at all. This week, as part of Walk and Bike Month, the City of Boulder is sponsoring Love to Ride’s June Bike Week Challenge. I decided to go the whole week without a car. I’ve had plenty to do, people to see, coupled with a light gig schedule. I’ve done it all by bike, on foot or by bus.

By the time the July tour is done, I will have driven around 6500 miles, give or take a brown-sign diversion (oooh, that looks interesting…). For me, it’s the most distasteful thing about making music for a living, aside from that paltry pay thing. So I try to mitigate the touring footprint with no-drive days when I can. But it’s not enough. So this week I just decided to reach for the helmet instead of the keys. It wasn’t that hard. Just today, I rode out to the Park n Ride on US 287 and Niwot Rd, hopped the bus to Denver to catch up with an old friend who was in town. Then, I clipped on the mini-cooler and panniers to ride out to Red Wagon Farm to pick up our CSA share. Yesterday, I rode to a friend’s gig. Every day I’ve needed to go somewhere. I just changed the mode of transportation. And the paradigm.

It’s not that I’m interested in making my life revolve around bike rides, as much as I enjoy cycling. And being a travelling musician does necessitate using a car. But I am interested in unlinking my life to the automobile, at least not make it the default mode. “Easy for you, DeLalla, you live in a place with good public transportation.” True. But many people choose to live where they live because they don’t want to be enslaved by the notion perpetuated since the end of WWII that’s it’s OK to live far from where you actually have to be most days of the week, like work. We, society-wide, quaffed the Kool-Aid offered up by the collusionary forces comprised of developers, the auto industry and what used to be called big oil. I know plenty of 20 and 30 somethings, along with people my own age, who have simply decided they don’t need or want a car.

And before you say it isn’t going to change, check out this article


that looks at 7 cities trying to find a better way to move people, and collate housing and infrastructure in a way that makes sense. In the last 4 years I’ve been to all of them, one today, since Denver is one of the seven. Fascinating reading—these are planners with vision.

And if you absolutely need a car, OK. But try this: spend a week thinking about it every time you reach for the keys. Then spend the next week trying an alternative—maybe the kiddies and you could ride your bikes to soccer practice. A good place to start is to sign up for Love to Ride (www.lovetoride.net). Their mission is to make it not-a-big-deal to get on your bike, not be beholden to all that ‘bike clothing’ and other gear (do get a helmet!). Just ride. See you on the trails and roads.

© 2016 Falling Mountain Music


Michael’s Blog, May 4, 2016

This isn’t a Commercial

“This is Charlize; may I help you?”

“Well, for starters, Charlize, make sure I’m on the company Christmas party list—I’ve talked to so many of you this morning I’m feeling like I have come to know a bunch of you. Luckily, this call is being monitored for quality control, so you can track me down in December.”

In all fairness, the various personnel with whom I spoke at my credit union (this isn’t a commercial for credit unions vs. banks) regarding a problem with my spiffy new chip-technology debit card were all pleasant, and trying mightily to be helpful. Charlize, if you’re tuning in (I gave you the link to my blog), your laughter and willingness to see the absurdity of our transaction was refreshing.

I won’t bore you with the details of all the comical turns this issue took, over a card that my credit union sent me to replace the other piece of plastic they had sent me, or all the absurd ways that the card refused to work, because it was ‘more secure’—ostensibly, the new card solved a problem. In actuality, the solution is merely code for a way to monetize an entire industry built upon providing security to a system that has been pretty insecure from the time my grandmother hid money under her mattress.

Sorry, I said I wouldn’t bore you with the details. The point is that the ship has been leaky for a long time. We patch the leak, then we patch the patch; pretty soon, the original vessel is lost in the fixes. At some point, we just need a new boat. Think of our computer operating systems (this isn’t a commercial for either Windows or Apple—I use both). How many patches did Windows need to ‘fix’ Me 2000 and Vista? Apple is now travelling that same road. I don’t view this as a good strategy for problem solving. Instead, the image that comes to mind is that of the proverbial lipstick salesman lustfully eyeing the pig.

We all have our various mechanisms for solving problems. Much of the compositional process (or any artistic process, this isn’t a commercial about me-the-composer) is predicated on problem solving. However, when I am composing, if an idea isn’t working, I don’t keep ‘patching it’—I scrap it and get a new idea. At the very least, it goes into a sort of compositional desk drawer with lots of other misbegotten themes, motives, figures and harmonic constructs, perhaps to be repurposed later.

In the music industry at large, there are mini-industries that have sprouted up to solve problems, most of which were brought on by the industry itself. They have inserted themselves into the equation to make sure whatever minuscule income streams that are still trickling toward the composer/performer/recording artist go right up the straws they’ve wrapped their little mouths around.

Back to today’s chip-enabled problem. My reference to Charlize about the company Christmas party made me think of other parties, the political kind. My thinking about malfunctioning operating systems and platforms reminded me of party platforms—are you following me, or should I slow down?

Let’s face it—everyone involved in the coming election is a Band-Aid, not a solution. The power-parties assume they are still functional, they just need a patch-fix. Both are wrong, because both share a basic premise which precludes any sense of functionality: their respective objectives are all about holding power, not solving problems. Just as entities like Microsoft and Google (this isn’t a commercial for competing behemoths) continue to feed us patches based on the assumption that their respective platforms are what we want and need. If you don’t believe me, Google them both—they will tell you how superior and ubiquitous they are.

In candidate A (no names here—this isn’t a political commercial), we have someone who views every problem as a ‘deal’ that needs to be ‘won.’ Reasonable discourse isn’t a patch to be considered, because for this candidate with nothing but a loud expensive hammer, every problem is a nail. Candidate A has no appreciation for nuance. In candidate B we have the opposite problem, someone whose fix is to move her personal position stance to a place of likeability, the so-called middle ground—while no problem ever gets solved, candidate B remains likeable*/powerful while seeming to be a compromiser (this isn’t a commercial advocating either of the two accepted spellings of ‘likable’ or ‘likeable’). With Candidate B, all involved in the deal ‘win.’ Her Band-Aid, is the smiley-face kind, like the ones I used to put on my daughters’ knees to make them feel better while the Neosporin did its work (this isn’t a commercial for any particular antibiotic ointment).

And then there is Candidate C, whom I like immensely, because I think he sees the nature of problems for what they really are. Unfortunately, he doesn’t look good in lipstick.

In today’s politics, problem solvers are party-neutral; they pursue objectives that have nothing to do with political philosophy. They are hired guns, mercenaries, middlemen. They may not even be sure for whom they work, as there are powers that transcend both major parties. When problem solving is detached from personal involvement the only winners are those powerful forces and their middlemen, the lipstick salesmen, who couldn’t give a shit if the pig is wearing a comb-over or a pants-suit.

Thank you, Charlize, and to the others at my credit union for simply hitting the Reset button and solving the problem, though I did have to make a trip into the office to accomplish this. Perhaps I’ll see you at the office Holiday party (and while this isn’t a commercial for Elevations Credit Union, I love you guys).

© 2016 Falling Mountain Music

Michael’s Blog, March 23, 2016


The word ‘meridian’ carries two contradictory meanings. The first definition states that it’s “any one of the lines that go from the North Pole to the South Pole on maps of the world” (Merriam-Webster)—this suggests an infinite number of meridians. Another more singular definition is found in the world of acupuncture: “any of the pathways along which the body’s vital energy flows” (ibid). I haven’t bothered to look at a map to see what other places north and south of Aspen share its meridian, but I can tell you that here, in this little mountain town at this moment, my vital energy is flowing.

Historically, before the billionaires nudged out the millionaires who had nudged commoners like me down-valley, Aspen always attracted talented, imaginative people. It’s still a gathering place for great music, great art, great literature, great ideas. In the years I’ve been coming up here as a getaway from another fertile creative meridian, Colorado’s Front Range, I always return having felt like that afore-mentioned vital energy has been tapped from deep reserves. This week has been no different. Mind you, not being a billionaire or millionaire or any other kind of ‘–aire’ that uses more than a couple of zeroes, I can’t afford to just come up to the High Rockies and not get work done. So these tend to be working trips. In one 24-hour period (another kind of meridian?), I added a few dates to both an east coast tour and the local concert calendar, I started a new composition for Ensemble Duende, and got some curriculum development work done for the college. In the same 24-hr period Elaine and I got in rejuvenating walks along the Roaring Fork River and Ute Trail. We went to a book reading/chat about The Never-Open Desert Diner by its author James Anderson, introduced by our friend poet Bruce Berger; the four of us then continued the conversation about the vagaries of our respective worlds of music, literature and poetry over a great dinner (another Aspen hallmark). Earlier, while walking into town to meet friends for lunch we passed singer-songwriter Bruce Cockburn sitting on a bench in front of his tour bus, looking a bit road-buzzed, like he was trying to tap his own vital energy before his show that night at the Wheeler Opera House. I decided not to approach him and ask if he remembered that I and my band Oxymora had opened for him a couple of times in Washington DC back in the last century; I hope he found his meridian before show time.

This morning, yesterday’s 60-degrees-and-sunny day where the cross-country skis never left the car has given way to several inches of fresh new snow. We’ll finally step into those skis (XC skiing is all about tapping into one’s central meridian of balance and energy). Work will happen too—a quick meet-up with the bookstore event coordinator from last night; evidently, she’s also a musician and is interested in my book The Mindful Guitarist. That’s as far as I can see down today’s meridian. No worries—a lot can happen in 24 hours.

© 2016 Falling Mountain Music

Michael’s Blog, October 12, 2015

Happy Indigenous People’s Day

Happy Indigenous People’s Day. Yes, it’s a real thing. Many places, including Boulder, have chosen to eschew celebrating the prototypical Conquistador in favor of the peoples who were already here and thriving before that fateful day in Fourteen-Hundred-And-Ninety-Two.

Now, a quick look at my surname will tell you that I’m about to be lambasted by many of my famiglia e paesani for what many Italians and Italian-Americans would view as heresy. Columbus is a hero to many of them. But among the Original Peoples here, who never asked to be discovered, and certainly didn’t ask to be cheated, sold, murdered and infected? Not so much.

But here’s the thing, hand-wringing Italiani–letting go of Columbus is easy. News flash–he wasn’t even Italian, since Italy wouldn’t exist for another 380 years. He was a Genovese, who, unable to sell his navigational prowess to the locals, had to go to Spain, with a much dog-eared Renaissance version of “The Art of the Deal” thrust into his tights.

But, my fellow Italian-Americans may ask, who can we celebrate the second Monday of October, because I sure as hell don’t want to give up my time-share on the Jersey shore on that long weekend? Many, many notable Italians and Italian-Americans did fabulous deeds, and knew what they were doing, which should move them well ahead of C-Squared. Julio Ceasare knew where he was and who he was conquering. Et tu, Cristoforo?

Among my musical friends, the name Guido of Arezzo (c. 990–1050) can be feted for giving us modern Western musical notation. Claudio Monteverdi (1567–1643) wrote the first successful opera, Orfeo e Euridyce. Domenico Scarlatti (1685–1757) wrote 555 sonatas for the harpsichord, just in time to see the instrument begin its decline after Bartolomeo Cristofori (1655–1731) invented the piano. Antonio Vivaldi (1678–1741) gave us electronica with a heavy repeated 8th note pulse–not really, but his concerti could sound that way/that way/that way/that way…What about Mauro Giuliani (1781–1829), the most important guitarist and composer of guitar music of his time, whose 2nd movement of his Sonata in C only sounds a little bit like his friend Beethoven’s Waldstein. “Hey (shrug/smirk), what’s a little borrowing among amici? That theme…it fell off of a truck…” Antonio Salieri (1750–1825) should be celebrated for actually not murdering Mozart, despite a certain play and movie starring Tom Hulce. Niccolò Paganini (1782–1840) was the rock star of his day, while Giuseppe Verdi (1813–1901) is noted for operas such as Rigoletto, La Traviata, Aida and Otello (1887) among others. Italy also produced great tenors such as Caruso, Pavarotti and Bocelli, all of whom would have sung Otello in blackface, since Italia doesn’t seem to have a surplus of black tenors. There’s even Giuseppe Donati (1835–1925), the inventor of the classical ocarina. Lastly, a musical footnote goes to Al Capone, who was such an ardent music lover he actually kidnapped Fats Waller for 3 days to play for his birthday and paid him his single largest paycheck for his trouble.

We can create an alphabet of famous painters, from ancient Rome’s Amulius to the Renaissance’s Zuccari, with a Michelangelo and da Vinci thrown in for good measure.

Want Science? Certo! Enrico Fermi (1901–1954), physicist, constructed the world’s first nuclear reactor and is often cited as the father of the atomic age. Luigi Palmieri (1807–1896) was a noted meteorologist, a field of science that may have limited usefulness in the future, depending on what happens with that nuclear thing.

In Sports, Yogi Berra and Joe DiMaggio would have rocked New York even without Verrezano’s greed-driven explorations.

Curiously, when I did a search in Wikipedia for Famous Italian Women, it said that no such page exists. However, many come to mind. Lisa del Giocondo, who smiles for daVinci’s Mona Lisa in a way that can only mean “I know something about that wrong-steering navigator from Genoa, and it begins with ‘piccola’….” Sophia Loren, who just celebrated her 81st birthday, still exemplifies grace and beauty on the big screen. Italian-Americans named Ferraro, Napolitano and Pelosi have all helped shape American politics.

So, let’s let Columbus go, shall we? Since it would seem he couldn’t find his ‘piccola testa’ with both hands and a map, perhaps it’s best to celebrate a true Italian hero, and a woman to, er, boot. Like Lisa del Giocondo. Henceforth, we can call it “National Smile Day.”

© 2015 Falling Mountain Music

Michael’s Blog: October 1, 2015

That Which is Built on a Last is Built to Last (and upcoming shows with Andrew McKnight)

During some recent giggery in Santa Fe, I was on my way from my hotel to my show at the Gerald Peters Gallery when I noticed I was passing by the old Tandy Leather Factory. I immediately thought of my father, who used to receive large shipments from them to supply the exquisite shoe repair for which he was fairly renowned in the Washington DC area. As a young boy I would watch him cut the binding cords that held together the raw pieces of leather that would become a brand new sole on an old shoe. He would examine the grain like a luthier eyeballs a soundboard-in-waiting, offer a “hmmph” which could mean one of two things: either “This is a great piece of leather” or “They sent me this crap?” To this day, I can still tell the difference; you can see and feel it, both before and after it becomes a shoe. These days, good leather is hard to come by. Elaine has a great piece, a motorcycle jacket from her punkster days. Someday, I hope grandson Hayden eyeballs it, covets it and eventually owns it. It will likely still have some useful mileage.

Those of us of a certain age remember when shoes were put together by quality stitching and assembly of leather components as opposed to factory-injecting heat into a piece of plastic and then molding it. Look at your shoe–odds are the heel and sole are a continuous piece of plastic. You wear them down, they’re done–they are inexpensive enough to just replace. Back in the day, the leather uppers were stitched to a ‘welt’, a leather interface between that shiny part of the shoe that made them attractive beneath a crisp pants crease, and the business end on the bottom: a leather sole with a wooden heel base covered by a leather or rubber heel plate. This made it possible for a shoe to be re-soled and re-heeled many times–shoes were a bit of an investment. I had a single pair of hiking boots that lasted longer than the total years accumulated by the last 4 pairs I’ve owned.

With fascination, I’d watch my father do this work. It involved a plethora of knives to carve the leather into a perfect, seamless sole that precisely matched the shape of the welt. He would shape it on the last—think of a foot-shaped anvil for cobblers—a process that fascinated me. The last was cast iron, rigid and immoveable. The leather was supple, and, with a little encouragement from the cobbler’s hammer, would bend to the shape of the last.

He tried to pass this marvelous skill on, but aside from a couple of sloppily applied heel plates, I never got very good at it. My brother Frank was better. My father had brought home a set of leather-working tools, and no shortage of leather scraps that became wallets and comb-holders (really!) and knife sheaths, all emblazoned with the imprints of those tools—leaf shapes, scrolls, dozens to choose from. While Frank painstakingly pounded and stitched, I was more interested in convincing Tony DiCello that this is how he could attain a tattoo–just let me hammer this one more onto your arm, oh, just one more…

Composing is similar to cobbling. The composer’s last is the training, the counterpoint, the harmony, all those immutable things upon which we shape the final Thing. While forged against patinaed tradition, the new work still has endless possibilities, infinite new directions. Otherwise, you’re not composing, you’re reiterating, like a factory-produced heat-injected sole and heel. My father would probably disagree, wryly saying something like “Sure, show me your composition muscles” while flexing his not-shabby biceps. Oh well, there are muscles and there are muscles.

Coincidentally, Elaine and I recently discovered a cobbler’s last right here in Niwot, at Wise Buy Antiques. I’m still thinking about it. In terms of a musician’s life—any artist’s life—I like the simile: each of us is like the leather between the hammer and the last. We are shaped between one rigid force, found just beneath the surface, cast in tradition, education and immersion, and another, the hammer of present circumstances. Every day the hammer comes down against the hide, every day we’re shaped by both the past and the present. But the final shaping doesn’t happen until you begin to walk about. All that hammering upon leather on a last merely prepares the shoe for wherever the journey takes its owner. Every step enhances the shoe’s fit to the foot, if it’s a well-made shoe. A shoe that doesn’t have that flexibility should probably be left in the window. We are shaped by that which pounds us, becoming comfortable in our skin. We endure, then we prevail. If we are lucky.

More important, the simile symbolizes Quality, vs. a mass-produced mediocrity with a built-in planned obsolescence designed to induce another purchase. That which is built on a last is built to last.

Leaving New Mexico, driving north on CO 17, the so-called Cosmic Highway, got me thinking about this more–the shifting sands of Quality. The ancient Greeks held a belief that the Quality of a piece of art, sculpture, architecture, poetry, or music could be quantified by the number of direct connections formed among its elements. Consider that for a moment: they believed that a number could represent the artistic Goodness of something. These relationships can be obvious, such as a repeated motif in the design of the Doric columns of the Parthenon (or a comb holder). Or they can be more subtle, as in, say, the mathematical ratios between the length of a pediment, the height of its columns and the number of those columns, all connected by important proportions that inform the inherent artfulness of the structure. I think of Pythagoras basing temperament on the simple 3:2 ratio that gives us the interval of the perfect 5th.

Lastly (ha), if we are to believe, then, that Quality can be quantified by connections, you’re in for a treat with a few upcoming shows with my old friend Andrew McKnight, in Colorado Springs, Longmont, Niwot (right across the street from Wise Buy Antiques, at the Left Hand Grange) and Ft. Collins. We come from two different lasts, though our hammer-marks look similar enough, with more connections than I can enumerate here. If you wonder what kind of show a rootsy singer/songwriter and a world-music instrumentalist can cobble together, well, you’re in for a treat. No factory-molded music here; it is music most present, it’s shaped by our ability to make each other reach high and deep. We both agree–we are different musicians when we play together.

Here’s hoping to see you at a show.

© 2015 Falling Mountain Music

Michael’s Blog: Aug. 2, 2015


This Sunday morning’s soundtrack is a new CD by o’ud player Anouar Brahem and his ensemble comprised of piano, bass clarinet and bass, a welcome-home-from-tour gift from Elaine. I want to give it a standing ovation, but I’m in my living room, home alone, playing hooky from Yoga.

It does, however, give me the opportunity to ponder the Standing Ovation. As a performing artist, I confess to enjoying those moments, when they happen. But not for the reasons you would think. First, I don’t ever consider a performance something I ‘give’; my job isn’t to deliver a uni-directional recitation of music. It’s a partnership, a bargain struck the moment you take your seat. If it’s right, you, the audience, are as engaged in the moment as I am. The energy is a feedback loop–with both audience and performer drawing from each other. If you’ve been in that situation, you know it’s palpable. You’re not just watching and listening. You’re helping to make it happen. It’s what makes live music such a profound–and increasingly rare for some–experience.

My latest encounter with this phenomenon was a few days ago, when an as-yet-unnamed ensemble comprised of pianist Deborah Schmit-Lobos, oboist Craig Matovich, cellist Phil Norman and I finished our premiere performance to a standing ovation. It struck me that it was not so much an expression of ‘congratulations, you guys’ as a recognition of the audience being in the moment with us, feeding us as we were feeding them: “WE did it!” For me it gives new meaning to a word that has lost much of its meaning: special. A standing ovation recognizes what makes live performance special, and what makes improvisation a special kind of live performance. It’s about an intimate kind of engagement–synergy–that, when it works, is its own kind of special.

Interestingly, I’ve also experienced the same kind of synergy without the ovation–I think of the Wednesday music meditations that have become an institution at the Boulder Public Library. Those musicians also draw the audience into a special space through improvisation; by mutual agreement and longstanding tradition, no ovations happen. But the silence is just as palpable, just as welcome, as clapping, yelling, whistling and lighter-ing (hey, I just improvised a new word!) will ever be.

I hope you can make it to this afternoon’s performance in Boulder of this same un-named ensemble. Clap, or don’t. But come be in the moment. Afterwards, you can even suggest a name. Or let us remain nameless. In any event, it will be a moment worth sharing. Hope to see you there.

consort flyer 4

© 2015 Falling Mountain Music

Tour Blog, July 22, 2015

Dateline: Home

“Thank you…I can’t…Thank you so much.”

I could barely get the words out, I was so overcome with gratitude. But let’s rewind….

After finishing a concert in DC, then dinner with friends, I was driving out to West Virginia, where I was staying during my workshop the following week. I took a phone call from a distraught friend; while trying to help her navigate her plight I needed to stop for gas. I did something a seasoned traveler never does–I placed my wallet on the roof of the car while I fished for my credit card with one hand as I wrapped up the phone call with the other. I filled up, went in to use the restroom. I was second in line, behind a burly gentleman in a t-shirt that read:

“We piss off more hippies by 9:00 AM than you do all day”

I just stood there in my decidedly hippie-esque shirt (still dressed from the concert), pondered the meaning of that for a while. I used the restroom, and off I went.

That’s right, off I went. And, as you’ve surmised by now, off went my wallet when I drove away from the pump.

I realized my mistake within minutes; I turned around and returned to the station. I walked the parking lot, no wallet. As I was heading in to inquire if someone had found it (hope springs optimistically), thinking about my immediate future with no credit cards, no driver’s license, two time zones from home, my phone rings.

“Is this Michael De-La….”
“DeLalla…this is he…are you by chance holding my wallet?”
“Why yes sir, yes I am.”
“Wow…thanks…how can I find you?”
“Do you know the exit just north of the gas station, the Lowe’s parking lot? I’ll wait there for you. Maroon pickup pulling a trailer.”
“I’m on my way.”

He had parked so that I would find him with ease. it was he–the guy who pisses off hippies before a second cup of coffee. We shook hands, he handed me my wallet.

“I hope it was OK to look in your wallet. I’m a cop.” He pointed to his t-shirt; now the front is in view. He was a Marine MP. “When I saw the Colorado driver’s license, I was like, ‘shit, how am I gonna track this guy down?’ So I looked inside, found one of your business cards, matched the name to the license. You some kind of musician?”

“When I’m not losing wallets in parking lots. I don’t know if you’re a music lover, but I’d like to give you some downloads or CDs as a thank you.

“You don’t need to give me anything, sir. But he might like some music…” pointing to a young boy standing next to the truck.

I thanked him again, turned to leave, then turned back. “Can I ask you a question? Your t-shirt…”

He grinned sheepishly. “Don’t take offense, sir. It’s not about hippies. It’s about the Army. They used to have a slogan about all they did before 9:00. It’s just us having some fun at their expense.”

After we parted ways, I thought about what lessons The Cosmic Messenger bestowed on me that evening. The obvious–wallet stays in the car, always. But there was another insight. Perhaps the next time I encounter someone who, through a t-shirt, bumper sticker or facebook post sends what I perceive as a slight or offense, maybe I’ll try to have a conversation eye-to-eye, with a view of the front of the t-shirt.

My parting words to MP Prescott, and to all I encountered on this tour:

“Thank you…I can’t…Thank you so much.”

© 2015 Falling Mountain Music

Tour Blog: July 18, 2015
(note–photo-art sent to me by my young friend Madeleine McKnight–thanks, sweetie!)

Madeleine's pic of me


“He makes me play differently than any other guitarist I’ve played with.”

“I’ve heard those pieces a hundred times, but I can’t believe the new places you guys took them.”

After our concert together last week, Andrew McKnight and I were each engaged in two separate but adjacent conversations. In the first quote, Andrew was talking to someone from the audience, referring to the singularly special music that happens when we share a stage. The second quote was another concert-goer who was telling me about how we turn familiar work into something new. The triangulated coordinates of these two quotes intersected right between my eyes. Since then, I’ve been pondering the unique dynamic of collaboration.

Collaboration is different from “sitting in.” Both have their own value: sitting in is fun and comfortable, a way to reconnect with people in an at least somewhat familiar environment, like visiting a friend who lives in a new place but still has the same books on her shelf. It’s a special synergy.

Collaboration is building something new together, not just living in a house already standing. It’s finding new levels of meaning in a piece, adding some genetic stuff that can issue some totally new beast–colLABoration. It makes each colLABORator work harder to find that tillable, creative soil in which to plant and cultivate something tasty.

Andrew and I do that for each other, despite the fact–or because of the fact–that we largely reside in the two different worlds of singer-songwriter and instrumentalist. Our concert stage is a vast musical map; comfort zones are pushbroomed to the corners. Or maybe their boundaries are expanded, embracing unfamiliar things, pulling new musical language and syntax into the conversation. So he gets to use his formidable vocal and guitar skills in different harmonic and stylistic terrain, while I get to explore new textures with mine. It’s a fusion that’s perhaps best described in culinary terms, when a whole new flavor spectrum arises out of ingredients you’ve used for a while in other recipes. If you think we just play fill lines in each other’s pieces, you haven’t been to one of our shows. Don’t fret–just come to Colorado in October for another serving.

A collaborative effort with Andrew is enough fun by itself, but I was lucky to have no shortage of other collaborations on this tour. It began in Rapid City SD, the first show, with Carrie Bartsch, who, despite being a few state lines away, is still someone I can count on to create some seriously fiery guitar/fiddle duo magic. It continued with an emergency fill-in with a band that includes my old Unfortunate Rakes friends Bruce Wilkin and Chas Fowler , when their guitarist broke his wrist. And it continued throughout the guitar workshop, with fellow teachers Candice Mowbray and Keith Filppu. Even the students found themselves in collaborative situations, with singers, a didgeridoo, and even the stray shark costume (sorry, you simply had to be there). finding their way into their collaborative processes.

As I turn the car westward again, more collaborative efforts await. Two days after I return to Colorado I have the premier concert with a consort of fabulous performers, composers and improvisors, whose purpose is to explore that special synergistic dynamic, comprised of Deborah Schmit-Lobis (piano), Phil Norman (cello) and Craig Matovich (oboe/English horn, flute). Vocalist Marta Burton and I will be sharing some stage time later in the year. And The Unfortunate Rakes will make their first visit to Colorado, with a week of shows in March. That’s a lot of opportunity to stretch and flex some muscles I don’t get to use when performing solo.

Westward, ho. Hope to see you at an upcoming show. Bring your passport.

© 2015 Falling Mountain Music

Tour Blog, July 14, 2015

Dateline: Somewhere Under the Rainbow

The drive from Stephens City VA to last night’s concert at Capon Springs WV was ominous: dark purple-black clouds, including a suspicious looking inverted cone lurking ahead for several miles along Highway 259–thankfully, I never saw it go into rotation or touch down. But the road into this usually Shangrila-like corner of the Eastern Panhandle was anything but its idyllic self, with tree
branches littering the road that tested my car’s rack and pinion steering, along with my last nerve. A Go-Pro on the hood might have made for a good Honda commercial.

Upon arrival, I apparently had caught up with a storm of such magnitude that I had to wait it out in my car for about 25 minutes until the monsoon-like rains and wind stopped. I waited a few more minutes to let my ears, ringing a bit from the noise of the pounding hail, return to some semblance of normal attenuation.

Then, this: A rainbow, just a few feet off the ground, with 2 children walking through it.



Thanks, Jonathan Bellingham and the wonderful crowd at Capon Springs and Farms. Magic happens.

© 2015 Falling Mountain Music

Tour Blog, July 3 2015

Monkey Mind Ahead: Reduce Speed

If you practice Yoga and/or meditate, you know the affliction known as Monkey Mind. On the best of days, I can sometimes quiet that leaping about from brain-branch to brain branch, albeit briefly–it actually happens more when I play than when I sit. Driving across the northern prairie lands are of absolutely no use to a sufferer of Monkey Mind. Reader, you are warned.

The first branch: with July 4th looming, I’m thinking about how the threads of recent events may be viewed in the broader historical loom. The second branch: I’m also thinking about a brand new grandson, Hayden, whom I will meet shortly. I wonder how recent events will inform his life, as events inform every life that comes along in their aftermath. There is an entire generation who knows nothing about America before the events of 9/11. The numbers are dwindling of those whose lives was framed by the World War II years. In a sense, Hayden is a first generation…what?

Older, lower branch: I’m first generation Italian, son of an Abruzzi shoemaker. My mother’s family came from the other end of the boot. If you know anything about provincial Italy, you will understand when I say I grew up with two different Italian languages. Fortunate enough to study Italian in high school since I was unfortunate enough to grow up in a household where speaking Italian was reserved for a sort of parental secret code-talking, I did readily enough discern the not-so-subtle differences in their respective dialects. My father’s Italian was easy enough to understand; my mother’s, not so much. Think of the round vowels and crisp consonants found here on the prairie juxtaposed against the elided syllables of Appalachia. For years, I thought the worst epithet one can utter, reserved for those white-knuckle moments when my mother reluctantly chose to drive and needed some verbal ammunition to feed into her gatling-gun aimed at other drivers who were impeding what she thought of as forward progress, was ‘mitigan.’

I heard ‘mitigan’ all the time when I was growing up. I didn’t need meaning, I had context. I couldn’t wait till I was old enough to utter it, like those other words I was too young to speak without repercussions, usually of the corporal variety. Later, when I was in Italian class, my teacher, Senora Cannon, remarked that it was Friday, let’s take it easy…ask her anything, how to say anything in Italian, a day of conversational hookie that teachers engage in sometimes. The usual suspects came up, with the expected giggles. My turn: I said, “Senora Cannon, when my mother is really pissed at someone she calls them a ‘mitigan.’ What is that?”


“I’ve never heard that, Michael. Why don’t you ask her to write it down, show me on Monday?”

I went home, approached my mother: “Ma, when you’re pissed off at someone you call them a ‘mitigan.’ What is that?”

“Well…you know…it’s…’mitigan!'”

“Yeah…OK…could you write it down for me?”

All those years, what she had been saying was ‘Americano.’

Monkey Mind kicking in into high gear, new branches–now I’m thinking again about Hayden. In a sense, he’s first generation too. I hope. Maybe his generation will be the first to reap the harvest of seeds recently planted. Maybe his generation will be the first who knew nothing but at least the semblance of healthcare being provided by a government, just like in more grown-up countries. Maybe his will be the first generation that finally only sees a certain flag in the news of late in history books, that have been finally rewritten to tell the real, whole story, because we all grew up enough–a little–to admit its lie. Maybe his generation will be the first to not have to consider the societal ramifications of how one chooses to express love and to whom. It bears repeating: I hope.

This July 4th, I’ll toast our nation: here’s hoping we all just grew up a little. Just in time, for a generation that might get a more mature rearing than some of us had.

© 2015 Falling Mountain Music

Tour Blog: June 26, 2015

Fly your Confederate flag. Please.

I’m driving through the largely flag-less prairies of northeastern CO, on my way to the Dakotas for the first show of this tour. The stereo is off; in the quiet of the grasslands, I’ve been ruminating on the tragic slaughter of nine people in South Carolina. While I’ve tried to make sense of, or at the very least, mourn for nine lives that were needlessly snuffed out, this same old discussion comes up about the Confederate flag. Once again, we distract ourselves from that which truly afflicts us–deeply rooted,unacknowledged racism.

I lived in Virginia for 30 years. I saw a lot of Confederate flags. For 30 years, I screamed at people to tear them down. For 30 years, I flipped off drivers of cars with bumper stickers that said in that clever code-y Southern-ese: “Heritage, not Hate”, with a Rebel battle flag waving next to it. I heard someone in a Florida audience loudly ‘correct’ me as I introduced a piece dating back to the Civil War with an accusatory “You mean the ‘War of Northern Aggression’.” In countless towns like the one I called home for three decades, Winchester VA, there are statues of Confederate soldiers, all looking south, backs to the north, not because the sculptor misread his compass. I can’t count how many times I had discussions with dear friends who happen to speak with lilting Southern-inflected diphthongs that “it”–the war–was about “states’ rights,” not slavery. They were half-right: the war was about the states’rights to practice and profit from slavery.

When I moved to Colorado, I was, in a sense, saying “I’m done.” These days, when I travel eastward on tour the first Confederate flag I see is usually somewhere in Missouri or Kansas. I sigh, I remember how I don’t miss those 30 years of arguments. I get to those places with abundant Confederate flags and I’m thankful I no longer live there. But I didn’t come to feel this way triumphantly; I felt like I had lost my own metaphorical war. The flags still flew; ‘heritage’ was still celebrated. I was the one who left.

I’m thankful that where I now live in Boulder, many of the flags make me smile. Like Tibetan prayer flags. Or those tongue-in-cheek Corporate States of America flags. Or the rainbow flags, which speak of what I hope is the heritage my children’s children will know: inclusiveness. Even the CU buffalo–while I may not be a fan, at least I’m not offended.

In the aftermath of nine lives cut down for no other reason than being the wrong skin color in the eyes of the murderer, I have a new battle cry of my own. After 30 years of begging for those flags to come down, now I say: Fly your Confederate flag. Please. I want to know who you are.

I want to be able to identify you. While it’s not my nature to villify or shun people, I want your flag to be, at least metaphorically, like a Scarlet Letter from another era.
I want the flag to signal your presence.

For some, if your flag takes on this meaning, perhaps it will someday compel you to reflect on how wrongheaded your dedication is to said ’cause.’ Good, and thank you for desisting from defending the indefensible. To the rest of you, in the meantime, the rest of us need to be reminded that you’re out there. And it starts with the rest of us knowing who you are. Otherwise, you’ll begrudgingly take down your flag, and take your hatred into back rooms, ‘private’ clubs and camps, with guns, plans and manifestos, as many of you already do, but with renewed purpose. Fly your flag so wewill know who, and where, you are.

Then, perhaps we can get to the real work at hand–knowingourselves. Rather than be distracted by flag-symbols, we can eliminate that distraction and roll up our sleeves, look in the mirror and say “Yes, racism is still with us.” Daily. If you deny it, if you tell me about your black friends, if you tell me that you’re generations removed from that institutional hatred, then you might as well hoist your own Stars and Bars. If you don’t believe me, examine closely the coded way our sitting president is talked to and about by those who would wish he was never elected. Ask your black friends if a day goes by without a daily reminder–a hurried locking of a car door, a refusal to make eye contact, ‘special attention’ in a retail establishment–that racism, while often covert, is still palpable. Tell them that when you are approached by a stranger on a dark street you look for a cop; they will tell you that when a cop approaches them on a street they look for a witness. If you don’t believe me, if you are that delusional, as those who claim ‘heritage, not hate’ are delusional, well, we need to see your flag too.

And while we’re on the subject of flags, I wouldn’t mind a national movement to replace the Stars and Stripes as well. It represents a compromise struck by the aristocratic founding fathers: 13 stripes representing the rights of states (you know which ‘rights’ I’m talking about) and a blue field of stars representing unity. That compromise, rooted in a discussion of whether an enslaved African American was 0/5, 3/5 or 5/5 a US citizen, was wrong then. Failure to deal with it–attempting to compromise–kicked the can down the road to April of 1861. Every new generation of leaders continued to kick that can, from Reconstruction to 1954 to 1964 to 5 minutes ago. Some principles shouldn’t be compromised. Freedom and dignity and living without fear come to mind. If a flag is a symbol, acknowledge all the symbols. Then decide whether you wish to fly it or strike it.

In my perfect world–where is that?–flags are a celebration of all that we are. I don’t want us all to fly under a ‘human flag’ pretending we’re all the same. I celebrate our diversity–I’d be OK with every household flying a flag that says “This is Me, part of Us.” In the meantime, while some symbols still represent hatred and fear, let’s see those colors too. So that those who fly them are seen by the rest of us. So that we are warned.

Fly your Confederate flag. Please. So that we may know you.

© 2015 Falling Mountain Music

Michael’s Blog: January 2, 2015: Play

(Note: pretend I can intone a really spot-on Rod Serling imitation).

Yesterday I exchanged emails with Michael DeLalla. The other one. I first got to know him several years ago when he found me on the ‘net, then bought a few CD’s. He joined my email list; we exchanged a couple of emails; I was most intrigued to learn that he was a toymaker. There was something I liked about my doppelganger also being a purveyor of play.

Flash forward to yesterday, I receive an email from dear friend and musical collaborater Jim Baird from Durham NC. While at a trade show in Columbia SC, his daughter Lindsay meets a customer named Lauren DeLalla.

“Oh, I know a DeLalla.  His name is Michael.”
Lauren:  “Oh – that’s my dad.”
Lindsay:  “Really, well my dad plays music with him.”
Lauren:  “Oh – you’re talking about the famous Michael DeLalla – that’s not my dad.” (Ed. note: ‘famous’…that’s just too funny.Let’s all pause for a collective chortle.)
Lindsay:  “But he has a daughter named Lauren, too…”
Lauren:  “Yeah, but we’re from Boston.”

Two Michael DeLallas. A toymaker. A music maker. Each with a daughter named Lauren.
Each involved in some aspect of ‘play,” with its various meanings: to recreate, to re-create.
While fame is fleeting, play leaves on each of us, in a single infinite moment, an indelible mark: a smile…here, and in the Twilight Zone.

© 2015 Falling Mountain Music

September 16, 2014 

An open letter to my dear friends in Scotland and Britain,

I’ll be thinking of you on Thursday as the good Scots people cast a vote for their future. For those of you wishing to secede, I’d like to offer some perspective from a people who also chose to leave Britain’s rule, although we chose the more daring guerrilla warfare option–it gave us a chance to sport the buckskins that just don’t get taken out very often. The facts of the matter are that some things that were never considered were changed forever when we said goodbye to Britannia, and not always for the better. I’d like you to consider what could lie ahead, and choose carefully. Our experience is that once you secede, there are some things that will never be the same:

1. Beer. Let’s get right to it. The fact that I call it beer should send off alarms. Good righteous ale was a casualty of our little secession adventure, replaced by, well, beer. Except here in Colorado, with more microbreweries than anywhere in the colonies…er…states. But we are the exception, not the rule.

2. Tea. Most Americans like theirs cold, with lemon and ‘way too much sugar. In the South, they also like to put the leaves of the mint weed in theirs. Tellingly, they actually attempted to secede from the secessionists. Like, yesterday. Don’t let it happen to you–tea here sucks. Except here in Colorado, especially Boulder, where we have several first-rate tea houses. But we are the exception, not the rule.

3. Football. I fear that football will change. A sport that should be defined by a ball, a pitch and ninety minutes of stamina will become unrecognizable. The players will be in full body armor, complete with corporate logos. They will have a break every 4.6 seconds. Each and every play, which coincidentally also takes 4.6 seconds, will be shown via instant replay at least 4 times, from several angles and at varying rates of slow-motion. This means those 90 minute matches now stretch from breakfast to warm-milk time. Then, the newscasts will dedicate four more hours to it all the next day, watching replays of the replays. Except here in Colorado, where they are STILL, at least as of five minutes ago, talking about a certain game last February that didn’t work out so well, no matter how many replays were aired. But we are the exception, not the rule.

3. Music. Oh my, where to begin…

3a.–Pipes. Try to hold on to the highland pipes. Here, they tend to come out for firemen and policemen. They only know two tunes: one of them is Amazing Grace; the other one isn’t. They wouldn’t know a Pibroch if it hit ’em in the sporum. Except here in Colorado. We have pipes…a different kind, I’ll allow. But we are the exception, not the rule.

3b.–Singing. It’s football season (see football, above). while there is one contest on the gridiron there is another on the PA system, as singers try to melismatically outdo last week’s diva, vying to make the phrase “Oh, Say Can You See” into 537 syllables. If Scotland secedes, don’t lose the old peurt-a-beul singing. I’d love to hear your national anthem in nonsense syllables, just like ours. Except here in Colorado. We don’t sing the national anthem; we just jam on it for 7 hours straight. But we are the exception, not the rule.

4. Miscellany. Hammer throws, putting the stone, and caber throwing will all come to mean something else, vaguely smarmy. Sigh. Lament for the auld ways, including spelling. Speaking: sadly, your lovely brogue will be replaced. For some reason, this can’t be helped when secession happens. Your succinct, no-nonsense “Aye” will become a diphthonged, head-scratcher that means everything and nothing at the same time: “Yeah, Boy…” And be prepared for another shock: the word Clan will come to mean another thing entirely. Be afraid. Very afraid–it became a scary force on this side of the pond after the attempted secession to the secession. Except here in Colorado. Perhaps we were too busy hitting on the pipes, watching the same football game for 8 months, and jamming for hours on end to notice the racial unrest that took hold after a Civil War that nobody here seems to know happened. But we are the exception, not the rule.

Well, I hope I’ve given you much to think about as you make your choice. Remember, nothing turns out as planned in these matters. Even your oil boom–we had one also, it’s now, alarmingly, fracking everywhere. At least, you are approaching this decision peaceably–perhaps that will be the difference. And remember, when you become homesick for the auld ways, we commiserate–many of us miss them too. Except here in Colorado, which has a curiously high (funny) occurrence of short-term memory loss. But we are the exception, not the rule.

© 2014 Falling Mountain Music

Tour Blog July 14 2014: Radar

“You gonna ride that bike all the way to Colorado?”

I had seen him when I pulled up to the trailhead of the Greater Allegheny in Frostburg MD. With no other cars, bikes or people he would have stood out anyway, as I like to scope out such deserted sites. With no other cars, bikes or people he would have stood out anyway, as I like to scope out such deserted sites. If he had noticed my license plates what else had he surmised?

“I was thinking about something a bit more local.”

“You’ll get a shower—rain comin’ “

“Mmm hmmm…”

He hadn’t had a shower in a while, apparently. It seemed his worldly possessions were in tow on his bike, yet he didn’t strike me as a rider, in the way that someone who lives out of their car isn’t necessarily a driver. More of a survivor, though my stranger-radar wasn’t making me want to know what exactly he had survived. His radar wasn’t similarly attenuated. He approached. I could now read his black baseball cap with the sparkly script: “Jesus!” At first glance through the wrong part of my indexed lenses I thought it read “Vegas!”

“You could go that way and come back uphill or go that way and come back downhill.”

Like the Scarecrow to Dorothy, he had pretty much summed up my options on a rail-trail.

“Is Jesus travelling with you?”

“No, I’m travelling solo.”

“You know Jesus, don’t you?”

“I know I need to get going if I’m going to beat the rain.”

“Need someone to watch your car? You can’t be too careful.”

“You know, I’m thinking I might head up to Meyersville and pick up the trail there.”

This isn’t a story about meeting a proselytizer or someone down on his luck at a trailhead. It’s about that radar that makes me want to either engage a stranger or totally avoid him. This time, the latter.  A few weeks ago while on a bike ride on the C & O with Andrew McKnight and his family I encountered a woman who was on her second trek of the AT Georgia-to-Maine, solo hiker both times. My radar at that time sent a different vibe: I was in the presence of a badass hiker.  We chatted for a minute while I waited for my riding companions. We talked about the challenges of the solo traveler and the value of listening to that instinctual voice that can signal a good or bad situation. Readers of my blog know that radar homes me into some fascinating encounters with total strangers; sometimes the pings are a bit more alarming.

I loaded the bike back on the rack and headed to the Meyersville Trailhead. Just as I got there the rains came in sheets and torrents. Sometimes, it’s good to reference more than one radar.

© 2014 Falling Mountain Music

Tour Blog, July 12 2014: Charlie Haden

There are pivotal moments in every young musician’s life when everything changes. When the vague notion of “playing music” clicks into sharper focus upon hearing some player that makes that young player say “That’s it. That’s what I’m going for.” When I was that young strayaway that moment came when I heard Charlie Haden, quite possibly one of my biggest influences who wasn’t a guitarist. I remember the time, the place, the entirety of that moment: sitting in a barely furnished apartment I shared with my future bandmate Chas Fowler —sitting implies we had chairs; as I recall we had a mattress that served as sofa by day, my bed by night—listening to an odd purchase that day—Keith Jarrett’s “Eyes of the Heart.” Odd because it was a double-album live set, but only 3 sides. I don’t know why. I’m guessing that quartet said what they needed to say in 3, not 4 sides. That got my attention. Jarrett got my attention as well—his approach to solo piano improvisation would later inform my approach to solo guitar playing. Dewey Redman on sax and Paul Motian on drums would make me come to realize to how a band should listen to each other.

But Charlie Haden was the glue. His bass playing was what made everything else sing. He would hit a note and it would bloom. It transported the other players in a way I hadn’t heard before—they weren’t just playing over a harmonic foundation provided by the bass. They were being propelled by it. Whether they were aware of it or not, the bass players I would come to know and work with would all come to be compared to his voice; THAT’S what I wanted in a bass player.

The next recording I bought (yes, young ones, there was a time when we actually bought music) was a trio of guitarist Egberto Gismonti, saxophonist Jan Garbarek and Charlie Haden called “Folk Songs.” Listening geeks of that time will see the pattern—I proceeded to build an enviable collection of Manfred Eicher-produced recordings on the ECM label, many of them with Haden driving the train. At one point, those recordings would comprise half of my vinyl collection.

I heard the news of Charlie Haden’s passing  last night, just as I was finishing up my two week workshop with Virginia Summer Regional Governor’s School/PAVAN. It was a profound two weeks, where I got to observe many such moments of that crystal turning, something coming into focus for these young musicians. Whether it was something said by me or Keith Filppu or Candice Mowbray, or any of the fine teachers that sent them to us, or that they will have in the future, I hope they are lucky enough to recognize that moment, when a beacon such as I had in Charlie Haden illuminates a path for them, and then I hope they dare to embark upon it.

In the meantime, I’m guessing that I’ll be able to immerse myself in his varied offerings this weekend as I’m certain that radio people will be paying him tribute. I know I will. Thank you, Charlie Haden.

© 2014 Falling Mountain Music

Tour blog, July 6 2014: Profiles Discouraged (with apologies to JFK)

“I want to thank you for hosting the post-concert reception, Trish.”

“The pleasure is mine, Mr. DeLalla…”
“Please—call me Michael.”

“Of course, Michael. Everyone is excited to meet and talk with you. I’m sure you’ll hear lots of questions about Colorado.” By the way, my sister’s best friend’s daughter is engaged to a Coloradan…—that almost makes us family!”

“Hi, Mr. DeLalla—my name is Todd. I’m an organizer.”

“An organizer? Of what?”

“Events, happenings…we want to raise awareness of the plight of your people.”

“There are at least three words in that sentence that I don’t understand. But let’s start with…’my people’?”

“We’re enraged at what’s happening to the people of Colorado since pot became legal. Unwarranted traffic stops, the profiling, all of the injustices your state has to suffer—I heard about your being pulled over in Lawrence Kansas by some jackboot. Today, Ich bin ein Colorader.”

“Actually, the officer was exceedingly polite, he didn’t search me or my car, just asked for my license and registration and sent me on my way.”

“Look, man, we’re standing with you. Together, we’re strong…”

“Hi, I’m Missy—enjoyed the show! I just wanted to tell you that I’ve always wanted to visit Colorado! I’d love to see Old Faithful, really feel the power of the place!”

“Old Faithful isn’t in Colorado, it’s in Wyoming.”

(Slipping her arm under mine, whispering in my ear) “Is it true what they say about Colorado men…their big water pipes….”

“I’m afraid I might disappoint. Excuse me, that’s my wife texting me. Nice chatting with you, Missy.”

“Oh there you are, Michael—I wanted to show you the centerpiece on the buffet table. I made it myself.”

“Interesting, Trish…it’s a…chocolate chip…cow?”

“It’s a bull, silly. His name is Eddy. Get it?”

Eddy…Bull…ah, edible…good one, Trish.”

“I thought it would send a strong signal of solidarity.”

“You know, Trish, I really need to say, all of this, all of you…I’m feeling more profiled than I ever did in Lawrence. I mean, I’ve been here three weeks and not a day has gone by that someone hasn’t asked about the legalization of marijuana back in Colorado. I mean, it’s a big state. Not everyone is a doper. Just like not everyone rides a bike, or snowboards, or does Yoga—OK, strike that last one… but not everyone is a doper.”

“Of course! Diversity! We get that! Now, would you like to make the honorary first slice into Eddy?”

“You mean cut the bull? I’ll leave that to you guys. I think it’s time I headed out. I have a rehearsal with my Celtic trio for a show on Sunday.” Thanks, though. Thanks for everything.”

“Celtic trio? With a piper? Does he wear a kilt? Is it true what they say about pipers…”

© 2014 Falling Mountain Music

Tour Blog, July 3, 2014: “It takes a long time to grow old friends”

This aphorism Is emblazoned on a wall plaque in the communal dining room of Capon Springs and Farms, located in the idyllic rolling hills of West Virginia. How long is a l…ong time? Sometimes, multiple generations. There are people who come to Capon Springs who were brought here by their parents as children, whose parents brought them here. There are families here who love to visit the same week every summer because of the deep friendships that they’ve nurtured over the years with families who visit the same weeek. When everyone sits down for dinner together, it’s not unusual hear an announcement recognizing someone’s 30th, 40th, even 50th visit. Before ‘friend’ became an internet verb, Capon Springs was practicing its own special form of social networking.

The most effective advertising campaign can sometimes be deep, fond memories. Capon Springs has relied upon its ability to foster deep connections. Not just with its visitors—I can say from first-hand experience that every time I drive past the stone pillars that stand at welcoming sentry at the edge of the property I feel another kind of connection, an inner one. I’ve felt this before in special places—places that invite contemplation and reflection, places to which I occasionally like to retreat. This may explain why I’ve played there every year since 1988. Even after moving to CO several years ago, I always look forward to my annual concert there. I’m happy to say that Capon Springs and I have become part of each other’s story.

The 19th Century hotel was resurrected from ashes in 1932 and has opened its doors, hear and spigots ever since. Yes, it’s the water. I’m sure of it. I’m so sure of it that part of my compensation always includes a half-gallon of this magic elixir. “Capon” actually comes from an old word from the indigenous people of the region that means “magic waters.” We may have just redefined the previously referenced “long time.”

But don’t confuse timelessness with nostalgia. A visit to Capon Springs is not so much a step back into some longed-for-but-forgotten past as a step out of the sometimes-too-suppressive present. I’ve talked countless times to Jonathan Bellingham, who keeps the nurturing going as his family did before him since the 1930’s. As we chatted during our pre-concert dinner together, the way old friends do who don’t need a lot of catch-up, guests came by with greetings, questions about upcoming activities, and just to say hi. When you call Capon Springs you don’t get voice mail; once you’re here, you have direct contact with everyone.

Every age is represented. Walk around the rec room and you’ll see children playing games—on boards, and with cards, not on screens with thumbs. There’s tennis, Yoga, fishing. A mixed-doubles shuffleboard tournament was quickly filling up for the next day—during dinner a woman came up inquiring if Jonathan had been able to secure partners for her and her friend. He replied that he had, a pair of willing teenagers, asI smiled inwardly at how quaint it was—a quiet little shuffleboard tournament. Until she said: “And remember, I said I was looking for “fierce.” These guys—are they fierce?”

I left Capon Springs a couple of days ago, dictated by the tour and workshop schedule. But it hasn’t left me. I hope I can hold onto that special feeling for the next 51 weeks before I return to this magical place. I hope you get to visit and see for yourself. In the meantime, on this off-day, Today, I’m down for some fierce relaxing.


© 2014 Falling Mountain Music

Tour Blog, June 17 2014: Tribes

“I want to study Textiles.”

The morning after my concert at Sun Meadow Resort, Elaine and I were having a chat with a young woman who works there, along with Margie Cantlon, one of the owners. The young wom…an was talking about her pending college plans.

Said Margie, smiling: “Isn’t that ironic?”

Indeed, given that in her community “Textiles” is also a tribal distinction. Think “Jews and Gentiles”—“Nudists and Textiles.” The last stop on the tour, Sun Meadow, is a nudist resort. We were talking to a nudist who wishes to major in textiles. The industry/art or the culture? She’ll decide.

It had been several years since I (along with singer-songwriter Andrew McKnight) had performed at Sun Meadow, a beautiful venue in a most picturesque corner of Idaho, outside of Worley. Some of the main facility, including the stage, was still under construction; it’s now complete—inviting, with warm acoustics, a sound system and engineer and lighting trees. The food, top-notch then (note to Margie: I have kitchen lust), is still fabulous. In a word, Sun Meadow is a nurturing place, a great final stop on this Northwest journey.

One other thing has changed—Margie’s husband and partner/dreamer in the Sun Meadow odyssey, Chas, passed away recently. Well, he passed—some of his ashes remain atop the piano onstage, so I wouldn’t call him “away”. In fact, his presence, along with my memories of a late-night chat that addressed at least half of the problems of the world, was so on my mind. I found myself glancing and quietly nodding in his direction while on stage; I also dedicated a piece to him, and another special person who died six years ago this June 19th: my father, Luigi DeLalla. From a conversation with Margie as she showed me around the resort, including the memorial sculpture by the gazebo:

“Take a look at the sculpture. See the double-arced motif? When we all gathered to celebrate Chas’ life, we were treated to a double rainbow.” I stopped, stunned. On the day of my father’s wake we were also treated to a double rainbow, first observed by my sister Jean. The coincidence moved me. I told Margie I would dedicate a piece at that evening’s concert to both of their memories. Which I did, but I kept the introduction to the piece a bit short (for me); maybe keeping it a bit more personal. Said Margie, afterwards:

“I thought you might mention the double rainbow.”

“I thought I would too, but I don’t think I could have gotten through the piece. Our secret.”

It should be noted that nudists do, for practicality’s sake, still enjoy certain textiles. As Margie told Elaine, she places an order for $500 worth of sarongs on a regular basis. Women and men alike carried or wore a sarong, an easy way to have your own seat cover. Bicycling nude? While not my preference (give me as much barrier between the saddle and me as possible), why not? As we packed to leave the next morning, several people had biked over for breakfast. Evidently, a small towel over the saddle makes it less of an issue, at least within the confines and privacy of Sun Meadow. I did manage to make it to 7:00 AM Yoga (Did you hear that, Cindy Lusk—7;00! No more excuses for missing your 8:30 class.); the sarongs became a mat cover. Almost everyone wears some kind of footwear between buildings.

Many of you are probably curious about the nudist lifestyle; some may be dismissive some may even be derisive. Personally, while I would technically be classified as a “Textile” (playing guitar naked adds a whole other set of challenges to a challenging instrument, though after the show, all bets and clothes might be off) I find it a peculiar way to categorize tribes. I had conversations with many people those two days—some were engaging, others not so much. I tried to hide my horror when, during a wine and cheese pre-concert gathering, one gentleman said to another “I saw some gophers down the hill. Let’s go shoot some.” I guess my discomfort was not hidden by my threads—he said to me “We just shoot ‘em, leave ‘em for the vultures. It’s like feeding the birds.” Oh. But I also recall a discussion with another gentleman about Civil War history. Another about Colorado real estate. And sailing—another distinct tribe I’ve encountered. My point is that classifying a tribe by their nudity is as inaccurate as classifying a tribe by their textiles, something to which anyone who went to a public high school can attest. There is a whole range of activity and mindset behind the groupthink of a pair of designer sneakers as there is behind a bare behind.

Thanks, Margie, and everyone who made for such a satisfying concert and stay at Sun Meadow. If you’re interested, check them out at www.sunmeadow.org .

Time to point the car toward Colorado. In the meantime, the concept of Tribes will continue to roll around in my head like a Brazuca. Sorry, that’s a reference to one of my tribes: The One True Football. Hail World Cup.

© 2014 Falling Mountain Music

Tour Blog, June 15 2014: ‘Car d’Alene’

Shhh. Be still. Be very quiet. Since arriving in Couer d’Alene it’s been a non-stop aural assault. For starters: “Car d’Alene”…really? A town-wide “classic car” rally? Evidently, you pay for a sticker that gives you the privilege of parking, cruising and–most annoying–revving your shined up machine anywhere in town. I asked if I could clip on a playing card to my spokes and they showed me the way out of town. Then–dinner last night, more noise (and horrendous food); a hotel with flimsy walls; and finally, a pickup truck growls into the space outside our window. When I get up to see what fresh hell was visiting I read this on his bumper: “Save 100 elks. Kill a wolf!”

I can’t get packed fast enough. Au revoir, Orielle d’ ‘Pain’…

© 2014 Falling Mountain Music

Tour Blog, June 14 2014: Keepers of the Stories

“Nice office you have here.”

“They told me it came with air-conditioning, but I had no idea.”

We had seen the pull-off and the signage referring to Chief Joseph and the Nez Perce tribe but we didn’t pay much attention to the pick-up truck parked there. We stopped the car to take in the sweeping views of Joseph Canyon, when we were joined by a gent…leman wearing one of those brimmed hats favored by rangers. We were in the presence of “Wallowa Man,” aka Kerry Johnson. Kerry works for the other NRA—the National Recreation Area. His office consists of the cab of his pickup and the canyon as far as the eye could see.

Oregon State Route 3 is one of the most beautiful drives I’ve ever been on, and suffice it to say I have a basis for comparison. But neither of us was prepared for the drive from Enterprise OR to Couer d’Alene ID. It cuts through cool green stands of pine, then open meadow and ranchland, then skirts the canyon, plunging you into it with sobering switchbacks. Meeting Wallowa Man along the way was merely a continuation of that day’s good fortune.

“Somewhere below us is the cave where Joseph was born.” I took this in. I hadn’t come looking for Joseph, though he is one of my favorite figures in Native American history. While I appreciate the idea of pilgrimages, I tend to revere deeds and thought more than birthplaces and homesteads. If I find myself in Memphis again I’d rather visit Stax Records than Graceland. Deeds and thoughts endure. Birthplace…an accident of timing. But all that said, I was moved by the events that had transpired in the canyon below.

The Nez Perce, or Ne-Mee-Po, lived in this canyon. I had always understood—or misunderstood—that they were a nomadic people; in fact, they moved only enough to move their cattle and horses from pasture to pasture, both preventing over-grazing, and following a practical cycle of the seasons. Practical, but daunting: according to the season, the snowfall and the available pastureland, they would ascend and descend the 8600 feet of elevation afforded by the canyon. That’s 8600’ vertical, but in terms of climate and weather it was the equivalent of travelling between Arizona and Alaska.

No wonder they scratched their heads in 1803 as Lewis and Clark’s expedition, starving and ill, attempted to traverse the canyon in exactly the wrong season. But the Ne-Mee-Po were too polite to press the point when the white people insisted they could do it, though privately they complained about the fact that they smelled horrible and that their heads were on upside down—bald on top with thick hair under their chins. One member of the clan wanted to kill them then and there, but Chief Twisted Hair shrugged and said “Why bother?” They’ve nothing of value, their horses are scrawny and they’ll be dead by midwinter.” They did, however, agree to watch over their horses and kept their word. This same courtesy was not returned decades later when the “Pierced Noses” were forced into a treaty that moved them out of their canyon lands onto a reservation.

“So Kerry, I know that history is usually written by the victors, but I’ve read that General Terry had tremendous respect and admiration for Chief Joseph, even as he sent Gibbon and Miles to chase him down.”
Kerry smiled. “Well, there are other accounts you should read, not just those written by white apologists. In fact, Chief Joseph was given an impossible ultimatum. Terry told him “You need to be out in 30 days.” Joseph responded “We can’t even round up our livestock in 30 days.” To which Terry responded: “Then we will annihilate you.” So much for the benevolent Terry, whose only compassionate decision was to not send Sherman instead of the incompetent Gibbon and Miles. Joseph outwitted them at every turn, vastly outgunned and outnumbered. The cavalry’s decision to exact casualties on women and children was too much for Joseph—he finally surrendered with his famous “I will fight no more forever” letter, one of the most beautifully poignant examples of the written word known to history.

“Wallowa Man” shared plenty more with us—that, contrary to popular opinion, “Wallowa” does not mean “Winding River.” Instead, he told us that it referred to a tripod used by the tribe for textiles and fish-drying. It dawned on me how important the Kerry’s of the world are. Truth. Lies. Victors. Vanquished. All form a complicated calculus we call history. Except it isn’t. That kind of history is simply the last story standing. It’s why oral tradition is so important—it keeps the record straight like no other kind of history.
When I mentioned this to Kerry, telling him of the Griots in Mali, the keepers of hundreds of years of history—and incapable of lying—he didn’t look at all surprised. “Of course—how else can a people keep their stories? Do you trust a victor to tell the whole story, without apology?”

What a gift to have crossed paths with this truth-keeper.

© 2014 Falling Mountain Music

Tour Blog June 13 2014: So long San Juans

Michael: “Over there. One just surfaced.”

Elaine: “How far out?”

Michael “That was the most far out thing I saw all day.”

(While looking for whales off of Lime Kiln Lighthouse on San Juan Island)

I love islands. It’s a totally different vibe, an insular culture that breeds self-reliance, a measure of diffidence for the turnings of the universe outside and an inviting eccentricity. I don’t know if I could do it, but I enjoy doing it every now and then.

The rhythms of the San Juans are measured by the mostly regular pulse of the ferry boats coming and going. Washington State Dept. of Transportation (WSDOT) operates a system serving Puget Sound and the islands that is the largest passenger and automobile ferry fleet in the United States and the third largest in the world by fleet size. We had no trouble getting from island to island with our bikes, save the final ride to Anacortes, when our bikes were pinned against the wall of the vehicle compartment by a tractor-trailer. We could either wait until the entire ferry emptied before being able to leave or heave-ho our fully loaded bikes across the connecting beams of the trailer, then weave through the cars, separated by spaces smaller than anything except the slits of the eyes of drivers who didn’t want their fenders dinged by our fenders. Oh well. If travel were easy there would be no stories.

Our final day of biking Washington was on the island of San Juan. With only one day remaining hard choices had to be made. Take the ferry to Lopez Island, bike for a while, ferry over to Friday Harbor on San Juan. But the last ferry of the day back to our base on Orcas made that challenging, if you call missing happy hour and a leisurely dinner a hardship. So we decided to spend the entire day on San Juan. Once again, hardship turned into opportunity.

Islands are a metaphor for what we can perceive and what is hidden. A throwaway phrase like “on the surface” carries a bit, um, deeper meaning on San Juan. I became aware of this as we biked along the western coast of the island, a rocky stretch of cliff that rose a couple of hundred feet above the Haro Strait that forms the border between Canada and the island. As I pondered how many times I’d bounce on the way down the cliff I recalled some earlier reading that described the Haro as one of the deepest channels in San Juans—from the shore the water reaches a depth of about 1630 feet pretty immediately. That’s a long way down after a long way down. I hugged the white line shared by the sparse car traffic.

We had received a tip from a ranger that some whale pods had been moving off the lighthouse at Lime Kiln, so off we went. Apparently, the local rangers know these whales by name, identified by the height of their dorsal fin (an adult whale’s stands about 6 feet) and the scars and blemishes on their flukes. Whale fingerprints. We heard a most touching, and telling, story. From our conversation with a ranger:

“We have three pods of whales that travel along our part of the Haro Strait. Pods J, K and L. Each has about 25 whales.”

“Do they ever mix?”

“Not usually, but it does happen. Right now, for instance, we have Onyx, an orphaned male who has been seeking a new granny. He only likes to hang around with grannies; it doesn’t matter which pod.”

“So Onyx isn’t looking for a mate?”
“That would appear to be the case, yes.”

“So Onyx doesn’t like girl whales?”

“He doesn’t seem to.”

“So Onyx isn’t interested in girl whales, only grannies, and all the pods are fine with this, even accepting and welcoming. In fact, the rest of the whale society couldn’t care less about with whom Onyx associates. Is this about the size of it?”

“That’s right.”

“This is why beings from other worlds haven’t wanted to talk to us. They find the whales much more reasonable. Thanks for all the information.”

We caught the morning ferry back to the mainland, both frowning a bit as we made our way to our car stashed in the parking lot. 300 miles to the next show, in Enterprise OR. We’ve once again changed pods—from an inviting island community to the more isolated culture that is inhabited by the ultimate anti-pod: the automobile. All swimming upstream, alone together. Elaine just reminded me as I write this that it probably explains why we so easily fall into conversation with total strangers at waysides, roadsides and astern on a ferry. We’re always interested in seeing how the other pod lives. See you in Enterprise.

© 2014 Falling Mountain Music

Tour Blog June 10 2014: No-Plan

“I wanted to be lost. I was tired of Chicken Caesar Salad and blond blue-eyed people.”

This, from our opening conversation with Doug Tidwell, innkeeper at the Orcas Hotel on Orcas Island. We were talking about travelling. One day, before becoming an island innkeeper(“I don’t know how to live on the mainland anymore”), he said those words to his wife. They made sure their travel documents were in order, then went. A verb with no destination. They left. Among other places devoid of Chicken Caesar Salad and blond blue-eyed people, they wound up in Turkey. Their only itinerary was having no itinerary. Oh, and comfort zones were not packed.

I love the idea of shifting the paradigm of travel. Since this tour began Elaine and I have been on the road for little more than a week. That’s 11,520 minutes, 11,510 of which have involved a rather tight, structured travel schedule. And I treasure every one of those minutes—week 1 of this trip to the Pacific Northwest has been memorable.

Now, with a break in the concert schedule, we are in the middle of a 3-day stay on the San Juan Islands. The only plan has been no plan. No shows, no guitars—they await our return to Seattle. Oh, and no car. If it didn’t fit in the bike panniers we didn’t need it. So we and the bikes boarded the ferry at Anacordes, which brought us to Orcas. There, the non-plan commenced.

People have forgotten how to disconnect from the forces that structure their lives. At dinner tonight I watched a woman on her phone for an uninterrupted 45 minutes. No judgment—for all I know her best friend just discovered a cure for something previously incurable. Like the need to not totally leave a place you left to go on vacation. But we also watched a sailboat moored just a few hundred feet away, owned by a guy who built the boat to become his floating, mobile, no-itinerary home, with his Bengal cats.

Back to our non-plan: we began with a bike ride to see as much of the island as possible. Circumnavigation is impossible—the island is shaped like the lobes of a maple seed; we used to call them “helicopters” back when we were too young to be too busy to play with these gift-from-nature toys. Orcas is surprisingly hilly—next time I might not pack the hubris that snuck into the panniers of a Coloradan cycling 4800 feet lower than he’s accustomed–I was definitely feeling those hills. We made it to a beautiful lake on the other lobe of the island and had to come back the way we came. A little unplanned detour to West Sound gave us the gift of a most picturesque little harbor. We had heard about a café there that was excellent; alas, no-plan sometimes disappoints. Closed on Mondays. But that was a small disappointment, mitigated by sightings of deer, a pair of bald eagles dive-bombing the sound, and the local high-schoolers in their graduation gowns, running around the island for photo opps. I’m guessing a lot of these kids were graduating with friends with whom they went to kindergarten. They are probably trying to formulate a plan as I write this—I hope they save a little time in their lives for no-plan.

Today, off to another island or two—the inter-island ferries are free once you’re here. I’ll try to post some pics and more thoughts tonight. But don’t plan on it.

© 2014 Falling Mountain Music

Tour Blog, June 4 2014: Structure

Eastern Oregon is like no other terrain you’ll likely see in the US. It’s a lunar landscape, a high barren desert with a jaw-dropping beauty. Cross the state line from Idaho with enough fuel to get you to Baker City–the next hour’s drive will afford little in the way of man-made structures, let alone a gas pump. It’s beautiful, with few apparent fingerprints.

Wyoming, on the other hand (so to speak), has evidence of much handling everywhere you look. I can qualify ‘everywhere’ pretty succinctly. After driving a good part of the day through Wyoming I discovered there was not one moment where a complete 360 look-around didn’t yield view of at least one drilling operation. Countless times this calculus yielded several wells or tanks in one field of view. All day. When Sarah Palin said “Drill, baby, drill” she had certain approving Zip codes in mind.

Utah shows other fingerprints, geological handling. The Great Salt Lake is all that’s left of a huge inland sea that escaped when a natural dam broke 11,000 years ago, sending a 350 foot wall of water to do a carving job on the landscape, leaving the gorgeous Snake River Canyon, and a falls often compared to Niagra.

Idaho’s vast farms look innocuous enough until you see the crop-dusting planes. If I had time I might have gotten out for a closer look–I’m sure I would have seen Monsanto’s fingerprints all over the fields.

Back to eastern Oregon. I got to wondering about untouched beauty. Once a landscape has been altered, can it ever be beautiful again? I don’t see much evidence of eastern Oregon’s untouched beauty getting smudged up soon–there simply aren’t enough people. Another calculus: there are so few people in eastern Oregon that the time change to Pacific Coast time doesn’t happen at the state line, as it usually does, but further west, about 50 miles in. Why bother with a time change when the rocks don’t wear watches? I digress–I was talking about beauty, which led me to think about Structure. I’ve been thinking a lot about structure lately; it’s a pretty major component of a chapter on Music Composition in my new book The Mindful Guitarist (soon). Structure carries a few meanings. It’s a physical entity, something built onto a place that previously held no such entity. It’s an organizational state–structure gives shape to that which was previously formless–a blissfully free Saturday morning becomes structured with the proverbial “to do” list. In terms of a creative process, it gives a piece of art a foundation from which it flows and grows.

One way the untouched beauty of a landscape garners fingerprints is from the structures that get placed there. This isn’t always bad—we’ve all seen the picturesque farmhouse on the tranquil landscape or the rose trellis in the yard that makes us smile and say “Beautiful.” Why do some structures strike me as beautiful while others make me recoil? A fracking operation or a gas well is not only not beautiful, but strikes an inherently sinister chord with me. Meanwhile, another vertical imposition on the landscape, the wind turbine, suggests to me a certain elegant beauty. I’m not offended one bit by two solid hours of wind turbines along the Columbia River Gorge as I am by a whole day’s worth of episodes of “Live From Wyoming: 24/7 Extraction.” That’s it, I think. Drilling’s visual carries a visceral sense of taking; the act of extraction makes me feel like I’m witnessing an assault. Wind turbines strike me as a cooperation: the earth says “I’ll share this resource with you if you can harness it.” I know—the science is still out on wind technology. But it’s pretty much in on fracking.

Obviously, I’m not the only one thinking that beauty is subjective. As one enters a region of wind turbines in Idaho a billboard depicting a tri-blade reads: “Caution: Red Light District Ahead. NOT the world’s oldest profession, but the same result. Idaho isn’t ready [for wind energy].” Funny how both this Idahoan and I use a sexual metaphor with totally opposite notions of what is assaulting and what is invited.

Structure. It’s also a paradigm. Ours needs a shift. Structure suggests Form. Form follows function; does function inform Beauty? Form as noun, form as verb, and its progeny:  inform, deform, reform. The all-powerful misinform of the already ill-informed. Does misinformation keep us in formation? If I were a freestylist I’d have my opening riff for today’s show. Such as it is, I kick off this tour in Portland, with a performance at The Historic Old Church, noon. May you find or create some beauty of your own today.

© 2014 Falling Mountain Music

May 23, 2014

Accordion Crimes (with humble apologies to friends Moira Smiley, Dave Willey and Amy Denio, and author Annie Proulx)

Let’s talk accordion for a moment.

Now, I know what you’re thinking. Accordion jokes. Yes, they are legion. But I want to have a serious discussion about this instrument that has found a home in traditions worldwide. If any accordion jokes surface I will blast them with a pre-emptive strike of parenthetical containment as quickly as I can muster.

I usually leave the household soundtrack decisions to Elaine—she is, in fact, one of the most brilliant radio programmers I’ve ever known, so this is what she does, selecting the music anytime we need some deep listening at home. Recently, she pulled off of the shelf a boxed set called Planet Squeezebox. I was wary. You see, I’ve had a complicated relationship with the accordion—I sucked at making music on it (That makes two of you…). It also scared me—I was a shy child. And this: its utterances more closely resemble human utterances than any instrument. I’m not talking about the sweet oboe emulating a plaintive cry, or a pulsating bodhran becoming a heartbeat in a reel or jig. No, the accordion sounds like those noises polite humans make behind closed doors—it burps, it wheezes, it chuckles. It pants and farts. Sometimes all at once. It makes all the impolite sounds, across a world of traditions. It’s music’s most irreverent instrument.

Organology—get your mind out of the gutter; it’s the study of musical instruments—classifies the accordion as a free-reed instrument (what fool would pay for such a…). Unlike my instrument, whose lineage is a bit blurred by various ancestral dalliances such as the lute and vihuela (the true begetter of the guitar, no joke), the accordion has a birth certificate marking the exact date it came into this world (did the doctor smack the baby or the mother…). On this date, May 23, 1829, the accordion was born of a patent issued in Vienna Austria, then the center of Europe’s musical universe (I guess that was the first ‘Crash of ’29…). It spread throughout Europe like wildfire (coincidentally, along with syphilis, probably by much the same means…). The accordion could provide melody, harmony and rhythm all at once. It allowed the player to also sing. The one-man/woman band was born. (What do you call an accordion player with a gig calendar? An optimist…)

The accordion, like the people whose noises it emulates, comes in a lot of configurations. The earliest had a single row of buttons on one side, and two bass notes on the other. Later, in 1852, a marriage of close cousins, the harmonica and the piano, bred the piano accordion (Are in-breeding jokes allowed here?…). The concertina, portable enough for a sailor to pack aboard a ship, had alternating buttons on both sides. The bandoneon had full chromatic possibilities on both sides; the player had to learn two complete fingering systems. One-row diatonic, three-row diatonic…the list goes on (Because they couldn’t get it right?…).

Being more portable than, say, a tracker organ, the accordion has found its place in traditions worldwide (can I bring up the spread of syphilis again…). In Argentina, the bandoneon is a staple (hmm, staples in the bellows—that should shut it the $#%& up…) in Tango, a music born of the dockside bordellos of Buenos Aires to accompany the steamy dance style by the same name. When Tango became a dance craze at the turn of the 20th Century it was accurately described by one critic as “the vertical expression of horizontal pleasure” (Ha—that’s why the accordion sits in the lap: it’s the world’s largest sex toy…). In Cajun music, Celtic music, Polka music (I feel a whole other stream of jokes coming on…), even South African music, the accordion has become a musical ambassador.

If you were a child of Italian immigrant parents in the 20th Century, even if you had hit the economic skids (speaking of skids: What’s the difference between a squashed accordion in the road and a squashed squirrel in the road? There are skid marks in front of the squirrel…) you probably had a piano accordion strapped on (please, that one’s too easy…). It was an interesting lesson in physics and geometry: a rectangular body at rest that sat just at eye level of a 7-yr old made it impossible to read the music. When said rectangular body was set into motion, its width was seemingly twice the reach of same 7 yr. old’s fully extended arms. And then, there was the artistic inquisitiveness I had even back then, but almost extinguished by Mervin Conn, Washington DC’s most renowned accordion instructor, and a most patient gentleman (Ooh, ooh, I got one: what’s the definition of a gentleman?
Someone who knows how to play the accordion and doesn’t….), when I asked about the “other” buttons—diminished, augmented…no, he wanted me playing major and minor. Oh, and if you ever studied accordion as a child, odds are you worked out of the Palmer-Hughes method books, complete with silly cartoons. I didn’t know it then, but Palmer and Hughes were dedicated to making the accordion a “legitimate” instrument—this most “illegitimate” of instruments. (Speaking of legitimate—how do you protect your Stradivarius violin from being stolen? Hide it in an accordion case…)

So today, let us celebrate this special instrument. My soundtrack today will include Jacques Beauchamp (Bretagne),  Mario Salvi (Italy), Palmer-Hughes Trio (playing Debussy), Phil Cunningham (Ireland), Astor Piazzolla (Argentina), Moses Mchunu (South Africa/Zulu) and Steve Riley and the Mamou Playboys (Cajun).

Thank you. Oh, whatever you do, kindly refrain from posting any accordion jokes, no matter how funny, in the space below, which is a free and open space in a free and open society and I really have no control over who posts what anyway….

© 2014 Falling Mountain Music

December 31, 2013

Hurtling into the New Year, a glance back as 2013 recedes in the rear-view mirror. I see:

I toured more music miles than any previous year in my life. I played fewer concerts here at home than any year since I moved to CO.

I heard about several former students doing great things. I had a current student commit suicide.

As a wonderful daughter married a wonderful man I realized things don’t end …or begin; the wheels of the universe turn.

I got to see up close and personal the devastation exacted upon my community by a five-hundred year flood. Odds are I’ll see it again within the next few years.

I finished many good books. I hope I started one of my own.

I camped and biked in the high cold desert. I saw the sun rise over the Atlantic and the sun set into the Pacific. For the first time I biked in every time zone in the US in one calendar year. For the first time I XC-skied up to 9000 feet. On the way back down it was also the highest altitude ever at which I fell on my ass. Every year it’s good to climb—and fall—higher than you ever have before.

I saw my daughters reach for brilliance in their respective professions. I watched a beloved brilliant 94 year-old slide into dementia.

Most days I could play a little guitar. Occasionally—very occasionally– I could transcend the instrument.

Every day I tried to 1) learn one new thing, 2) learn and use one new word, and 3) perform one random act of kindness. Most days I succeeded in doing at least 2 out of 3.

The occasional hurt by someone close was mitigated many times over by the smile brought to me by a random encounter with a stranger.

In the span of a week I performed concerts in a city of over 9 million and a town of about 1400. Perhaps my favorite performance of the whole year was that of a certain 8 year old in her first piano recital.

While in lessons, classes and workshops I endeavored to teach how to learn I continued my personal quest to learn how to teach.

My penmanship moved one scratch closer to decrepit illegibility. I hope my writing moved a notch closer to a place of more clarity.

In many of these endeavors my beloved walked, biked or rode alongside me. In the rest she was in my heart.

In the coming year, remember and hold close these words by Jonathan Swift:
“May you live all the days of your life”

Happy New Year.

© 2013 Falling Mountain Music

December 21, 2013

It’s another episode of Mommy and Dearest, just in time for the Holidays!

(Note: this is the last episode of Mommy and Dearest for 2013, and possibly beyond. It is rumored that they’ve suddenly been given their own reality show on the Arts & Entertainment Network, filling a sudden recent void in the schedule. We’ll keep you up to date on this late breaking story).

“Mommy, I can tell it’s almost Christmas. I keep seeing the man with the long beard who lives in a remote part of the world all over Facebook. See, here’s his picture. Mommy, isn’t that Santa Claus up in the North Pole?”

“No, Dearest, that’s Phil Robertson, down in Louisiana. He’s in the news because he has a television show. The people who make the show didn’t like some things he said about some people, so they took away his show.”

“Like when you take away my TV time when I say mean things to Little Brother?”

“It’s not the same thing, Dear One. Mr. Robertson is a God-fearing Christian who was just speaking about his belief in the Bible. And what a pleasant place Louisiana was to live if you were a black person during the Jim Crow era.”

“So it’s the Bible that says bad things about the way some people love each other? And he was just saying what he had read in the Bible? The same Bible that says we should love everyone unconditionally? I guess I find this a little confusing. Unless the TV people thought that what he said was wrong. Was Mr. Robertson wrong to say that the Bible says that vaginas are better than anuses? Or is it ani? Where in the Bible does it talk about vaginas and anuses, Mommy? I don’t think you’ve read me that part.”

“Goodness, so many questions! And I’m not sure I’ve ever heard the word ‘anus’ used in the plural sense in any conversation—it’s probably proof that our society is going down the toilet, just as Mr. Robertson says. But here’s all that matters: he should be allowed to say what he wants, Darling. In this country we support Freedom of Speech.”

“But don’t the people who make the television show also have the right to promote the things they believe in? And don’t other people have a right not to turn on the TV show if they don’t agree? Aren’t the very people defending Mr. Robertson also stalwart defenders of the forces of the free market? And how is it possible that anytime someone says something hateful and demeaning they can get away with it by merely saying “I was exercising my ‘Freedom of Speech?’ So the next time I say that ‘Little Brother is an ugly little bugger who is ‘way too close to his teddy bear’, you won’t give me a time out if I call it “Freedom of Speech?”

That’s different, Dearest. Now finish your duck a l’orange and I’ll let you watch the Fox News Special “Santa Claus: Portrait of a Straight White Man.”

© 2013 Falling Mountain Music

November 24, 2013

I thought I was going to write a blog about music producers. This morning’s soundtrack is “Acadie”, Daniel Lanois’ 1989 release. It got me pondering a few things about production and the creative process, both in and outside of a musical context.

Musicians often talk about those who came before them and served as influences–I certainly know who my guitarist lineage is. I also have a short list of producers who influenced me in my studio work–Manfred Eicher, founder of the ECM label, would top that list, maybe Don Was as a close second. Brian Eno would certainly be up there (how’s that for an eclectic lineup?). Early on when I started producing I paid a lot of attention to Daniel Lanois as well—I picked up more than a few tricks that came in handy later when I needed, for instance, a more atmospheric vocal track. Funny, listening to “Acadie” now, it sounds pretty dated. So instead of lingering on why I originally liked this recording so much, my mind and my keyboard are wandering elsewhere—to the role of editing in the production process. If I had a good editor this blog would begin right here.

Good production is like good playing, good art, good writing—when it’s spot on it’s timeless. Recently, I had occasion to spend some quality listening time with “Birth of the Cool”, which has Gil Evans’ production fingerprints all over it. I still love every note of that recording, but I also love every breath of life that Evans gave to those wonderful players , from Miles on down. He also had the good sense to know that takes 1 and 2 would probably be the freshest, most immediate. A good producer, like a good editor, knows not only when to say “more please”, but when to say “that’s it.”

If I haven’t lost you yet in the esoterica of the recording process, try this:  we’re in an age where it’s so easy to produce anything we want, in any medium. We self-publish with our blogs; we can be our own photojournalists with our smartphones; with a key-click or two in Garage Band we’re all George Martin. On a higher, more professional level, our tools of productivity are boundless—if I can hear it in my mind’s ear, I can make it so. And perhaps that perceived omnipotence is the problem—where is the editorial voice that says “Hold on there, young feller, you’re heading off the cliff into an abyss of self-indulgence there; grab this rope.” See? If I had had an editor just now that sentence would have never made it into this blog—I mean, really, it sucks.

I realize that a democratization has taken place—or maybe it’s a removal of the lines of demarcation that used to separate the output of a creative, critical artist vs. the output of a creative, non-critical dilettante. If you have Microsoft Publisher on your desktop why would you ever hire a professional print house for your concert flyers? Need some graphic design, or perhaps wedding invitations? Why hire a graphic artist when you have a bootleg copy of Photoshop? We’ve removed some other very critical lines—the difference between having a hammer and knowing how to drive a nail straight and true.

Democratization can be a good thing, say, when everyone is given access to the opportunity to clear a high bar. But it can have the opposite consequence—when the bar is set so low that those printers and graphic artists and CD duplication houses will now offer their services to mass-render whatever it is you have created on your laptop, regardless of its quality, regardless of whether you’ve critically evaluated it and edited it. Democratization then becomes the freedom to create anything of any quality—or none at all. It means lowering the aesthetic bar, not raising it.

I also see the lack of quality editing in film—the latest attempt to adapt The Great Gatsby is a perfect example of a film without an external, guiding voice to help shape Baz Luhrmann’s unbridled fascination with green screens. Since the film had 3 editors I can only assume none of them could stand up to such a strong personality (Luhrmann both wrote and directed) and say “you know, the CGI’s behind DiCaprio look great—do we have a take where his acting is equally 3-dimensional?”  I hear it in more music than I care to, with “self-produced” projects that need both a nudge and restraint, along with a heaping tablespoon of basic production values. I see it in print, even in august publications like the Washington Post online, where the drive to get out hourly quantities of “content” exceeds the drive to provide it with excellence. Student essays…my internal editor is paring it all down to: Oy. Don’t even get me going on books—have all the publishing houses given their staff editors the proverbial gold watch and good-bye?

Regardless of our creative endeavors, we all need the abilities to be both expansive and reductive: the extra influx that easily procured tools bring to the Creative Voice, the Motivator, the Doer, the Fixer, the Hanuman. And: the polished, practiced eye and ear of the Editor, the Guiding Hand, She/He-With-Reins. Today, hug the producer in your life. Then turn around and give your editor a slow, slurpy kiss.

© 2013 Falling Mountain Music

October 20, 2013

Dateline: Ann Arbor MI

“Thanks for the walking tour of Ann Arbor—it reminds me a bit of Boulder…hey, what’s that?”

“You’re welcome, Michael, glad you guys could visit. That…that’s just an alley, a dead-end covered in graffiti—you don’t want to go in there. I’m certainly not going in there”

“Of course I do. I’ll catch up”.

My summer tour was winding down, one more show in Michigan, then home, where I know the allies pretty well. So into the alley I went, fascinated as always with graffiti art. I snapped a few pics, rejoined my hosts/tourguides.

“Well, I hope you found looking at vandals’ defacement of our town uplifting.”

“Defacement? I think it’s beautiful in its own way. We’ve even found graffiti art in the ruins of Pompeii.”

“I think it’s pretty horrible, and we can’t even keep up with it, trying to cover it up.”

And there it was, not half a block later, another spray-can rendering, this time a “paint-by-numbers”, very literal rendition of famous literary figures. Not in an alley, but on a downtown wall.

“Is that also vandalism?”

“No, Michael, that’s art. It was sanctioned by the city.”

“What makes it art, and the alley vandalism?”

“Well, you know, it’s sanctioned…”

I recalled this conversation with my sister-in-law in Ann Arbor a couple of months ago when I read this morning about Banksy in NY. Do we not have enough sense of judgment about what is good and not good that we can only value that which a municipal—or state—entity sanctions as such? Must we have such narrow definitions of what Art is? Fire away…


© 2013 Falling Mountain Music

October 9, 2013

Sadly, time for another episode of Mommy and Dearest…

“Mommy, whose fault is the default?”

“Dearest, it’s complicated. Mr. Boehner just wants President Obama to negotiate, to give up something he has already won, that the people elected him to do–health care for everyone.”

“But Mommy, why doesn’t Mr. Boehner want to implement the plan that President Obama was elected to introduce, that the …Congress and Senate passed, that the President signed into law, and that the Supreme Court ruled in favor of?”

“Dearest, I like when you correctly use words like implement, but in this case, Mr. Boehner and 40 of his closest friends think that they should try one more time to keep Obamacare from seeing the light of day. The government shouldn’t be involved in our decisions about our bodies. Unless we’re talking about abortions. And try not to end a sentence with a preposition.”

“OK, Mommy, and I really like your new orange makeup base, ‘Monsieur Bane de la Nation’. So if I remember correctly, Mr. Boehner said in Oct 2008: ‘You’ll never get elected and pass healthcare’, and in Nov 2008 he said ‘We’ll never let you pass healthcare’, then in Jan 2009: ‘We are going to shout you down every time you try to pass healthcare’, and then in July 2009: ‘We will fight to the death every attempt you make to pass healthcare’, in Dec 2009: ‘We will destroy you if you even consider passing healthcare’, in March 2010: ‘We can’t believe you just passed healthcare’, in April 2010: ‘We are going to overturn healthcare’, and then in Sept 2010: ‘We are going to repeal healthcare’, and in Jan 2011: ‘We are going to destroy healthcare’, then in Feb 2012: ‘We are going to elect a candidate who will immediately revoke healthcare’, flash forward to June 2012: ‘We will go to the Supreme Court, and they will overturn healthcare’, and in Aug 2012: ‘The American people will never re-elect you, because they don’t want healthcare’, then in Oct 2012: ‘We can’t wait to win the election and explode healthcare’, and Nov 2012: ‘We can’t believe you just got re-elected and that we can’t repeal healthcare’, followed in Feb 2013 with: ‘We’re still going to vote to obliterate healthcare’, and in June 2013: ‘We can’t believe the Supreme Court just upheld healthcare’, and in July 2013: ‘We’re going to vote like 35 more times to erase healthcare’, then in Sept 2013: ‘We are going to leverage a government shutdown into defunding, destroying, obliterating, overturning, repealing, dismantling, erasing and ripping apart healthcare’. And now he says: ‘WHY AREN’T YOU NEGOTIATING???’ Mommy, what planet, galaxy or universe does Mr. Boehner represent in Congress?”

“It isn’t easy being an orange alien, Dearest. Finish your carrots”.

© 2013 Falling Mountain Music

Sept. 8, 2013

Dateline: on the Diagonal Highway somewhere between Niwot and Boulder CO.

“Do you need a ride into Boulder?”

I long ago stopped the practice of hitch-hiking or picking up hitch-hikers–been there, thumbed that. But the slightly built man in flowing yellow robes swinging a tennis racquet as he walked down the Diagonal Highway in the blazing mid-day heat seemed harmless enough, so I had pulled over.

“Thank you, maybe if you had a pick-up truck, so I could keep practicing my swing. I like walking.” He glanced at my back seat, perhaps doing his racquet-swinging calculus. “You play music?”

“I do. I’m on my way now to play a wedding in Granby, It’s a two hour drive one way to play for half an hour, but it’s a living.”

“I’m walking two hours to play tennis for a half hour with a friend. It’s living!”

His perpetual smile erupted into a chuckle. I’ve known more than a few monks, from Trappists to Buddhists and points in between on the spiritual spectrum, and all had a great capacity for un-ironic, infectious laughter. Perhaps it’s a short line that connects the dots between the contemplative and the comic.

I hoped my sunglasses masked my looking him up and down, imagining him on the tennis court. His racquet was decidedly old school, ash frame (Rod Laver’s signature? Really?), in one of those wooden clamps to keep it from warping between strolls down the highway. I asked: “Do you play a lot of tennis?”

“I’ve never played before in my life. I guess we’ll see.” Again, the laughter. “Just like you, going to play today. Maybe you’ll see! I mean, even if you’ve played a long time, who knows how you’ll play today?”

Game, set, match.

A quick digression from yesterday’s encounter on the Diagonal. The day began calmly enough, with my typical brand of morning contentment: I arose, I caffeinated, I read the paper online before preparing for the day’s gig. Then, the rumble of tremors, the seismic spikes to my morning flatline. Like most of us I use a plethora of devices in my day-to-day life, none of which is operating on all cylinders at the moment. My phone holds a charge for roughly one lap around a particle accelerator. One computer is dying a slow death, while its replacement isn’t quite set up for prime time. Another doesn’t recognize my printer. My GPS is having trouble finding the satellite signals that it triangulates for my location, not an optimal start to a day that includes the traversing of mountain passes. All of these problems are solvable; I just haven’t had time to make it so.

I usually view these devices as links to productivity. As I left for Granby I was thinking how they were more like links in a chain, like the one worn by Dickens’ Jacob Marley in “A Christmas Carol”, forged day after day, year after year, clanking around my ankles, waist, and wrists with so much weight wrought of dependence I couldn’t raise a tennis racquet if I tried.

Those of you who have been to one of my concerts know that I often conjure a character I call The Cosmic Messenger that I spin into a story introduction of a piece of mine called “Wear a Tie So I’ll Know You”. Encounters with the Cosmic Messenger usually involve random meetings like the one I had yesterday, with everyday people, the kinds of meetings that impart Wisdom if one is only open to it. One time it was a woman in Leavenworth WA who, the morning after a concert, shared the gift of showing me a million salmon during their spawning run on the Yakima River. I don’t remember what she wore but the salmon were in glittering scaly swimsuits. Another time it was perhaps the only (certainly the oldest) prostitute in Joshua Tree CA; she favored bike shorts under a woolen Burberry skirt in the 3-digit heat of the desert. I thought better than to seek too much Wisdom from her lest I’d get it—sometimes Wisdom is a cautionary tale. Still another time it was a jazz quartet in Romania with whom I shared a profound musical, and comical, experience.  They favored American sportswear as I recall. The Cosmic Messenger has varied guises and an extensive wardrobe—maybe instead of looking for an identifying tie I should keep my apparel options open.

Back to my encounter on the Diagonal, which happened only moments after I left the house in a techno-grumble. Elaine thinks she has seen this monk before, so perhaps we will meet again. Too bad I didn’t get a picture—see above rant on devices and their recent failures.  As I wished my yellow-clad friend well and nosed back onto the highway, I couldn’t help but think: If you meet The Buddha on the road, challenge him to the best 2 out of 3 sets. But to even the playing field, I’d like to trade in the chains for a yellow robe and an old-school wooden racquet.

© 2013 Falling Mountain Music

Tour Blog 8/16/13: Blog epilogue, Fog

I’ve been home for five days after 7 weeks of rambling, both in the ambulatory and elocutionary modes. After musing about this fog I’ve been in all week I’ve diagnosed myself with tour hangover. I’m an ardent believer in the curative properties of the hair of the dog that bit you, so we unpacked, did some laundry, repacked, loaded the bikes and came up to Aspen. Cheers, and pass the salt shaker.

A long weekend is going to have to suffice—my college begins classes on Monday so I’ve been working pretty feverishly on prepping my Jazz History, Music Appreciation and both the online and traditional classroom version of World Mythology. Of those classes three have been given a bit of an overhaul , tour hangover and all. This morning I read a post from another teacher and dear bud T about being back in the saddle, getting her classes prepped. I decided it was time to get back in another saddle—unfinished syllabi be damned, this beautiful Aspen morning demands a bike ride. Hair of the dog…saddles…these Western metaphors really need to take a ride into the sunset. Yee-Ha.

We headed for the East Aspen trail which runs roughly parallel with Highway 82 which climbs up to Independence Pass. Did I mention that the Pro Cycling Challenge begins in a couple of days? We were wondering if we’d see any riders putting in their final training. We didn’t have to wait long—Team Sky blew by us, including Chris Froome, this year’s winner of the Tour de France, and Olympic Gold Medalist Bradley Wiggins. I can assure you that, though I was coincidentally wearing similar blue and black colors no one would mistake me for a member of the team. Off they went up to Independence Pass; off we went on much gentler terrain. On the return, we were met by Alberto Contador. Who gave a wave at Elaine. I guess I was still in a bit of a fog—I didn’t even see him.

Tomorrow, another ride out north of town, then lunch at the Cantina with some friends from the Aspen Music Festival and Elaine’s mother. In between I’ll continue tweaking those classes. I’ll also try to get some more tour photos posted; Elaine has already posted a bunch on my timeline. In the meantime, whatever saddle you’re in, ride hard.

© 2013 Falling Mountain Music

Tour Blog Aug 8, 2013: Divergent streams converge

“Wow, Emily, that’s one low-cut wedding dress.”

“That’s the back, dumbass.”

I know, most fathers would pick a more sentimental exchange to remember their daughter’s wedding. But that one, between her and her soon-to-be father-in-law just struck a smiling chord with me. Welcome to your families, both of you.

Weddings, family, and yes, dumbasses …have been on my mind this week, the final of a seven week sojourn. We can’t pick our families, but we can pick our partners. And our tribes. And the messages with which we choose to associate, and the beliefs we choose to share. Can three divergent streams converge into some kind of meaningful blog to this road-weary writer? We’ll see–commence riffing in 3-part counterpoint.
First, weddings. My daughter Emily just married her longtime guy Brooks; the wedding was beautiful, they were beautiful, seeing people dear to me, some for the first time in years, was beautiful. The week before that I was playing in New York City, with several old friends in the audience. One, John, had just told me that he and his partner Daniel were marrying shortly. I dedicated a piece to them from the stage, an Argentine wedding dance. Another friend, Bill, told us all afterwards that he and his longtime lover, Doug were marrying next month. Beautiful, and beautiful. My niece Beth sat at our table at Emily’s wedding, with her partner Justin. As of the moment, they are not planning on marrying. Also beautiful.

The point of my expounding on all this beauty? Love is alive and well, in all its guises and permutations. In more and more places, people may choose marriage–or not–without regard as to whether the state recognizes their expression of love or grants equal benefits to all who choose to commit their lives to each other. Are we there yet? No. But the barriers are falling. Remember the old euphemism “out of the closet”? I hated that expression. A closet is where I put things so I don’t need to deal with them, see them, acknowledge they are in my life in a vital, active way. But perhaps that expression can be repurposed with new meaning today. Perhaps those who still resist the idea that love is for all who love, not just for those who love in some proscribed manner will find that closet turned inside out. Those who were formerly forced into it, and later, out of it, don’t need a closet, while those who still hate or resist embracing love that doesn’t meet their framework of acceptance–well, your numbers are shrinking. Without the power of those numbers, abetted by the apathy of others, a closet awaits you. Ask anyone who had to live there.

Family comes next in this little fugue. The tour map took me to places that allowed me to connect with a lot of family: two daughters, one mother, one brother, two sisters, a gaggle of nieces and nephews, brothers and sisters-in-law, all at the wedding. Elaine’s brother and his beautiful family in Queens; also, her sister, her husband and their extended family in Michigan before the last show. I needed a scorecard. Family can move in wide, non-genetic arcs as well–shortly after meeting the newest member of the family, Elaine’s 2-month old great-nephew Adam, we received word that our longtime friend Jill had finally succumbed to a long illness. The Great Wheel turns.

Maybe dumbass is a bit strong of a word, even when used playfully between soon-to-be in-laws who love each other deeply. I’m a person who meets and greets people readily, able to quickly find a thread of engagement that can make even a brief exchange pleasant, sometimes even meaningful. But in this day and age, we don’t talk to each other so much as utter one-liners, not with the intention of engaging in a dialogue, but to instead stake out our claim, piss the perimeter, like a Kansas homesteader racing out of the blocks to rope off his forty acres. And, metaphorically, a mule–a dumb ass. We hurl these sound bites from our t-shirts, our bumper-stickers, our facebook pages: Get it? If not, you must be a dumbass.

Rather than refer to myself with such a pejorative term I prefer to say that sometimes I feel like a stranger in a strange land, even when that land was a place I formerly called home. In the last two weeks I’ve charted a few gems. Not one of them made me feel inclined to go up to the person and chat, for fear of being called a dumbass. Here goes:

T-shirts on the subway in New York City:

“Do I look like a fucking people person?”
“I swear to drunk I’m not god.”

On billboards in Pennsylvania, where coal still shouts loudly if not truthfully:
“The wind dies, the sun sets. You’ll still need electricity.”
“Your taxes subsidize wind energy.”
“Drilling is just the beginning.”

On I-70 in Ohio, a casket company truck, extolling the virtues of its hermetically sealed cargo:

“Heaven can wait.”

In Virginia, these bumper stickers:
“I pray. Get use to it.”* (*not a typo–‘use’, not ‘used’)
“My dog is smarter than the president.”

And lastly, but perhaps most telling, as 4 lanes converge to 2 entering Winchester VA:
“Keep Right”

I have no doubt they will.

And now Michigan, the last show of the tour, at Sandhill Cranes Vineyard in Jackson. Wine and music, music that is a discourse with the listener, not a unidirectional you’re-with-me-or-you-don’t-get-it recital. If you need to verify, ask the folks who were at Sunday’s concert in Virginia (Tuba? Yodeling? Really?). Sorry, you had to be there. So be here in Michigan if you can. Last shows on a tour, like good-byes, are special moments.

© 2013 Falling Mountain Music

Tour Blog 7/30/13: Terroir

This past weekend’s shows, in Lubec Maine and New York City, respectively, got me thinking about the effect of place on music. Can those things that give any place a distinct flavor, a vibe, inform the way I play?

Stephen Rigby knows how a place can impart flavor. He has to—his business, and passion, is wine. He has visited a lot of vineyards, helping winemakers find their sense of place, so as to select the fruit that is best suited for that place. He knows that this sense of place, known as terroir, finds its way into the wine, leaving notes that give each wine its signature character. It’s not enough to just want to grow, say, Malbec grapes, ferment the juice and bottle it. The resulting wine will carry flavors that begin with the very soil in which the vines are grown. And it’s not only winemakers who know terroir, but cheese makers, brew masters, and bakers. Why not musicians?

After the Lubec show Stephen and I had one of those fascinating discussions for which we should all be thankful when they happen: when the conversation is about something bigger than the thing being talked about. This is wisdom of the highest order, itself a form of terroir. Were we talking about wine? Of course. But upon reflection the rich fertile soil of that conversation imparted notes of wisdom on all manner of things I’ve encountered on this tour. Is it possible that the different places I’ve been have had an effect on the way I performed in those places, specifically where my improvisations are concerned? This intrigued me, since I had decided before the tour began that every show would include one free improvisation, one spontaneous, in-the-moment-in-the-place composition.

New Orleans is a place where the fruits of musical terroir have been in evidence for over a century. First, the lay of the land: New Orleans’ fertile musical ground is informed by influences from Spain, France, Britain and West Africa. All of these visitors, along with the indigenous peoples of the Delta, tossed something into the cook pot that became that succulent dish known as Jazz. Other spices and flavors permeated the dish. Jazz was essentially born in the neighborhood called Storeyville, New Orleans’ fabled red light district. The early 20th Century piano style known as stride developed from the heavy percussive octaves in the left hand as the right hand executed light, syncopated riffs. This was style born of necessity. The prostitution houses wanted the musician to provide a dual function: to provide a rhythmic soundtrack for the, um, rhythmic activities upstairs, and to provide a mask of sound to the world outside. Sometimes terroir is rooted in the mundane.

The term terroir comes from the French; there may be no other people who better connect the dots between the land and flavor. Musically, France has absorbed centuries of influences into its soil. In my concerts I will frequently perform a song from Bretagne (Brittany), the region of France’s northwest peninsula that juts into the Atlantic. The song isn’t even in French; rather, it’s in Breton, a language related to Gaelic. This region of France is decidedly more Gaelic than French. I know; I’ve been there. These people hold a fierce pride for their ancient culture even though until recently it was threatened to be absorbed by contemporary French culture. In matters of culture, as in matters of over-cooking, absorbed usually means lost, a flavor no more. Thankfully, the Breton people have salvaged their own sense of terroir—the Breton language is once again taught in schools.

Some years ago, when my World Music ensemble Oxymora released its recording “Thundering Silence”, I did an interview with National Public Radio’s Tom Cole for Morning Edition, NPR’s morning news program. In one of the rare moments where an interviewer has asked me a question that totally flummoxed me he referred to our music as “pastoral jazz”, making the observation that our brand of improvisation was not rooted in the urban experience, as most jazz is, but was more rooted in the pastoral, as other forms of music around the world might be characterized. His question: did living in Virginia’s Shenandoah Valley, a decidedly pastoral setting, have any influence on our sound? I confessed that I had never thought about it before, but I have since embraced the idea—place informs music like soil informs wine.

I had that conversation with Tom in mind when I decided to include on every show of this tour a free improvisation. How would they differ from night to night? Would Lubec, Maine provide a different musical terroir than New York City; would I play differently in Williamstown, West Virginia than Jackson, Michigan? I’ve been recording these shows so it will be fun to line up those improvised pieces and listen to them all, taste them all and see how they differ, like a flight in a winery or brewery tasting room. If I think it’s a good vintage, I’ll share. If not, into the spittoon they go.

I’ll be performing Sunday evening at the Barns of Rose Hill in Berryville, Virginia, about 10 miles from where I lived in the Shenandoah Valley for almost 30 years. I think it’s safe to say that in that time I came to know the lay of the land, its terroir, pretty intimately. Let’s see what plays out that night when it comes time for my nightly improvisation. Salut.

© 2013 Falling Mountain Music

Tour Blog 7/25/13: Chowder has an ‘r’*

*(Note: unless you’re a native, please refrain from the toursista urge to pronounce it “chowdah” )

Portsmouth NH must be the best coifed town in the US. Along Market Street and the surrounding bustling downtown it seems every other place of business is a hair salon. Maybe it’s because of the humidity that accompanies a seaside town. Salt-laden frizzies, keep on rolling—don’t stop in Portsmouth. We will hunt you down, shampoo and clip you.

Second only to hair salons is the number of eating establishments. If you leave Portsmouth hungry you didn’t try hard enough. My last time through, two years ago, followed a similar tour route. Then, somewhere along I-95 the gastric alarms sounded “find dinner”; Portsmouth lay ahead. Towns on the ocean hold special attractions for me, in the form of shellfish, crustaceans and the variety of white-fleshed fish that are the only meat I eat. Oh, and beer. Portsmouth Brewery would be right at home in Boulder, with a varied lineup of ales light to dark, IPA’s, specialty flavors, and a true bitters that would even impress the most discerning Yorkshireman looking for something to wash down his ploughman’s lunch. But two years ago the enduring memory was the blackened haddock chowder.

How enduring? This chowder sent me over the precipice of obsession—I vowed to learn to make this dish. Daunting, but I had established the precedent by once eating and becoming entranced with a fish stew in Malaucene, a tiny village in the Vaucluse region of Provence with exactly one café. I went back to the same café and ordered the same stew for 8 straight nights—I was on a mission of gustatory memorization. With every visit a new piece of the recipe revealed itself to me: what is that flavor, familiar, literally on the tip of my tongue—right, fennel. And so on, until I returned home to Virginia and proceeded to make the stew my first full day back, jet-lag be damned. It was horrible. But informative. All of the pieces were there, just badly out of balance. Inventing a recipe is very much like writing music or an essay—it takes a few drafts and some critical thinking, tasting and editing. Like some of my music, there can also be an improvisational element to cooking, but a different set of brain muscles gets flexed here. I define improvisation as spontaneous composition– where the compositional process is compressed into the present moment. With the stew, I wasn’t after playing/cooking in the moment; I was after a baseline of perpetuity from which I could freely riff.

The second time I made that stew I nailed it, if I do say so. It’s a magnum opus—since it’s basically almost a day in the making the dish demands a special blend of circumstances, ingredients and people to be worthwhile.  Much like a performance, it wants to be an event in and of itself. It can’t happen without the availability of the freshest whitefish, preferably Atlantic cod, black cod, or haddock. The people partaking in this feast must be open to a new way of eating a stew, referred to by the chef in Malaucene as “Le Systeme”. The prelude involves rubbing down a round of toasted French bread with a garlic clove. A saffron and mayonnaise rouille then makes an entrance, in the form of a dollop on the crouton. The whole construction is dropped into the stew, then spooned into the mouth, crouton, garlic, rouille and stew all at once. The resulting sensation is not just a combination of flavors—that’s two dimensional, non-musical cooking.  It’s a culinary fugue. One flavor sensation enters, followed by another and another, until all of the parts have made their entrance and created a most delicious counterpoint. It’s ritual. It’s slow food, not a three-minute made-for-radio pop tune.

The blackened haddock chowder had this effect on me during that first stop in Portsmouth. It’s hard to believe one can procure decent seafood in a shoreless place such as Niwot CO, where I now live, but it can be done with a short stroll to Bert Steele’s Niwot Market. When I first endeavored to make the chowder I went to Bert’s in search of haddock, not always readily available in even more notable fish markets. Seth, who runs the fish counter—by the way, it’s to your every advantage to know on a first name basis those who feed you, whether they be farmers, grocers or fishmongers—said “we had some haddock, but not now. I’ll let you know if we get more.” Which I took to mean the chowder was on hold. Less than a week later, while on a bike ride near Niwot, we came upon Seth. “You’re the haddock people, right? (a good title for a horror movie?) I got some haddock in this morning.” As I said—know the people who feed you.

The chowder premiered to excellent reviews and has had some repeat performances, becoming a repertoire standard much quicker than the stew from Malaucene. Sometimes cooking is luck; but sometimes all the ingredients and the cook are in such concert, so in the moment, that magic happens. Combine that magic with a receptive and appreciative table of hungry people and magic slips into the profound.

Friday  June 26 ends my three days off in New Hampshire and Maine—back to the musical kitchen to whip what I hope is a sumptuous show for the wonderful hungry folks in Lubec Maine. “Easternmost” Fred Pierce is hosting this house concert; you can get details or make reservations at www.fallingmountain.com . Bring an appetite.

© 2013 Falling Mountain Music

Tour Blog 7/24/13: Don’t Forget to Breathe

Pardon the long blog-silence. Even a multi-tasker like me can’t drive and keyboard at the same time, though after 5432 miles I’ve seen evidence that mine may be the minority opinion. A quick update…. The PAVAN guitar workshop ended Friday with a smashing concert, theatre and visual arts presentation. To my teaching partners Candice and Keith—words cannot convey how I feel about our collective teaching energy. I hope this team is in place for a long time to come.

I had about 14 minutes to savor the success of the workshop. I arose Saturday morning, packed the car and drove west to Powell OH for an afternoon workshop and house concert at the home of new friend Jim Wiliams. Jim and I became acquainted through another friend Bryan Helm. What a great time in Ohio—Bryan, thanks for getting Jim and I together. I foresee another deep connection in the making.

Another early departure on Sunday morning to make it to an afternoon concert in Williamstown WV, and the unmatchable hospitality of Nelle and Jeff Howard. From the Regrets sidebar: I’m truly sorry I couldn’t stop and peek in on the Roaring Winds Bikers’ Church, passed on the way to Williamstown. I would have loved to seen the minister’s vestments—a black leather cossack? A stole adorned with Harley orange? Maybe next time.

These last few days were a marathon, but Nelle and Jeff’s piece of heaven in the hills of WV’s Ohio Valley is an oasis. Your heart rate comes back to earth. You breathe deeply. Your speech patterns slow a bit, offering real conversation and reflection by all in the room. Most refreshing—I don’t use that word the way the beer commercials do, I truly mean a re-freshening of one’s soul—are Nelle and Jeff themselves. These are people who should bottle and sell perspective. I’m in. Their perspective is informed by what they wake up to every morning—a beautifully stewarded piece of land that occupies many of their waking hours. But a homestead like that builds a structure to one’s routine—every day presents itself with what needs to be done, in this garden or that field. Ignoring it is not an option. The task will still be there, more insistently, the next day. When life can be distilled to such a clean view of what needs to be done it puts a polish on perspective like nothing a multi-tasker’s To-Do list could possibly accomplish.

And now, my first day off in almost 3 weeks. Maine is next on the schedule, with a return visit to Lubec, the town that holds the distinction of sitting furthest east in the continental US. I love it: far out isn’t far enough on this tour. The show is Friday, 8:30—check the schedule at www.fallingmountain.com for details. See you soon, Maine coast.

© 2013 Falling Mountain Music

7/13/2013 Tour blog: Footprints

Apricat: AP-ri-cat, n. (prunus felinus); pl. Aprikitties. A species of house cat found in habitats such as the household of Keith Filppu (guitaristicus Finlandus); this species lives symbiotically or parasitically off of the unsuspecting visiting guitar player/instructor  who carelessly leaves on the kitchen counter such delicacies as a bag of dried Turkish apricots (prunus Armeniaca). P.felinus (sub-species “Whiskey”,  ”Jasmine”) are well-known opportunivores who never miss a trick. See:  “Low hanging fruit”.

This blog entry isn’t about cats or Turkish apricots, actually—that opening was more of a l’amuse bouche, a culinary non-sequitor offered by some chefs to get the conversation going between mouth and stomach, a tease of an appetizer . I’m actually thinking about footprints (and pawprints, I suppose).

I first started thinking about footprints a week or so ago, as I made my way from the Charlottesville area to Winchester  in Virginia’s Shenandoah Valley—a short 2 hour drive that spans decades. I lived here; I left a few footprints. Footprints are both transitory and surprisingly resilient—a walk on the beach to the north followed by a southward return proves it as the surf wipes out any trace of your passage.  The same surf that holds the plastic footprint of billions of humans thinking that throwing their plastic wrapper in the trashcan is not-littering. Ignorance and apathy can leave a deep, heavy footprint.

Driving up through Madison and Rappahannock Counties evoked another kind of footprint—memory. I have many from these places—treks up Old Rag, canoeing on the Thornton River with my friend Ray, doing business with a face-to-face when my CD duplicator, Oasis, was based right in “downtown” Sperryville, population count-on-your-fingers.

These places evoke another kind of memory that isn’t based on the visual. Time and place make an impact—isn’t a footprint a type of impact?—on one’s brain and outlook. I remember dinners with Robin and Ray at their do it yourself cabin (my first and most enduring experience with an outhouse). They had some impressive neighbors who left their footprints on the course of American events: down the road lived former Senator and presidential candidate Eugene McCarthy. His next door neighbor was the conservative columnist and wordsmith James J. Kilpatrick. They lived on adjacent farms on opposite ends of the political spectrum, and they were the best of friends. Imagine that today: if Reid tried to move into McConnell’s neighborhood there would be restraining orders. But back then, the footprints of political disagreement were as transitory as those on the beach. “You’re wrong, Gene, you’ve always been wrong. More scotch?”

Brain-mapping involves a type of footprint. I didn’t know until relatively recently that when the brain gains a new wrinkle, say, the one that instructs the index finger to pluck a guitar string, it also maps an opposite action: pluck vs. don’t-not-pluck. Yes, it’s a double-negative, which equals a positive).  In physiological terms this instruction is known as adduction, the moving of a body part toward the central axis of that body; its opposite is abduction. The way it works is the brain tells the finger to adduct (move into the hand) and don’t-abduct (move away from the hand, say, pointing off into space) at the same time. If sometimes we don’t know if we’re coming or going, maybe it’s because we’re doing both at the same time.

I had a conversation about this with former student and current maestro Ricardo Marlow (guitaristicus flamencus superbus), on whom I may have left a footprint of two and who is now returning the favor with his Flamenco wizardry (google him!). I had never heard of focal dystonia before he told me about a Flamenco guitarist who suffered from this bit of circuit-crossing. I’ve since learned that it occurs in people who perform at the very highest levels of what they do, particularly concert musicians and athletes. We spend so much time, training and practice telling our muscles, tendons and ligaments what to do/not-do, maybe sometimes the footprints start to get confused, pointed in odd directions. We’re disoriented. Some players have simply had to stop, after reaching the pinnacle of their careers. Others find a way to remap. As if learning it all once wasn’t challenging enough.

My workshop students got to leave some footprints of their own this week as the four corners of their feet  rooted down through yoga mats (I can hope). AJ Ikner, a dear friend, musician, Yogi, and the workshop coordinator took them through a session of Yoga for Guitarists. Most of these young students probably thought they were getting stretches that would enhance a healthy approach to a decidedly unhealthy instrument (I mean really, why doesn’t the body just scream “no mas!” when asked to sit or stand in awkward imbalance, jut elbows, wrists, and shoulders, twist and curve the back…more scotch, Gene?). A few might actually make the connection down the road that healthy guitar playing is all about adduction—moving toward the midline, and not-not-moving away from the midline.  Yoga and guitar? Of course.

Finally, even a well-trod path can earn new footprints. Besides Keith and me, the third guitarist of our teaching team is Candice Mowbray (guitaristica sublima). Candice and I have left a lot of footprints together—as a graduate student she was a member of the best guitar ensemble I ever conducted anywhere, anytime. I produced her first solo guitar recording, still one of my favorites. She is now Dr.Mowbray (I love saying that—if I ever have my own apricat I may have to name her Dr. Mowbray). Every word she utters to these students is a footprint of immense import. Do you notice all the parenthetical phrases in this essay? Candice doesn’t clutter her teaching with parentheticals the way I do—her economy and precision of words match her playing—it’s as sublime a beauty to witness her in a teachable moment as it is to hear her play, as witnessed by her new CD with Nora Suggs on flute and shakuhachi. When I saw the pieces that were listed on the back of the CD, I knew many of them—some of them have left such deep footprints that I can probably play them in my sleep. But after listening to Candice and Nora approach them it was as if I was in new terrain. An exquisite journey.

Time to get ready for this afternoon’s concert, featuring some of the workshop faculty (free, 3:00, Mercer Middle School, South Riding VA—come!). If it’s a good day the footprints will guide me effortlessly through the program. If it’s a great day I’ll find some new terrain to explore.

© 2013 Falling Mountain Music

7/6/2013 Tour blog: Re: charging

I’m wrapping up several days off between shows, spent visiting sis Jean and her husband Brian in southern MD. They are currently caring for my aging mother; many of my generation know what this challenge entails. I planned this block of time to be whatever help I could, give them some relief and, selfishly, just hang and catch up with a couple of my favorite people. Aging–it’s not for the faint of heart, the saying goes. This goes equally for the care-givers as well as those receiving care. Bless them.

So I spent the week doing what I could do, which is mostly of secondary importance to what they do. I cooked a bit–challenging, given that it’s charitable to say my mother’s gustatory tendencies differ greatly from my own. While Brian and Jean are enthusiastic adventurers in eating, my mother is reluctantly dragged to an experimental table, furiously making the sign of the cross whenever something green is put on her plate. Or fish tacos. Or vegetarian baked ziti. Or watching me sprinkle Brian’s indescribably tasty dried pepper concoction on everything except the yogurt. Cooking/eating with Michael–it’s not for the faint of heart.

Perhaps I was most of service when I sent Brian and Jean off for the day for a southern MD explore, finally able to hear only the sound of each other’s voices. I hope so. We all need a battery-boost when we can get it. I hope these days off between shows came at a most strategic time for them.

Did I say “days off?” I smiled when my niece Kristin, who came to visit my mother with her beautiful family, asked if I was enjoying some downtime. I don’t know how my fellow musicians deal with down time but I seem to have absolutely no trouble filling it, and no small amount of trouble feeling like I haven’t done everything I set out to accomplish. But I did OK–In the six days I’ve been here I’ve put the finishing production touches on a CD I’ve been working on of the guitar music of NC-based composer Mark Charles Smith (we’re almost there, my friend), wrote an arrangement for a string quartet to be played at Emily’s wedding in a few weeks, taught my online class daily, publicized upcoming shows, and worked on bookings for fall/winter. I’ve also gotten in two good bike rides; I’ve had two car-free days.I got to hear a fabulous evening of Flamenco by amigo Ricardo. On my “off-days”.

Now it’s back to “work”–a show tonight in Capon Springs WV.
Touring–it’s not for the faint of heart.

© 2013 Falling Mountain Music

7/1/2013 Tour Blog: Old Friends/New Friends

The first three shows are done, Ohio, Virginia, Maryland; I finally have a moment to breathe here in Southern Maryland. Pics coming. Highlights already here. In the old friends category–a big thank you to John Holbrook and his lovely wife Sue for the hospitality after the Eaton OH show. Your collection of guitars is something to behold, as is your flatpicking. What fun, brief that it was.

I also caught up with my longtime brothers from the Unfortunate Rakes Chas Fowler and Bruce Wilkin. I managed to catch a show of theirs with their new band, Merlin’s Beard, in Brunswick MD. Check them out if you can; they rock socks. It was fabulous sitting in with them–OK, standing/dancing in with them–on some Breton tunes. I hope we get to share a stage again sometime. The next day, at my concert at Glenview Mansion (packed!), I returned the favor and had Bruce join me onstage for some Breton kan e diskan vocals. After 35 years of playing together it’s like breathing–automatic and nourishing.

New friendships also happen on a journey such as this. I’ve already written a bit about Renee Blue O’Connell, who did an opening set and joined me for a couple of pieces during the Wayne Theatre concert at the in Waynesboro VA. When it comes to guitarists like Blue (and a marvel of a singer and songwriter), I like to say we went to different schools together–our influences run to us in parallel streams. Blue also got me reflecting on the creative process. A deaf person has a different point of reference when it comes to composing music. When I write I have an external point of reference–the sound is there, coming back to me via my ears. Blue hears it all within, then sends it out to those of us listening. This process provides an unfiltered honesty to the music that, upon hearing it in performance, left me breathless and wanting more. I’m working on that very thing–I’d love to have her join me for another show.

Off for a bike ride, perhaps the Indian Head Rail Trail. I’ll get wet, but that’s OK. Here’s hoping to see you at a show.

© 2013 Falling Mountain Music

6/24/13 Tour Blog: leaving Colorado

I’m finally on the road–first show of the tour is at Taffy’s in Eaton

(Note to my friends in the other 49 states: Eight counties in northeast CO wish to secede and become the 51st state, citing feelings of being “ignored and disenfranchised”. As I was driving through those counties on my way to the first show in Ohio, I started thinking about this, in the way one thinks when he is trapped in a vehicle with only his imagination for company. If you’d like to read more about it: http://abcnews.go.com/blogs/politics/2013/06/northeast-corner-of-colo-seeks-statehood/)

“Look, I get it. You’re leaving me. For what, greener pastures? Good luck with that. Those endless waves of sage are green now, but just wait till July.

“However, I think I at least deserve an explanation. Was it all the bicycles? The yoga studios? The dispensaries? Our gay congressman? Would it have made any difference if our Buddhist university fielded a football team? We discussed that, remember? You didn’t appreciate my koan about the sound of one hand tackling.

“You’re not the first to feel the urge to leave. Who even remembers that Maine was originally part of Massachusetts? Or when West Virginia was part of Virginia, as was Tennessee.

“Secession, even under amicable circumstances, is tricky business. Have you thought this through? We share a lot of history that you’re willing to flush down the lo-flo. Another chapter of brazen Caucasian conquest. Those heady times of rushes for gold, silver, and more recently, green. Do these memories hold nothing for you?

“And what about the children? They need a sense of security–you can’t just plop them into a new place. What’s this place going to be called? It’s not like you have a scenic river that graces the appellation like the Colorado. The Platte? Please. First, it breaks more rules in spelling vs. pronunciation of any one-syllable word since “phlegm”.
Oh, you could borrow a word from the original Native Americans of the region, maybe Ogallala, if nearby Nebraska doesn’t mind. But I have it on good authority that names with too many L’s are a bit of a mouthful.

“Greeley? Really? The corners of my mouth grimace just pulling themselves back to say it. North Colorado? Oh, that’s original. Just ask your friends the Dakotas and Carolinas.

“And what about culture? Do you really think you can sustain any sort of cultural growth by yourselves? That’s what this is really all about, isn’t it? That Devotchka and Dave Matthews make regular tour stops in Denver and Boulder. When was the last big show in Brush? Rumor has it that Slim Whitman came through once, but he kept the motor running.

“And you might consider what this will do to me. For almost 150 years I’ve enjoyed a certain 4-cornered symmetry, shared by only one other state. If you leave, I’ll be missing a corner, reduced to an elongated version of that truncated parallelogram to the west. It pains me to think of children playing with their puzzle maps and mixing me up with…I can’t even say it…Utah.

“I suppose we have to discuss the division of property. I keep the Flatirons, you keep…flat. And don’t even think about the 14-ers. But hey, even though it’s not in your 8 counties, maybe you can take Colorado Springs while I keep the hot springs.

“I suppose you’ll be wanting the 51st star on the flag. I guess you deserve at least that much.

“Well, there it is. There really isn’t more to say, is there? It was inevitable; we’re worlds apart. I’m Prius, you’re F-250. I’m bike-rack, you’re gun rack. I’m freak to your frack. Let’s just call the whole thing off.”

© 2013 Falling Mountain Music

2/20/13 Weight not Volume

There are musicians who transcend–their instrument, their musical genre, the way they talk about music. Flamenco maestro Paco Pena, featured performer for CU’s First International Guitar Festival this past weekend (bravo, Nicolo Spera for hosting what I hope becomes an annual celebration of the guitar) falls into that category. I think if a trombone player played for him in a masterclass he would come away with some valuable insight to a new level of musicality.

Sr. Pena’s masterclass was, well, masterful. He spoke eloquently about commitment. Because it was Valentine’s Day? Perhaps. Or maybe because a young player who ultimately grew two sizes due to his time with the Maestro played a line entirely correctly, and with absolutely no commitment. Every note was right. Just. The young student knew the roadmap but missed the journey. Sr.Pena’s message: sometimes a totally committed path is better than one without mis-steps.

Another student, playing Rodgrigo’s Junto al Generalife (quite well, I might add) got the gift of a great lesson from the Maestro in the difference between Weight and Volume–not how one buys corn flakes, but how one executes a rest-stroke with thumb. My apologies to the non-guitarists here–just nod knowingly as I talk about this rather parochial issue. Classical guitarists are taught to use their thumb rest-stroke to provide power to a melodic line, usually in the bass. Sr. Pena demonstrated that while volume is important (he delivers plenty) weight is often more important, and more challenging to execute. Because a musical line needs weight, even when it’s quiet. And when the piece calls for the player to flex some muscle, well, a Flamenco player uses the big ones, delivering that stroke with the whole arm, not just the thumb. It’s powerful. It’s weighty. Even when it’s quiet.

Weight. It’s about importance, it’s about emphasis. It’s about Value. John McPhee wrote about this in “Giving Good Weight”, relating his experiences one summer at a Brooklyn farmer’s market. Giving good weight means throwing an extra tomato onto the scales but not adding to the price. It’s a gift, a bonus; it’s asking the customer to come back again for more. When a player can play all along the volume spectrum, from the quietest whispering pianissimo to the most pronounced sforzando, all with weight, it’s a gift that resonates beyond the last encore. Maestro Pena’s visit to Boulder was such a gift. I hope those students treasure it as such.

© 2013 Falling Mountain Music


Because of all the publicity around the Lance-pology my segment with Oprah was bumped. Here it is, in its entirety. Warning: geeky studio humor lies ahead.

“Did you cheat?”




“Beat-align? Quantizing? Reverb?

“Yes. Yes. Yes(s)(s)(s)(s)…”

“But it’s more complicated than that, Oprah. I looked up cheating in the dictionary. The first definition mumbled something about dishonesty, but right there, in definition number 17, it stated “gaining an unfair advantage”. That resonated with me like a 2.5 second reverb tail. If everybody is looking at the engineer after a zillion bad takes and saying ‘you can fix it, right?’…I’m just leveling the playing field. In fact, I also admit to using master leveling to level the playing field…”

“At this phase of the business–and yes I used phase shifting–it’s not easy to succeed when everyone is using performance-enhancing techniques. PET’s are the norm in recording, the great equalizer–yep, that one too–how else can we get everything to sound the same so that the listener isn’t distracted by the occasional sibilance–yes, I admit to de-essing with aplomb.

“Put yourself in my slippers for a minute, Oprah. The guitarist comes in to put down his tracks. His idea of playing in tune is reading his little clip-on Snark and muttering “close enough”. He seems to not have gotten the memo that the track was supposed to be for 12-string. At that moment I’m not having a huge philosophical debate on whether to chorus or not to chorus. I do what I need to do. For art.”

“It’s not like this is all new to music, Oprah. Before there was “Cathedral” there were, well, cathedrals. And echo…I remember my first experience, back in the 70’s, with Echo-plex. A lot of great Rock-Steady tracks would have never seen the light of day without it–I mean, once you go slack you can’t go back…but those machines are huge, loosy-goosy analog tape is messy…now I insert a plug in and I’m in Dub City.”

“And the thing is, Oprah, I know I’m a fallible human being. Mis-takes were made. But in this day and age of YouTube I have to live with this. For the rest of my life.”

© 2013 Falling Mountain Music


Eugenia Evans was a remarkable human being. She died on Christmas Day; she was 103.

I didn’t know Ginny for the first 70-or-so years of her life. I met her when she was a piano teacher at Shenandoah Conservatory. Her one failure in life was quite possibly her inability to turn me into a competent pianist during my graduate studies. I never held it against her; more importantly, she never held it against me–we became fast friends. Maybe it wasn’t a complete failure–while I am a dreadful pianist she perhaps inadvertantly showed me how to approach the guitar pianistically.

I remember helping her with a video project on piano instruction–she was an “old-school” Leschetizky-style teacher, a tradition that had fallen out of favor with some more modern instructors. This puzzled me, since she was one of the most innately musical people I’ve ever known. I had no idea that a piano could elicit the breadth of tone she could coax out of it, as opposed to just soft-and-loud–its original name is, after all, the “piano-forte” (Italian for soft-loud), not “piano-forte-brilliante-dolce-expressivo…Eugenia-esque”. But helping her edit this video was eye–and ear–opening. She was, in a word, brilliant.

I had become used to her touching my arm while making an edit–I’d never consider such a gesture an interruption from Ginny, since it usually preceded a great story of her youth in Odessa, her pre-war escape from Prague, or her early career as a concert pianist (she was the first nationally recognized recording artist on Shenandoah’s faculty; I believe I and Oxymora might have been the third). Her stories were always multi-leveled lessons that I reference to this day.

Ginny forgot to grow old. One day during editing, she touched my arm and said out-of-the blue (literally, it would turn out) in her still heavy accent: “Michael, I have gentleman friend in North Carolina, he would like me to come visit him. He has his own plane. He wants to fly up here to take me to NC. I’ve never been on small plane. What should I do? I want to see this gentleman…” Before I could answer, she shrugged and flashed her Ginny-smile and answered her own dilemma: “Michael, I’m 87 years old, and a gentleman wants me to visit…what do I care if plane crashes?”

Thanks for the long years of friendship, music and life-lessons, Eugenia.

© 2013 Falling Mountain Music


Over the last 24 hours the horrific events in Newtown have compelled people to post things here that have touched me, shocked me, engaged me, and even enraged me. while I usually have no trouble putting into words my feelings in any given moment, I just haven’t found them yet.

I heard yesterday’s news just as I was shutting down the computer before heading out the door for an afternoon show in fr…ont of 300 elementary school kids in Elizabeth CO. While I got no indication that any of them knew what had happened in CT I can say that it was one of the most profound performances for me. I guess I’m still feeling the need to meditate on it before I have anything more to offer. In the meantime, I would suggest that one of the most healing and cathartic things I can imagine is spending a FaceBook-free day with whatever children or other loved ones you might have in your life. With all the talk about the 2nd amendment, putting god back into schools, taking pharmaceuticals out of our children, violence on TV/movies/media…maybe re-engaging in a direct way with each other might be the best next thing toward healing, instead of bumpersticker-esque one-way rants on FB (I hate bumperstickers–they don’t listen).

To the 300 kids I met yesterday–I love you all, and not just because you gave it up so warmly for my free-styling on dinosaurs. Thanks for helping me through a most difficult day.

© 2012 Falling Mountain Music

Wow. Maybe I’m collectible. Or a relic. I don’t know but it was brought to my attention that Amazon has my Holiday CD from 1995 for…wait for it….39.95. No really…wait for it…;-)…So, if you’d like this rare (ha) out-of-print (not s…o!) collectible (??), you can go to Amazon: http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dpopular&field-keywords=michael+delalla+there+is+one+story+and+one+story+only and pay 39.95 (or just read it for your own amusement) or go to www.fallingmountain.com and pay considerably less, CD or digital download. May your holiday be filled with music.

© 2012 Falling Mountain Music

12/11/12 Michael’s Blog: This is Why.

Lucky for me, when I have the bird’s eye view I wake up every morning loving all of the musical activities that I endeavor to do. From the day-to-day POV, just like any other job, some days are better than othe…rs. In the end we all hope to keep both perspectives in perspective, we all hope to have days that make us smile and say “This is why I do this”.

Some time ago–15 years? 20 years?–I’m teaching a guitar workshop in Greensboro NC with dear friend Kami Rowan, with whom I would log a lot of guitar workshops in VA and NC. To open the workshop we play a little performance. As usual, the players are watching our fingers perhaps more than using ears and brains to try to process what we are doing. Except one 14 year old–he gets it. He gets it on a guitaristic level, a compositional level and an innately musical level. Afterwards, as he stood there excitedly telling me what he heard and how it all worked, I smile to myself and think “This is why I perform”.

Later in the week, the same kid brings me some of his compositions–some guitar solo pieces, a duet and a fully realized string quartet. He plays through one of the solo pieces; I marvel at the maturity of both his tone/technique as a player and his voice as a composer. He starts telling me how the quartet works, composer to composer. It’s good. Young, but well put together. Like this guitarist. I smile to myself and think “This is why I teach”.

Years later this same young guitarist/composer moves to Boulder CO for graduate studies after high school at The North Carolina School of the Arts and undergrad work at Guilford College, studying guitar with Kami.

I lose track of him except occasional updates from Kami. A few years ago I find myself moving to Boulder; I get to have exactly one cup of coffee with him because he is in the process of moving back east. But it was good to catch up. He had written much more music; in fact, that next summer I would conduct one of his ensemble pieces in a summer workshop. I love it when the circle happens that way, another “This is why…” moment.

Now, Mark Charles Smith has an opportunity to realize his rich body of guitar works, solo and ensemble, in a way they should be–as the program of a CD. As a guitarist, composer, teacher and producer I know it is important for projects like this to happen. We live in a time when we need occasional reminders of why it’s important to support and sustain the creative process. Mark will be recording his solo and ensemble guitar works, joined by guitarists Kami Rowan, Carey Harwood, and Laura Boswell on the chamber works; all important players and teachers in his musical growth. After the tracks are recorded in NC I will help in the production process, mixing and mastering them. I’m honored–it completes the circle. Projects like this make me think “This is why I produce”.

For this project to succeed it needs your help through Kickstarter. Even a small contribution helps get him there. Visit the site, watch the video of Mark explaining the project. If you need to ask why this recording is important, it will give you the answer. This is Why.

© 2012 Falling Mountain Music

Nobody catches the essence of brilliance like Wim Wenders, one of my favorite documentarians. His film on the late German choreographer Pina Bausch “Pina–Dance Dance Otherwise We Are Lost” is simply beautiful. Her Rite of Spring is my new second-favorite (nod to Nijinsky’s original choreography), performed on a stage covered in soil…powerful.
The saying goes “Talking about music is like dancing about architecture”. But I could easily talk about music in reference to Pina’s choreography. She sings like I want to dance.

© 2012 Falling Mountain Music

All great musicians have their own voice. Sometimes that voice changes, as an adolescent’s voice takes on timbres borne of maturity. I would have thought I would recognize saxophonist Paul Winter’s voice anywhere, any context. Then I got to…hear the 50th anniversary release of him with his sextet from 1962-63, sent to EC, who will be interviewing him next week. What a wonderful collection, drawn from his work right out of Northwestern University, when he was recommended by Dizzie Gillespie and John Hammond to become a “jazz ambassador”; the State Department subsequently sent him on tour throughout Latin America. Strands of cool, bossa, even a bit of bop played with such joy as to be infectious. I’d love to be in on that interview–he was a pretty big influence on the voice I would develop. I’d love to tell him the story about hearing him with the Paul Winter Consort in Washington DC in the ’80’s, at Carter-Barron Amphitheatre, elephant-trumpeting distance from the zoo–this I know because of the elephant who joined in during what was intended to be an unaccompanied soprano sax solo. Thanks for 50 years of great music, Paul; here’s hoping for much, much more. Listen for yourself: www.paulwinter.com/sextet

© 2012 Falling Mountain Music

Three more shows added yesterday, in far-flung places–nice. Playing Friday evening right down the street at the Niwot Inn for First Friday Art Walk–even nicer. The halls will be decked, the fireplace will be lit. And I’ll have a table full of CD titles for you to peruse for stuffing that stray Christmas stocking. Music, wine and cheese starts at 6:00.

© 2012 Falling Mountain Music

Your tuition dollars are at work in very good ways. At FRCC, the students and faculty were treated to a “stress free zone” for exam week: a table full of veggie trays, juices, cheese, crackers, laid out in the main hallway. Inside the community room: a table for coloring (!), a ping-pong table (the sound of the knip-knop was therapeutic by itself)–and a massage therapist. The only stressed student I saw is the one I schooled in a best of 3 ping-pong match. Great job, Front Range. Good luck, students. Taking all ping-pong challengers on Wednesday, 11:30 AM.

© 2012 Falling Mountain Music

“Don’t let me interrupt your gymnastics. I just wanted to see if your Green Room was greener than mine.”
“It’s a sun salutation–yoga”. Come on in. Nice to meet you. Have a banana from the fruit plate”.
“Thanks, they gave me a fruit plate t…oo…nice folks here…you’re in the other theater, right?”

So began one of my more memorable pre-concert conversations last nigth at Swallow Hill, a 20 minute riffing ramble with a straw-brimmed hat, sunglasses, moustache, and a voice of velvet gravel, touching on a million subjects and possibilities, ending with his saying:

“OK, showtime…when you’re done I have a new job for you: president. It’s time for some anarchy”.

I don’t know about the Anarchy. But it was a pleasure meeting you, Leon Redbone. Safe travels.

© 2012 Falling Mountain Music

7/21/12 Tour Blog: The Meaning of Main Street?

Westward on Interstate 64 from the Kentucky/Indiana border into southern Illinois is a stretch of highway with a dearth of exits and the hotels that accompany them. After consulting my new best friend, bookings.com, my best shot at landing a hotel for the night was a place called Mt. Vernon IL.

If you place a mirror under the nose of Mt. Vernon, a little condensation will appear, but its pulse is faint. The town’s not dead but it may be in a deep coma. Other vital signs were telling: judging from the number of boarded up buildings your stock in Home Depot is probably safe.The businesses that weren’t boarded up tended to be pawn shops and those places that trumpet “Instant Loan for Your Car Title!” One even had a drive-up window. I didn’t notice if it also had a walk-away lane.

These aren’t healthy signs for a town, when the only businesses that are thriving are those designed to take what little you have left so you can meet the ever-increasing bill load. I thought about the last time I came through, how in my blog that year I wrote with some vehemence about how Illinois had cut state funding for Arts Councils to zero. It’s been enlightening, even humbling, to see more of the equation. Plain and simple: there are parts of this country that are hurting badly, but the gaps between social strata have grown to such a degree that many of us miss that hurt until we get off the interstate and walk around a bit. In a culture where some have two, three and even four-door garages, It’s hard to notice someone giving up title to their car.

Back on the road, heading ever westward. I approach gleaming St. Louis, with its casinos and new buildings along the waterfront. Once again, the ever dependable Catherine showed me a valuable view. (Sidebar: she’s my GPS, and it’s pronounced Cat-er-EEN, as she speaks her directions in French to me.) As she has done with eerie regularity when I need a reality check, Catherine took me on a detour that was frought with insight–I swear there is a wise woman-spirit in that little screen, my very own Cosmic Messenger. Behind the tinsel of the waterfront were shells of buildings–they literally looked bombed out, windows looking like the empty eye sockets of a skull. Amidst all this decimation were graffiti tags, all by an ambitious Banksy-wannabe named RatFag. I don’t know RatFag’s rodent status or his sexual preferences; what I do know is that he possesses Spiderman-like agility. Like Banksy, RatFag saves his tags for the most precarious locations–he seems to live for the “how did he do that?” reaction. At least, I hope he lives–some of those locations are accompanied by a long way down. While some see such tagging as vandalism with a touch of despair, I see it as something approaching art, with a dash of defiance. A spirit as strong as RatFag’s actually gives me hope. Tag on, RF.

Finally, Nebraska. I’ve avoided tolls this entire tour (merci, Catherine); today, I cheerfully shelled out all of 1.25 where US 34 crosses the Mo into Nebraska via a two-lane 15 mph bridge. At the other side, an old-fashioned toll booth with an elderly woman taking cash–no cards, no transponders. Then I had another Main Street moment: just beyond the tollbooth, a sign that bespoke at least one opinion of the 6559 residents of Plattsmouth as to its status as a Main St. Community (see accompanying picture).

If you’re looking for some blog-gem from me that ties all this up with some neat conclusion, I’m afraid I’ve wasted your time. I don’t know what to make of all this, but I do feel all things are connected. We (well, some) still call ourselves the greatest country on earth, yet the social disparities are there, staring back at us through empty window eyesockets and spraypainted eyeshadow. I don’t know if the equation reduces to the 99% vs. 1% soundbite so prevalent of late, but there is a serious hurt-quotient going on–I’ve seen it. Can we translate pride into action? What action?

Thoughts? The nice thing about a blog is that you the reader can help write its conclusion. Or at least we have a discussion that acknowledges the problem.

Next stop: home.

© 2012 Falling Mountain Music

7/13/12 Tour Blog: Connections

I’m sorry I’ve been neglecting the tour blog for the last week. I’ve been making Connections.
Not the kind that you make with “a clever tie and a firm handshake” (thank you, Pink Floyd), where there is a business objective to be met, though I have managed to secure a couple of dates in July 2013–I guess my handshake is firm enough. Those kinds of connections aim to run wide. This week, my connections ran deep.
My connection with the VA Governor’s School PAVAN workshop runs deep–24 years deep. This is a fabulous crop of young guitarists, thirsty for
every drop of knowledge (and, I admit, the occasional humorous shovelful of manure to keep them growing honestly). We’ve got a week to go, but the harvest is looking promising.
I’m staying with teaching partner and guitar brother Keith Filppu at his home in Virginia, where the harvest is already coming in: Keith is a first rate gardener. Every evening we go grocery shopping in his backyard: peppers in Aisle 4. Tomatoes in Aisle 3. And sow on.
Sometimes the connections are literal: when a dear friend with deep roots and reaching branches of her own works her massage magic on a troublesome shoulder after Wednesday’s show. Thank you, Ginny–connecting with you, and disconnecting with my shoulder pain is a double blessing.
Sometimes the connections are multiple: two other dear friends came out for the same show; they met while connecting with me in a previous workshop. Now they are forging their own deep connection with each other.
Musical connections are often deep and wide, encompassing many root networks. At last night’s show in Clear Spring MD, guitarist Candice Mowbray joined me for a couple of pieces. Candice is one of the most beautiful players I know–her exquisite tone makes me reach higher. If I could play with Candice every night my branches would touch the stars.
Finally, the best connections are spiritual ones, because they touch, or should, every other thing. During the workshop yesterday, Keith and I had a special guest who guided the guitarists through a Yoga session. AJ Ikner is brilliant, with roots in many soils–she shared not only how to wrangle this beast of an instrument that we play without winding up in braces, slings and splints, but how to connect with inner roots and branches to deal with performance anxiety issues. Amazing is in Aisle 6: when a roomful of self-conscious teenagers chattering away through the beginning of her session like the worst case of Monkey Mind (Yogis know what I mean by this) gave way to AJ’s guidance with a quiet that was deafening.
More connections await tomorrow: I have a concert with two people with whom I share three decades of music making (and centuries of connections, if we are to believe a certain mystic who told us as much some years ago). My Celtic trio The Unfortunate Rakes re-connect Sunday in Romney WV. Come join us, connect with us.
Connections between the soil and my fork, my fork and my music, my music and my soul. Us. Hope to see you soon.

© 2012 Falling Mountain Music

6/28/12 Tour Blog: Main Street

Several venues on this tour have a Main Steet address. Since I tend to focus on small towns and muncipalities, no big surprise there. But I think it’s notable.
I think a lot about what Main Street means, since I travel so many of them. I travel the ones in Nebraska and Missouri, where local arts councils keep the arts alive in places like Beatrice and Hannibal, and I travel the ones in… Kansas and Illinois, where state funding for arts councils has been eliminated.
I am also pleased to note that many of the shows on this tour are free admission. A few others are up to you: pay what you think the music is worth. When making that decision, I hope you think about what music, dance, and art is worth in your life, what your life would be without them. Don’t think about what Michael DeLalla’s music is worth; it’s bigger than me. Though I did hear a good one recently, from a musician quoting yet another musician who was asked by a fan if she could get a CD “at cost”: “I’d love to sell you a CD at cost. When I add it all up they cost about 65.00 per CD…”
I’m also thinking about Main Streets in Boulder, Ft. Collins, and Colorado Springs as the denizens of those places, my friends and neighbors, hope Main Street doesn’t go up in flames. I think about Main Streets in Syria, Egypt, Paraguay. All heartache is local heartache. So I dedicate this tour to Main Streets worldwide

Today’s selection from “This Is How I Disappear is “Variations on Sakura”. My take on this venerable Japanese folk song attempts to paint a scenario that has been a fantasy of mine for some time: I travel to Japan, meet up with some wizened koto and shamisen players; the three of us have a moment of sharing that transcends musical hemispheres. With some extended technique I try to evoke each of our three instruments throughout the piece. Enjoy. http://www.reverbnation.com/c./poni/121109177

© 2012 Falling Mountain Music

6/27/12: 13 Strings and a Million Possibilities

Today’s sample from “This Is How I Disappear” celebrates the berimbau of Brazil with a piece written with friend and stellar percussionist N. Scott Robinson, playing the berimbau, an instrument with roots in Africa. When the Portuguese brought over slaves from Angola they were not allowed to bring instruments; however, they fashioned the berimbau after instruments remembered, and left behind, in t…he homeland. It has one string and a million possibilities. I have altered the tuning of the 12-string, as I imagined what an Angolan slave might have done with a coursed-string left behind by a Portuguese slave owner after the slave revolt that resulted in freedom. Enjoy “13 Strings”. http://www.reverbnation.com/c./poni/120963239

© 2012 Falling Mountain Music

6/24/12 Tour Blog: Giants Among Us

Bryan Bowers is a giant. Both literally and musically. He’s a big man who requires looking up to, on a lot of levels. If I were choosing up sides for pickup hoops for, say, the Falling Mountain Roundball Classic, I’d pick him first, to fill the paint and deny the baseline. Given the Boston Celtics jacket that he had hanging in the room we shared for the autoharp gathering, he knows what I would expect of him. Next picks might be pre-ACL Andrew McKnight at shooting guard, with whom I’m looking forward to spending some quality stage time this fall in Colorado; or perhaps fiddler Bruce Wilkin at forward, as I’ll be doing a show with him later this tour. But I have digressed–I want to talk about giants.
Bryan’s voice booms, like a country preacher in an old wooden church; when I return to the producing desk next month I will name a reverb setting after his voice. Even his whisper resonates; he tried to talk quietly while attempting an early morning departure to catch a plane out of Harrisburg. It’s a stage whisper worthy of Robert Prosky in his theatrical prime.
When he talks to you he calls you “my brother” or “my sister”, but don’t take it personally. He talks to everybody like that, as he feels deeply and truly the inherent connections among all of us.
Bryan is also a musical giant. He may well be responsible for all the virtuosity I’ve seen on display this weekend as he is recognized as the instrument’s standard-bearer, that individual found in every pursuit, professional or recreational, who endeavors to bring a new generation into the fold. He embodies my single qualification of virtuosity: he transcends the instrument. He shows the next generation of players that dazzling chops, the technical facility and command of an instrument’s possibilities, is a means, not an end. When a player transcends the instrument he or she gets my attention, whether it’s a white-maned giant who scrapes the ceiling like Bryan, or a quiet 5’4″ woman who lets her music do her talking like Heidi Cerrigione, this year’s champion in the autoharp competition. She’s a worthy winner–she transcends the instrument.
As for my pick-up team, I guess I’m good at this–I picked the five finalists of the competition, then picked how they would place in the correct order. Maybe I should be spending off-days at the off-track…
Wonderful concert last night with Bonnie, another who transcends, another giant, perhaps 5’6″. Our last show together for a while as this tour continues for me solo for the next couple of weeks. We’ll meet up again in Colorado later this summer. Now it’s off to Virginia.

© 2012 Falling Mountain Music

6/24/12 Part 2

One of the seminal events in my process of “disappearing” and “reappearing” was landing in Colorado among such a vibrant community of musicians. I share this next piece with Dexter Payne on clarinet, Anthony Salvo on violin and Raoul Rossiter on drums and percussion, along with old east-coast friend and brother bassist Jim Baird.
“Camera Obscura” celebrates two vital streams that inform my music:… my classical background and my love of jazz. In terms of form, this piece celebrates my classical background, with themes introduced, combined, and developed; the players take it to a whole other place with their improvisations–jazz may well be America’s most significant contribution to the worlds of music this CD celebrates. Enjoy. http://www.reverbnation.com/c./poni/120482850

© 2012 Falling Mountain Music

6/23/12 Tour Blog: From the Laurel Highlands Autoharp Gathering

Mrs. Davis had blue hair. Not really blue, but a bluish cast that many women had of that era who were “of a certain age”, due to bad coloring jobs. And it was big hair, as if it had been piled onto her head with a frosting knife. She spoke in the same falsetto–wobbly is the word that comes to mind–with which she sang for her classes at Fort Foote Elementary School. Except when she was pissed–then she could offer up a growled baritone “GET QUIET” that would wake up road kill. She was also my first exposure to the autoharp.
You know the autoharp: It’s shaped like the state of Georgia, lots of strings and bars. The way Mrs. Davis played it: strummed, three chords not quite in tune. It’s amazing I had any love for music after Mrs. Davis.
So suffice it to say that it was years before I had any appreciation for the autoharp. This weekend I have nothing but appreciation for it–I’m playing a concert tonight at an autoharp gathering in Pennsylvania with past Winfield champion Bonnie Phipps, who makes the thing sing in counterpoint and doesn’t have blue hair. I arived last night in time for the competition–it reminded me that virtuosity happens on every instrument. Virtuosity deserves its own blog; more later. But I will say that it’s been a joy to be around so much joy centered around a single instrument, with some truly world class players. I’m looking forward to tonight’s concert. If you’re within striking distance of Newport PA (see the falling mountain website) come visit.

© 2012 Falling Mountain Music

6/22/12 Tour Blog: What’s On My iPod?

I don’t listen to much music when I’m in the final throes of production. I can’t listen without critically evaluating; it’s like doing a chromatic analysis of a Monet instead of just enjoying the moment of beauty.That means I don’t have a lot of good music with me when I travel, especially since, despite possessing a few musical skills, programming isn’t one of them. Luckily I have some…one who excels at putting together a good music program. Props to my sweetie Elaine for loading me up with so much great music on the stick that plugs in so handily in the new car. The random function gives me such a mix that I think I’m listening to one of her shows. Thanks! And speaking of the listening here’s another piece from “This Is How I Disappear”, a nod to all the great Irish music sessions I’ve been to nationwide: The Seisiun Set. Enjoy. http://www.reverbnation.com/play_now/13657672

© 2012 Falling Mountain Music

6/21/12 Tour Blog: It Begins

It begins. Touring has changed so much in recent years. Woke up in Iowa underneath a canopy of wind turbines. Nice–there’s hope. I stayed up late because a film-maker wants to use some of my music (documentary on Argentine/Peruvian sheep-herders in CO); I was able to accommodate because I had sound files ready for him on the laptop I travel with. Nice–there’s hope.

© 2012 Falling Mountain Music

Recording Beyond Time Zones

Throughout history, technology has helped advance music. At the Neolithic moment when an Ur-man or woman first struck a rock with a stick, music left the realm of the uttered and became something produced by an external agent—an instrument. Hollow tubes were first given holes, then eventually gained complex keys and valves. In the 1700’s luthiery reached heights of artistry as Stradivarius and Amati experimented with new finishes and woods, producing violins that expanded the tonal range, spurring composers to score works in new ways with an expanded palette of tonal colors.

In the late 1800’s, a performance could be fixed in permanence—almost. Wax cylinders weren’t impervious to the stress of time, but we have enough that survived to understand a bit about performance practices of the likes of Mahler, Caruso, Native American pow-wow music, even Mark Twain. Vinyl records also promised durability and delivered—almost. Multi-track recording technology provided unprecedented control over the interaction of instruments, leading to a new kind of creativity—that found in the studio. CDs promised a pristine digital medium that was not only impervious to degradation—almost—but allowed for exact duplication, which also led to piracy, and changed an industry forever.

Today, those of us who produce music have a whole new array of tools that have expanded our creative potential even further. As I write this, I am currently involved in five recording projects that couldn’t have happened not so long ago: new CDs by Oxymora, Planina, Bosnian songstress Azra Selak, new material by The Unfortunate Rakes, and a soon-to-be completed solo guitar project with some far-flung guest artists. Let’s look at the Oxymora project for some insights to the process.

Oxymora, the improvisational chamber ensemble I co-founded with oboist Craig Matovich almost thirty years ago, is currently working on a recording where all the participants are recording their tracks in the comfort and convenience of their own studios, scattered around the country. First, we’ve all taken care to make sure our equipment is compatable and production standards are in agreement. Next, we’ve established a creative process not unlike that which we would use in the studio if we were all in the same place, where we begin by trading preliminary “scratch” tracks which we load into our respective recording programs. We then each take the time needed to develop our individual contributions to the piece, trading tracks back to the others at every step. If needed, any of us can revisit how our contribution fits, try new things, find new connections within the music. An end to live performance and recording? Hardly. The process has kept a group of musicians artistically engaged with each other who might otherwise have to settle for the occasional reunion concert.

For an example of the process, check out the Christmas video spearheaded by Craig, from an arrangement of “Angels We Have Heard On High” by another Oxymora alumnus, Wayne Dooley. The piece features Craig (CO) on piano and oboe, Jim Baird (NC) on bass, with Wayne (FL) providing the original keyboard tracks. No frequent flier miles were used in the making of this video!

Look for more stories from the virtual road in future blogs. Till then, thanks for reading, and thanks for listening.

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