Dan McKinnon sings

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Instrument abbreviations
(as) - alto sax
(b) - bass
(d) - drums
(f) - flute
(fgh) - flugelhorn
(g) - guitar
(h) - harmonica
(mel) - melodica
(o) - organ
(perc) - percussion
(p) - piano
(ss) - soprano sax
(tb) - trombone
(tr) - trumpet
(ts) - tenor sax
(v) - vocals
(vln) - violin



Saturday, December 4, 2021
I'm still working on my singing, though I don't have much outlet except for YouTube videos. By outlet I mean a chance to perform for people.

I have days when I think I've improved and don't sound half bad. Then I have a day like yesterday when I start trying to sing in the morning, and my voice is several half steps lower, and I have little control over it. Just the day before I could do things that I can't do. It is very discouraging.

I think God led me to a video on YT that relieved some of my fears.

Yolanda Adams has gained well-deserved acclaim and respect as a dyn-o-mite gospel singer. Like CeCe Winans, she is a person of integrity regarding keeping her singing pure and focused on the Lord. Anyhoo, I watched a video of her teaching and giving some tips on singing. Some of her challenges I have known also as a singer (she mentions the difficulty she has singing in the morning several times), and it was very encouraging to hear that someone that talented and skilled has speed bumps and things she has to work on and deal with. The video is here if you're interested. (Well, I don't do well on the circular breathing, praise God—I don't even try that one! Maybe some day... I used to not even try lip rolls but now see that they are a valuable tool for working on your breathing. Posture and breathing, singers! Preaching to myself...)

I'm trying to work out another song. But it's a bit of work. Plus, I am a sleep-challenged individual and some days it feels like it's impossible to get it together. I used to have some discipline but seems like it got up and left!

Monday, November 29, 2021
For today's blog entry I'd like to point you to a remarkable young man named Kevon Carter.

On YouTube he has 76 million hits on his numerous videos, which include serious and humorous presentations centering around music from a Black church musician's perspective.

He has some really funny videos that I laugh out loud at. Although he is a Christian, he includes videos that focus on more secular topics, though of course there is a lot of overlap.

His humor is often self-effacing. Here is an example: I Quit

But I like his worship videos also. Here is an example of an original of his: Give Him Praise (note: volume needs increasing on this one :)

Thursday, November 26 (day after Thanksgiving), 2021
As I start today's blog entry, I admit I'm winging it. I feel the pressure to keep entries coming, as I'm pretty sure I detect lower hit numbers if I don't keep things fresh. But deciding which of my many thoughts to publish and emphasize is not easy. Aside from freshness, I like to share my faith, but prefer to do so in an organic way. Sometimes, however, there is an immediacy that works against "organic," but this immediacy can be counterproductive if too aggressive.

Musically I've had some thoughts. I tried to watch Macy's Thanksgiving Day Parade. I don't know about previous years, but this year the music performers (not talking about the marching bands, but the popular artists) did not have to be in the parade, but appeared to perform off-route in various one-off stages, each venue probably just for one performance (for variety), probably somewhere in New York, where the camera and some live audience viewed the artists.

It was unreal how many big-name popular entertainers performed, including Carrie Underwood, Nelly, Tauren Wells, Foreigner, Jon Batiste, and about 14 others.

The message I got was not much related to the real meaning of Christmas. Which is fairly normal, even to be expected. One can appreciate good vocals and instrumentalists after all, as well as choreography, even if the lyrics and dancing are pop fluff. But the words and dancing were salacious, the costumes skimpy and calculated to emphasize sexuality, in spite of the freezing weather that caused singers' breath to condense. After a time, I switched over to the football game, not only uninspired musically, but my optimistic search for good music was damaged and I was irritated as well. So much for that investment of time. Life is too short.

I found some previously recorded Christmas videos of mine that I posted on a whim. One in particular deserves some explanation because of the virtuosity of the performers (those who were not me). :)

I'm talking about Christmas Time Is Here. Darian Asplund is a Cornish graduate and multi-instrumentalist I've had the pleasure of knowing for several years. I've also performed with him in public on occasion. He is the best musician I know, and what the old-school people (like me) would call a consummate professional. Shows up for performance in plenty of time, always dressed really well. Plays tastefully and has a reserved and appropriate stage presence. Discreet. Covers my mistakes. But those are the peripheral stuff. Just listen to the selection, maybe without looking at the visuals, to focus on his playing, his fills, his various contributions that work together complementarily to enhance the whole, the mood, the feel.

Just as integral to the music was Robert Seager's wonderful drumming.

Thursday, November 11, 2021
Yesterday God gave us quite a day. We visited my wife's mother in the group home where she lives. (She used to live with us, but there came a time when we could not furnish her the care she needed.) Afterward, we just started driving north on I-5. We got off at Arlington, but instead of turning right as we usually do, we turned left onto a street I'd never been on before. It's called the Pioneer Highway.

Continuing along this route had a much different feel from the other side of the freeway, less populated and quite spectacular scenery and views. (The other side of the freeway is beautiful, but evokes different feelings.)

Eventually we found ourselves between Conway and LaConner here in Washington state. I turned off at a side road I'd been on before and drove to a park on the Skagit River. As we sat in our car, a large bald eagle swooped down within feet of the surface of the river and caught a fish in its talon. It continued upstream, but then looped around and landed about fifty feet away from us on the bank of the river. After it waited a good five minutes, turning this way and that surveying the area to make sure it were a safe spot, the huge, majestic, wild being began to eat its lunch (and dinner probably). All of this happened right in front of us.

We continued on to LaConner and ate a sandwich at the LaConner Tavern. We sat in the heated area outside in back. We basked in the light and warmth of the afternoon November sun on the shielded patio. At one table sat a Polish man and woman visiting the US, and at another table, two Japanese women who lived in the Seattle Metro area and were "day tripping". We had conversations with each pair. (One of the Japanese women was especially loquacious.) She had been a longtime Japanese language instructor at Blanchet High School in Seattle. Her friend spoke little English, but there was something about her spirit that was so friendly and engaging.

Driving back to I-5 later, we passed a place by the side of the road where a number of cars had pulled off. There were hundreds—if not thousands—of snow geese present. Some were grazing in nearby fields, but many flew in wild but somehow synchronized waves, circling now here, now there. A loud, eerie and plaintiff call issued from hundreds of beaks simultaneously and spontaneously, creating one textured, mystical, moving chorus. It was otherworldly.

I awoke this morning with the song The Lord's Prayer by Albert Hay Malotte in my mind. I sang it into my DAW, but did not feel to record video of myself. Later I prayed with Donna about what kind of visuals to put with it if I were to post it to YouTube. I don't know if this was the answer to our prayer, but here you have it on YouTube: https://youtu.be/61P6cYyjKCQ

Friday, Nov 5, 2021
We were driving toward a small city near us after church one afternoon recently and some red leaves dropped slowly, artistically in front of us. It was a moment. It was an arresting and beautiful moment.

Not long afterward, as often happens in the fall under such conditions, the song Autumn Leaves came to mind. For me the beauty and sadness of the song is not related to a missing lover. I have a wife I love and appreciate each day, and God has given us a great gift; He has blessed us to fall more in love with one another as the years pass. How can this be? It is the gift of God. I do struggle with loneliness in my life, but I would really be a lonely person if it weren't for my companion Donna.

One day I felt the freedom to record a new version of the song. The recording process is such a trip. It is indescribable. One never knows what's going to happen in my recording sessions anyway.

Here it is on YouTube: https://youtu.be/TIW9NYgaQek

Thursday, October 28, 2021
I posted another video. It had been on my mind for some time, and I even posted a previous version to YouTube, left it overnight, and took it down. My guitar was out of tune. At first I thought I could live with it, but I just couldn't. Really bugged me.

Then my wife and I hosted a friend who had major surgery for five days. Took care of him until he could get back on his feet. (all this time the music project was on the back burner)

In a way it's a miracle it ever got redone at all.

I should explain the title. It's called "Rhythm changes" (link goes to my version on YouTube). When "I Got Rhythm" by George and Ira Gershwin was published in 1930, the song made such a significant moment in jazz that the chords of the song became the foundation for other songs, especially songs jazz musicians liked to play at jam sessions. So every jazz musician has to have knowledge of these chord changes and the A-A-B-A form it uses, though the A-A-B-A form is used on countless other songs published over many decades. A-A-B-A form describes a composition in which there are four sections of eight bars each, and three of the four have identical (or nearly so) chords used in the same order. The bridge is the "B" section, and has altogther different chords and order (but is also eight bars long).

I took liberties with the lyrics to reflect what is more real to me in my life, with my Christian faith:

I've got my God, I've got my gal,
I've got music, who could ask for anything more?

I've got daisies, in green pastures,
I've got my God, who could ask for anything more?

Old man trouble, we don't mind him,
You won't find him, hanging out round our door.

We've got God's light, we've got God's Word,
We've got sweet dreams, who could ask for anything more, who could ask for anything more?

I don't know how I got to this place where I am a Jesus follower and interested in spiritual and secular music.

For more information about my recording process, read below.

My current process is different than previously (and probably different than many musicians on YouTube). I have evolved to more of a "live" method rather than multi-tracking. I use a Boss RC-3 looper to lay down the background track, then play the melody, solo, and sing to the background. I stop the looper at the end and play an outro live.

I plug my guitar into my amp. I also plug my mic into my amp. I record just one track that has background, melody, solo, and vox recorded at the same time. The only thing I do to the audio track before publishing to YouTube is normalize it to give it a little volume. (I used to record guitar, voice, bass, and percussion separately and add reverb, compression, and equalization in my Digital Audio Workstation (DAW) software.

Saturday, October 9, 2021
We go through our days that begin at morning like unthrown clay upon the potter's wheel, God's wheel, which is already turning when we open our eyes. God adds His surprises and open doors along the day's arc that mix in unexpected ways with the pressure of our thoughts on how the days should go, the tasks and duties and fears, amid some pleasures we hope, a meal or cup of tea as respite for a few moments out of the storm and chaos.

Today we looked at some of Claude Monet's paintings at the soon-departing exhibit at Seattle Art Museum. With transpo, parking, navigating downtown by car and foot, it was a project. It was a most interesting afternoon. I used to work as a METRO bus driver downtown, but the way downtown looks now, the people and conditions mainly, were shocking at times. Walking along 3rd Avenue was like something from a dystopian novel. Groups of mostly young street people in clumps. It looked like some were rotating around drugs consumed and traded. In one alley I saw an old man standing facing away from me, his gray sweatpants pulled down a half foot, exposing his rear end, the pants stained with long brown streaks originating at the seat. A young mixed-race man who also looked like a street person from his clothing and desperation, apparently helping and devoted to the old white man. The poverty and neediness of the two almost knocked me off my feet. This juxtaposed with many apparently affluent people and luxury automobiles driving by looking.

And on to the museum. I had the following reactions and thoughts, some of which apply to music:

  • Some of his paintings were juxtaposed with photographs of the same scenery. I much preferred looking at the art over nature.


  • His work ethic and devotion to his art was almost shocking. Nature would often turn him back from his purposes, storms, wind, and rain. He would have to retreat to his studio, which he didn’t dig.


  • He had a kind of affair with a woman who had kids and watched his with hers after his wife died. She was a married woman whose husband worked in another city.


  • I wondered where these artists were with the Lord. creating such amazing art with no money or acclaim in most cases. There was like a purity there, and yet, were they saved?


  • There were a number of paintings from the same locations. Yet the effect of two finished works painted at the same location upon me and I assume other viewers was altogether different, what the artist chose to change from one to the other, what he focused on. Monet said that what changes are the light and the air. This reminded me of something Bix Beiderbecke said about his solos when hearers wanted him to reprise them from his records. He said he couldn’t. Each time he played a solo he felt different, and thus the solos varied, each unique. (This helps me, as each solo I play is different; I can't seem to do it the same way twice. One time a jazz disc jockey who started locally and became known internationally, Jim Wilke, interviewed a prominent jazz musician. Wilke asked, "Is it true you can’t play a song the same way twice?" The musician answered, "I can’t play a song the same way once.")
And two more. The main thing, his incredible work ethic, despite, like Van Gogh and others, almost no monetary remuneration and little recognition. There was a whole group of these crazy itinerant artists who thought only of the work.

The last one. Sorry, really the main take-away. His self-doubt. I relate to this. The great artist Monet questioned the value of his work. And if anyone has read this far for October 9, 2021, I'll reward you with something that will probably make you sorry your read this far. Show me the Monet!

Friday, September 17, 2021
With so much uncertainty about gathering with others in person these days, broadcast tv (and streaming movies on the tv) garner a lot of attention, at least in our family, and I would suppose others.

We subscribe to Amazon Prime, so aside from the once-yearly financial hit, we get a lot of "free" movies to view, as well as free shipping on many online items we purchase.

The art of movie-making has become quite sophisticated. It is a reality of its own. Some of the best creative, intellectual, and technologically savvy minds in the world collaborate on these works designed to draw people into the stories that mimic and even shape life.

Of the "free" movies available, I will often settle for ones I've already seen. In fact I would rather view a well-done movie I've seen than a new, high-production-value offering whose values I object to, or that I feel is not good. Nevertheless, I often settle for what many might consider humble, aged, or trite fare.

Last night we watched Sleepless in Seattle. Something that was apparent and that I'd missed before was the use of music in it to create powerful moods in the storytelling. In the beginning, during the graveside funeral and afterward at a memorial for the Hank's character's deceased wife, a solo piano plays the verse of Stardust thoughtfully, gently, and with feeling. It creates a palpable but almost subconscious feeling of loss and sadness. But it is a half hour later during a poignant scene with the Hanks character by himself by a lake reminiscing about his wife that we finally hear the chorus of Stardust sung by Nat King Cole. (no it's not in the same key as in the beginning of the movie -- drat!) (Jeopardy answer: Nat King Cole sings Stardust in this key. Question: What is * [see end of today's post for the answer]

But think about that for a minute. The instrumental verse is used quite effectively at the beginning of the film to set a tone. A half hour later that tone is reprised, expanded, and detailed artfully by the rich, gorgeous voice of Cole, both elements, at the beginning and later, associated with the memory of the departed loved one. Some inspired artist crafted this stuff in the film. It wasn't an accident.

{breaking news: my wife just came into the room and asked what I was doing. I said, "Stupie stuff," to report honestly about a voice inside that says what I'm doing is just a waste of time. She asked, "Stupie stuff like what?" I said, "Writing a review of Sleepless in Seattle with an emphasis on the music." She said, "Well, somebody's got to do it," in a way that validated me. What a sweetie!}

Maybe I should run with this for a while. Over the last seven years I've come to know a number of Pacific Northwest musicians. Many are just sublime, more or less dedicating their lives to their art. But they are also hidden and obscure from almost everyone’s view, let alone the limelight. Unacknowledged and unappreciated, they live their lives knowing the beauty of what they possess, though it is hidden from most ears and eyes. They are captured by the music. I've heard it said that they did not choose music, but it chose them. They often bear the mark alone, or in small groups.

At just the right time in the movie, Harry Connick Jr. sings A Wink and a Smile. In my opinion he is a virtuoso pianist and a great, nuanced singer. These are very different talents that nonetheless complement one another, but it's hard for me to say which I think he's better at; he’s just phenomenal at each.

The other singer who's tapped a couple times in the flick is Jimmy Durante. It works.

We enjoyed the film. It has a few things that rub me the wrong way, for example conversations with children that I consider "R" rated, and it has always bothered me how soon after breaking off a sexual relationship with the Bill Pullman character that she finds her soulmate in the Hanks character, but overall not a bad way to spend an hour a half. Much of the film is just beautifully done, especially in regard to music, imho.

If you'd like to hear Nat King Cole sing Stardust (with the verse), click here. (If you'd like to hear a great Willie Nelson version done live—as opposed to the studio— with Branford Marsalis playing one of the greatest sax breaks I've heard, click here.

* Nat King Cole sings Stardust in G. (according to my calculation; I hope I'm right) Hoagy Carmichael published the song in the key of C, according to one Internet source. (I enjoy learning things. Despite my previous feeling that Carmichael was a fuddy-duddy and conservative jazz-wise, I now see that he was progressive and even avante garde, employing truly advanced musicians like Bix Beiderbecke and others. I should have known from his compositions like Stardust how unusual, non-trite, and advanced he was. If you'd like to know more about the jazz standard and masterpiece Stardust, click here, a link to a .pdf on the US Library of Congress site.

Something I wish I did more of, and am just beginning to practice at an advanced age, is to close my eyes in listening to music. It is amazing how three-dimensional, and richer, the music becomes when I do this.

Maybe someday I'll finish this post. But I just keep seeing / hearing things on YT. Michael Bublé and Naturally 7 singing Stardust. I appreciate the sparse accompaniment of the chunking guitar and spare, tasteful piano, the wonderful clarinet solo.

Saturday, September 11, 2021
I don't get many hits on this blog, but I do get some. I know from previous website training that if I don't update the content periodically people will stop coming altogether. So that's one motivating factor for this entry this morning.

But there is also a desire to ruminate and share thoughts in the hope of making a connection with someone. As Karen Carpenter sang, "Loneliness is such a sad affair." For the Christian, though, one is never fully alone. But it sure is nice to feel seen and heard by flesh and blood persons as well as Holy Spirit. The apostle Paul said, “No man stood with me.” (But the Lord stood with me is implied.)

There is almost always music in my mind and emotions along with nonmusical content. In a way I feel a little defensive about writing today in a music blog with no tangible projects going on or even planned. I have been repairing our abode for over a week, chasing dry rot from a previous roof leak that was repaired some time ago. This onerous project has lurked at the back of my consciousness for some time, and I haven’t had the strength or courage to deal with it until recently. (Even presently I don’t have these resources; I just simply dove in one day, knowing it had to be done.) It involved opening up the wall and floor to first see how much damage was there, and then go about repairing it. It could have been worse. (maybe that can always be said about anything :) (As a by-the-way, I picked up my guitar one day and played a bit, and it didn't sound bad. I thought about calling my spontaneous creation "The I Haven't Practiced or Even Played My Guitar in Three Weeks Blues.")

As I worked I listened to music, or sometimes a Mariners game. (Go Mariners; they're one game back from a wild card spot.) I have been listening to, and really appreciating, Toby Mac. Alexa pronounces his two names as one, said rapidly with the accent on the first syllable rather than the last. (I find myself following suit, initially to be comical, but now wondering if this is just not a better way to say it.)

I find his music really good. The lyrics are gospel, the melodies compelling, the arrangements and instrumentation terrific and creative, and the harmonies evoke subtle emotions that transport. I should also say something about the vocals and rap, which are wonderful and extend the multiracial appeal.

Tears come easy for me in this fall / winter season of my life—or at least much easier than they used to considering my stoic, perfectionistic upbringing, whether the tears come as a result of grief or mirth. Both happened yesterday. I was experiencing a YouTube video, the Carpenters singing with the Royal Philharmonic Orchestra; the richness of the instrumentation, the sadness of the lyrics and Karen and Richard Carpenters’ lives, thoughts of the obscurity of the 70 or so Royal Philharmonic musicians and conductor who were making such gorgeous music (and even the hidden quality of the personalities of the more pronounced instrument players like drums, bass, and keyboards). I thought of my life in California when I first heard this music decades ago, my departed parents, how my life is mostly over, and the tears came. If you want to see this video, click here.

During this same YouTube viewing experience I also watched some film on the other end of the spectrum, comedy, and was similarly brought to tears. Each video on YouTube has a still picture, often with a label, that one clicks to see the video. A starting screen. The one I clicked showed a person giving the finger to his cat. Or really, just going by the picture, a person, male or female, doing that. The thing that tickled me was that the cat appeared to know full well what was going on, and looked like it was about to retaliate.

Later in that video, it shows a dog searching for fleas in its owner's beard. Dog owners may be familiar with this thing that dogs do; it's pretty hard to describe it accurately for those who've never experienced it, but the dog digs his snout through hair chomping its small front teeth and bigger incisors rapidly in a (sorry and ineffective) attempt to kill incredibly quick, small, clever, and lively fleas. It is really more of a way for the dog to vent anger and frustration at being at the mercy of the little pests, and to give the dog a (false) sense that it can do something against them. Anyhoo, the dog feels it is doing its owner a solid by this act of kindness, but its efforts are lost on the human, who looks quizzical and blasé and rolls his eyes subtly.

I've also discovered a personality on YouTube that intrigues me. His videos are singular and fantastic. The Professor. I had been watching T Jass, a pickup basketball influencer, and found his friend The Professor. I mean this guy is one-of-a-kind. He is quite skilled. He has a sense of humor. He is a Christian. (the links are all videos on YouTube)

I've also seen several specials on the 9/11 terror attacks 20 years ago today on network tv. I think the most meaningful to me was 20 Years Later: The Women of 9/11 on ABC. Tears. Respect.

Sunday, August 22, 2021
Last week I finally got the courage to busk. In case you aren't familiar with that term, it means to "perform music or other entertainment in the street or another public place for monetary donations." The place I chose to perform was on the Edmonds waterfront, which probably won't mean much if you are not familiar with the Pacific Northwest. Edmonds is a picturesque community on a Puget Sound beach north of Seattle. There are many, many boats moored there.

I had been going back and forth on the idea of busking for some time, and God led me into a public performance venue where I heard great musicians in such a spectacular way the day before, I was encouraged to take a shot at performance myself. Busking is about the only audience I have right now, other than YouTube.

It was humbling. Not that many people gathered to listen to me. My wife supported me for a time until a previous engagement called her away. But amidst all that, three people encounters really stood out and made it fun and encouraging.

The first was two women who had a number of young kids with them. The kids were attracted to the music. The women had each of three little girls take a dollar up to my guitar case and drop it in. It was a big deal to them that they will probably remember for a while. I know I will.

The next encounter involved three women who were together and had just gone out to eat on the waterfront. I was beginning to play "Somewhere Over the Rainbow," and at a certain point my mind went blank on the lyrics. They jumped in and saved me, and then we sang the rest of the song together. They were really good, knew the lyrics, and pretty obviously had some public performance experience. All in all, it was much more fun to sing the song together than if I'd perfectly remembered the lyrics and sung by myself. Funny how God can take a mistake and make something good out of it.

The last encounter was the most meaningful to me. A woman was wheeling a little girl in a stroller. But I would estimate the girl's age at four or even five. Both were attracted by the music, but the little girl's reaction was really interesting. While she was shy and somewhat put off by me, an old guy she didn't know, the music absolutely transfixed her in spite of herself.

I'll pause that narrative to interweave another. I wrote a song some years ago named "You Is Me." The title and lyrics have meaning to me, but are possibly a little obscure and mysterious to listeners. I remember a time when I used to perform in clubs, I had planned to sing "You Is Me" one night and thought all day about how to introduce it, and how much of the lyrics' meaning to explain before I sang. I planned to explain at least the origin of the song and a few of the lyrics.

Right before I got up for my turn at the vocal jam to sing the song, I had a picture of John Lennon and Paul McCartney explaining the meaning of "I Am the Walrus" before performing it. The idea was so outlandish that when I got on the stage, I said, "Here's a song I wrote a while back," and left it at that, ditching all my plans. At the time, I thought it was the thing to do.

But aside from the pressure on each performer in a vocal jam to expeditiously perform and then get out of the way of the next performer, I now think that it is better to give some context for the song, at least "You Is Me," if not others as well. This came about recently when I did a gig at a retirement community and explained the song a bit. The audience seemed fascinated by the story, and I sensed it helped them get into the song more than If I'd just started singing it.

The first line is "Gentle Charlotte, small and unloved, weaving her web so wondrously." The first verse is about a spider who spends no small amount of time creating an artistic and functional home, only to have it "swept away in a moment." The next line is "She starts again." (And so it is for us humans, start all over again, if only we can muster the strength and faith.)

So taking a cue from the retirement community gig, I explained a bit of the same song, "You Is Me," before I performed it for the mother and child on the Edmonds waterfront last week. They were all ears for the verbal context and the song. It seemed really meaningful to them. The child's mother told me before they left that they were big fans of Charlotte (from the book Charlotte's Web, which is where the reference in my song comes from).

If you'd like to listen to the song, here it is on YouTube. (The lyrics are written below the video above the comments.)

Saturday, August 14, 2021
My wife and I went walking along the Edmonds waterfront Monday night. At the point we turn around, there were several musician busking along the path under some trees. "Busking" is when one or more musicians play outdoors on the street or in some public place. It is free, but there's often a tip jar or open instrument case for donations.

As we walked to claim one of only a few benches, I saw on the music stand sheet music for a Jobim bossa nova, as though that would be the next song the band played. (It wasn't.)

By the time the band ended, I was in a state of agitation because of many complex issues having to do with me and my music experience primarily, but also the music as presented that night. It was chaotic and driving, and getting more and more that way, mainly because of the songs chosen.

Each band member was very good technically. There were about 10 or 15 people who had paused to listen to them.

Two days later at the same beach but a different outside venue (on the waterfront behind Anthony's Home Port, at a sponsored event), I heard a group of high school music students play jazz again. It started out lyrical and listenable. But again it devolved into what to me sounded like cacophony. Some of this had to do with the musicians not being on the same page, and the difference in playing ability between them, but also the material and the way it was played, especially the vibe and message they sent. During the last song the main sax player, leader of the band, who also doubled on piano, played a long dissonant solo with his back to the audience. I got up to leave before they finished, but paused to look at the view of the water and boats.

The band finally finished and the members began to pack up their instruments. One family I did not know who'd stayed to the end walked by me as they left. Grandpa said emphatically to his family (beyond earshot of the musicians), "They should have packed up a long time before now!"

At the time, it seemed a little harsh, but the more I thought about it, and the more I grieved about the two music performances I heard—and this really bothered me for a couple days—the more I admired the man who'd been brave enough to express his opinion, and the more I agreed with it.

Why were these young men playing music? They were too cool for school. They appeared to detest their audience. It also appeared that they had no use for their audience other than to stoke their egos. There was a weird pecking order between band members, a clear leader who showed little love for some band members, and then down from there.

What a missed opportunity! The families and others who were listening just wanted to hear some music on a sunny summer day at the waterfront.

This complainy post gets better :)

Last night we went down to Port Gardner Bay Winery to catch part of the last set by Java Trio +1. Because of the new mask mandate there were only about ten people in the audience. For me this worked for the good, because it was very quiet and I could hear the band easily. (Other times when the place has been more crowded, I have not been able to hear the band.)

The band played beautifully. Tim Koss played bass and it sounded so awesome. Gregg Robinson played piano accompaniment wonderfully and got in some good solos. Mark Jelsing was on drums and played empathetically with the others. The +1 was Brent Jensen, who may the best musician I've ever heard. Period.

Something needful that was lost earlier in the week musically was restored last night. Thanks guys! You're awesome players.

Saturday, July 24, 2021
This morning I felt impressed to read Psalm 73 out of the blue.

I live a crazy life. Sometimes I do things that from a worldly perspective aren't that wise. Last night I got interested in a number of YouTube videos and stayed up until almost 3 watching them. I'll put the link in below to the one that was the most interesting to me. It is Nick Vujicic speaking at a prison in Texas to the inmates and staff. I have to put aside my natural impressions and feelings at first to really listen to what he's saying. The men in the video had no choice but to sit and listen to him. I encourage you to hang with it though it may be uncomfortable at times. He is a real man and speaks for God and Jesus. Here is the link: Nick Vujicic at Telford State Prison.

Thursday, July 15, 2021
Seems like God might have wanted me to do a blog entry off-the-cuff. (BTW, I got some help from reading the first ten or so verses of Psalm 37 today.)

Vicissitudes are ups and downs. It is surprising how quickly things can change. Don’t tell my doctor (he always has his medical assistant give me a depression test before he sees me, that is, a questionnaire about how many days in the last two weeks I felt depressed and other hard-to-answer questions; in my defense, I often feel the most depressed when I'm feeling chronic pain, which is why I go to the doctor in the first place)

Anyhoo, over the course of a couple weeks I got acquainted with, and then familiar with Curtis Mayfield's song People Get Ready. It is a gospel song. Here are the words.

People get ready, there's a train a-comin'
You don't need no baggage, you just get on board
All you need is faith, to hear the diesels hummin'
Don't need no ticket, you just thank the Lord
-----------
Instrumental break four bars
-----------
People get ready, for the train to Jordan
Picking up passengers from coast to coast
Faith is the key, open the doors and board 'em
There's room for all, among the saved and lost (Eva Cassidy version)
-----------
Full instrumental chorus eight bars (half-step modulation in C. Mayfield version)
-----------
Now there ain't no room for the hopeless sinner
Who would hurt all mankind just to save his own
Have pity on those whose chances grow thinner
Cause there's no hiding place against the Kingdom's Throne
-----------
So people get ready, there's a train a-comin'
You don't need no baggage, you just get on board!
All you need is faith to hear the diesels humming
Don't need no ticket you just thank the Lord

I worked it out and posted it on YouTube here.

Thursday, July 8, 2021
None of us really know how long we will be on the planet. I have been helped most I think when people are honestly just themselves, even when this exposes vulnerability for them. In light of this, I'll just be frank.

We all have a pandemic experience. Although the worst of it appears to be behind us, in other ways life seems just as topsy-turvy and difficult.

During the pandemic, I needed God's help to make it through. So I prayed pretty often. It seemed appropriate that my music should reflect where my attention was, and where my help came from. As a result, I gravitated toward spiritual music that reflected my faith in Jesus.

But I still like and play some secular music. Today I want to talk about a couple of experiences I had while playing secular songs, Somewhere Over the Rainbow and Moon River. I talked about the Somewhere... experience below, so to save time, please click Saturday, February 6th to go to a previous entry in this blog.

Regarding Moon River, the same thing happened—I sang some lyrics and the image that came to mind and my emotions were so sad that I broke down and couldn't continue: "Two drifters, off to see the world, there's such a lot of world to see..." It's just 14 words, but the poetic image was so powerful, like the essence of a life in just a few seconds. What I saw was a person or persons starting out fresh and hopeful, eager to experience life and the world, usually associated with a youthful perspective. But as I heard myself sing "there's such a lot of world to see..." it was like a life, my life, flashed by in a second, and the whole experience of life was sad and bitter and loss. And one recovers from those experiences, only for it to happen again and again.

What I've just described feels similar to the Carpenters' song "We've Only Just Begun." "So much of life ahead, we'll start out walking and learn to run." Such promise. Such hope.

I've seen the PBS documentary Close to You a number of times. I don't think I've ever made it through to the end without moist eyes. They started off encouraged and shot to fame, well reflected in the song Top of the World. But all along Karen's anorexia nervosa lurked under her life and their success. She died at age 32.

Tuesday, July 6, 2021
Seems like thoughts I'd like to pass on occur to me as I practice. I got another solo gig tomorrow, so am on a roll. I hope these thoughts from my experience are helpful to somebody.

Wherever you are in your music journey is valid. Period.

Don't second guess yourself (this will happen naturally when you fail, which will happen often, so don't worry about it), or find yourself paralyzed by what others—especially others who appear to be more advanced or talented or skillful—may think of you. Just keep plugging along, work and practice, and especially listen. Taking the time to just open yourself up and listen to music is never a waste of time. It is a kind of practicing that is essential.

Tuesday, June 29, 2021
Wow, hot times in the old town tonight. Highs in this area usually around 70 this time of year. Sunday we were in triple digits a lot of the day. The hottest place we went, I believe around Factoria, was supposedly 118.

I happen upon a lot of stuff musically. I am impressed by things that seem "hot" (contemporary), but were from a decade or more ago. I sing and play Moon River and Somewhere Over the Rainbow and was listening to some versions on YouTube. YT has accelerated things quite a bit. Anyone can access for free just about any song by any artist ever recorded.

The first thing I saw was an ad by a music educator named Mark Morley-Fletcher. He was saying that rather than playing an instrument, a musician should think of herself/himself as the instrument. Also that ultimately everyone learns things by ear. And that if you have musical ideas you really want to express, your hands and body will figure out how to play it. I like these ideas.

Looking for versions of Moon River to listen to, I happened upon a performance by Eric Clapton and Jeff Beck. What? It was not rock. Done slow and straight. About the 2nd or 3rd chorus, Clapton sings.

My take is that Clapton wouldn't have achieved anyhere near as much fame as he did without singing. A great understated singer, his voice is the perfect balance for his guitar, and grounds and unifies his performances.

He also has a great sense of timing and keeps things simple. Let's not forget that he employs the best side-persons in the music business, for example Nathan East on bass and vocals.

I listened to him for some time, and it sure worked against what I knew of him from the past. In one concert, he didn't play an electric rock guitar at all for the whole two hours, favoring instead an acoustic Martin and an amplified hollow-body jazz guitar, a Gibson. It really surprised me.

I listened to several songs from his concert in Tokyo, which was 2001. (ERIC CLAPTON Live at Budokan, Tokyo, 2001 (Full Concert)) There wasn't as much rock as I would have thought. Some songs that were rock, he did more acoustically, for example Layla. His guitar accompanist, Andy Fairweather Low, also played acoustic guitars and a hollow-body jazz guitar. Songs featured vocals (as opposed to blazing Clapton electric guitar solos), and were more along the lines of standards and melodic blues. And yet this big change I saw was from 20 years ago. I guess I don't follow Clapton that closely. I should also note that the bass player played an acoustic fretted bass, and nearly all the sidemen sang. It was very interesting to me, very musical and appealing to listen to. They also all sat rather than stood while performing. Just a whole different feel. Tears in Heaven, old-timey jazz blues, Over the Rainbow. There is something believable about the stories he sings.

Wednesday, June 23, 2021
I had it in mind to write an essay on how the guitar has evolved from a chord-chunking once per beat or single-string (or 2-string in the case of Wes Montgomery octaves, or multi-string in the case of chord-melody) horn-like solo instrument to more of a keyboard-like, riffs and runs, occasional 3 or 4 note chord, but double stop or triad-based non-chunking chords (or 3rd / 7th tone instead of triad) style. (a big part of this is the trend toward finger-style guitar)

What precipitated this were several videos I saw on YouTube by Bryan Duncan, a pioneer of Christian Contemporary Music (CCM). In the last couple months, I have listened to him a lot, especially a song he wrote and performs that I've been working on a while and just posted on YT yesterday as a cover, I Love You with My Life. (At one point, I tried to contract out the drum—which I ended up not including in this posting— and bass parts, but due to difficulties and budget ended up doing myself. I played all the instruments and did all the vocals, and recorded, mixed, and mastered it, though frankly I am kind of a hack at all those things; or maybe I should just say that I'm still learning and am in process :)

But people get tired of reading and due to the information age, a picture is worth a thousand words, and a moving picture (video) is worth a million words. So I'll just list some of the videos that have inspired me lately below.

However, I also want to be transparent. Some days are pretty difficult, oppressive, or sad, and God has on those days helped me in simple, small ways that were pretty huge from my perspective. "Little is much if God is in it."

One day I simply read Psalm 37. I could feel God's encouragement in it, and that He was talking personally to me by way of it.

I have had a lot of failure as a person and a parent, and Father's Day is a hard day for me. I told this to someone at church and she said that nevertheless, I have influence in some young lives. I acknowledged that this was true, and the effect of her saying that sentence to me was truly wonderful. It was the very best thing that happened to me that day, and lifted that feeling of failure off of me.

Anyhoo, here's the links. The first two are from Bryan Duncan's "Unplugged" phase, which is now about 8 years old. (This blows my mind, as to me this session is so far ahead of its time, not just for the guitar work, but for the whole team effort and feel of the music; the bass and percussion is simple but those players carry the whole thing and make it possible for the guitar player (Tony Hooper) and vocalists to be free). These videos are on YouTube.

At the risk of TMI, I'll list another, Mel Torme and Frank Wes doing Stardust.

Thursday, June 17, 2021
I'm not sure who my audience is for this blog. For context, I am a Christian who has played secular and religious music. As I get older, I am gravitating more toward spiritual music that directly glorifies Jesus.

But if one is not Christian, I hope that she or he would find on this blog thoughts about music and life that are meaningful and helpful. Christian music, if it is not engaging, skillfully played, and technically valid, may not convey any significant positive message (though it may convey a negative message if it is poorly done).

That is why I keep my ears and mind open, and write here about things that I hope are stimulating and that cause people to consider new ideas and perspectives. I hope my words speak to and help people who want to become better musicians.

As Doc Severinsen, the colorful leader of the Tonight Show Band during the Johnny Carson years says, "When you learn something as a musician, you have an obligation to pass it on to the younger generation."

Last night my wife and I watched a new PBS documentary about him named Never Too Late. I think they chose this fitting title because after the Tonight Show starring Johnny Carson ended in 1992, as Chris Botti says, "Severinsen did not live off his fame, but continued being a musician." Severinsen toured 43 weeks a year and helped younger musicians by performing with them and giving clinics. He continually worked and put himself out there. He did not let age slow him down.

I encourage you no matter what age you are to not give up. Keep at it. Most of what I know about musicianship and performing, as well as singing, I learned after age 55, or even 60.

If you are a musician or singer [that "or" in the phrase "musician or singer" kills me, but this is often how it is stated; I like to think of musicians as singers via a machine, and singers musicians using the machine of their body]. Here is an excerpt of a transcript in which he speaks with music students (predominantly trumpet players).

"Take a deep breath and then use it. And I mean really use it. That’s why I go to the gym. I'm 90 years old and I still go to the gym three days week. That's what it takes to play the trumpet."

Student asks question: "What do you feel makes the best trumpet players of our time the best trumpet players?"

Severinsen: "I think it's what's in you. (gestures to his heart) What do you feel about other people? Are you nice to other people, do you see the best in them? Can you cry when you play a melody that’s so beautiful it deserves every tear you can give? You’re so filled with joy that it comes out in the form of tears that release all the bad things you ever thought about, all the sadness you’ve ever had in your life, it’s gone and you’re joyous. That’s why I play the trumpet. I do it because I love it."

"You gotta have some humor in your life. Get a laugh out of life. And you'll play better."

"The happy people are the lucky people. Be happy."

If you can, see this documentary. I especially encourage it if you are a musician. Chris Botti, Arturo Sandoval, and Questlove (the leader of the band Roots on the Tonight Show with Jimmy Fallon) give significant contributions, insights and thoughts about Doc Severinsen and his relationship to music. You can stream it free if you are a PBS member—which costs as little as $5 a month.

Tuesday, June 8, 2021
I finally saw the Tom Hanks Mr. Rogers film last night, A Beautiful Day in the Neighborhood. Great use of music in it so seamlessly supporting the other content. I had to make an effort to listen for the music and appreciate it on its own merits. (I was disappointed after watching the credits; none of the instrumentalists were listed. The piano and bass players were especially noteworthy.) When one artistic element (music in this case) so powerfully and subtly supports the whole project, I believe it indicates something really remarkable about the music and the team that creates the project.

Fred Rogers was an incredible person, insightful, protective of and nurturing toward children and the inner children in adults. He wrote great songs with powerful lyrics. He made jazz music an integral part of his show Mister Rogers' Neighborhood.

Yesterday was a hard day. I had taken a sleep aide and unfortunately side effects included some depression, tiredness, and disorientation the following day. This makes work a lot harder.

Firstly, I am working on a music project that seems futile. It is a cover of a song no one remembers. Secondly, I work to figure out many things about the song by doggedly playing and notating it, whereas the original—which I will never even get close to matching artistically, spiritually, or technically—remains freely available to anyone via YouTube. And yet I keep at, not sure why. It was after this day that I heard the following Fred Rogers' song.

Check out the lyrics to "You’ve Got to Do It":

You can make believe it happens

Or pretend that something's true

You can wish or hope or contemplate, a thing you'd like to do,

But until you start to do it (!)

You will never see it through,

Cuz the make-believe pretending, just won't do it for you.

You've got to do it, every little bit,

You've got to do it, do it, do it, do it,

And when you're through,

You can know who did it,

For you did it, you did it, you did it.

It's not easy to keep trying

But it's one good way to grow.

It's not easy to keep learning,

But I know that this is so...

When you've tried and learned you're bigger than you were a day ago,

It's not easy to keep trying

But it's one way to grow.

You've got to do it, every little bit,

You've got to do it, do it, do it, do it,

And when you're through,

You can know who did it,

For you did it, you did it, you did it.

Please note the following:

1) If you want to hear the song on YouTube, click here.

2) The person singing is Fred Rogers (not Tom Hanks).

3) The marvelous piano work is by Johnny Costa, Fred Rogers' musical director on the show.

With this encouragement, I will probably keep at doing my cover. I'm 70 years old. I encourage you to keep at whatever it is you're doing. Don't give up. :)

Thursday, June 3, 2021
I'm just going to put some random thoughts out there. They came to me as I was practicing. They are not thought through. (Maybe you can synthesize them into your process if you think they have merit.)

During practice for voice or an instrument, one is willing—willing in the sense of "I will to sing such-and-such, or I will to play this keyboard pattern on guitar or piano"—to do certain things. These require ideas that are executed in the real world via muscles and in instrumental music, mechanical manipulation of machines. (Yes, sadly even B.B. King's Lucille, his guitar, aside from emotional attachments and even attributing personhood to the instrument, was a machine. Almost seems sacrilegious or iconoclastic—tearing down an idol—to mention it.)

Aside from this willing and executing, other important things need to go on. These are the things that become more apparent to me as I gain experience in music and life as I age. The first of these is awareness. This has to do with hearing and listening to be sure, but is not limited to these faculties. One can also listen with one's mind, or heart, or feelings. Part of this listening has to do with getting in touch with the part of ourselves that creates music. (Hopefully more on this later...) It can be a real balancing act to tie into this part of oneself while one is simultaneously executing practice or performance routines. (To say nothing of being aware of any other musicians and singers who may be there.)

Cheers, and happy Thursday. Today I am practicing this morning to play my first paying gig in a year and a half. During this practicing lately, I realize that practice is essential to increase confidence, which definitely has a part in practice and performance.

Tuesday, June 1, 2021
I was just doing my vocal warmup today and got some thoughts I will record and share here now, putting aside my practicing a while.

(I have noticed an uptick in the number of viewers on this website. Thank you very much, if it is even real, as there are unscrupulous web hosters—or at least one, that I have direct experience with; in their deception, I was fooled for a time. They padded the numbers of hits recorded.)

Today however, I may be connecting with just a person or two of the about six or seven unique visitors my web hosting company tells me I am reaching per day. That is fine with me, to reach even one.

I learned a lesson and was reminded of it today by remembering a sermon by Pastor Trevor Horn this last Sunday. And that is, at the time you are hearing something, or learning of something, or learning something, it may not connect. It may take a while for it to become real and useful to you.

I imagine that some people who visit this website may not believe in God, let alone be Christians. That's all right. As Ken Kesey famously said, "Take what you can use and let the rest go by." (Did you know Ken Kesey was one of the first pro-life people in the world, aside from Jesus?)

I used to hate lip rolls (or trills) and refused to do them. For a long time. In a vocal warm-up, I just chose a vowel and practiced that instead. These days the vocal roll I believe is the most helpful exercise for improving my singing. Why? because it assures that your breathing is right. I took a voice lesson from the renowned Greta Matassa, and she said, "Don't hoard your breath!" "Sing as though you are sighing." (I believe that was critical in my case.) I believe vocal rolls encourage that needful exhalation via the diaphragm that supports our voice.

The point is that after years of avoiding lip rolls, I now value them above almost all else for voice improvement.

Pastor Trevor was talking about how God's presence helps us persevere. Boom!

Another topic when I heard it on Sunday went over my head, but later I thought about.

"The story is told that The Times of London at one point early in the 1900s posed this question to several prominent authors: "What's wrong with the world today?" The well-known author G.K. Chesterton is said to have responded with a one-sentence essay:

Dear Sir,

I am.

Yours,

G.K. Chesterton

His witty reply is unnerving and unexpected. But it is also very biblical." (This quotation is from the article "Dear Sir, I Am" by Joe Holland, on the Ligonier website.

Enough said.

Saturday, May 29, 2021
Just listening to and watching "old" vids of Bryan Duncan on YouTube. Wow~

This cat is free in the Lord~ Watching this takes away some fear :)

What a creative, crazy dude! Lots of energy and he has fun when he performs. What a concept.

Tuesday, May 25, 2021
A different kind of day yesterday. I don't know if you are familiar with Leland Sklar. He is certainly one of the greatest pop bass players ever, and may well be the most prolific. His recording and performing career goes back 50 years, and he is still going strong. The individuals and bands he has played with is a veritable who's who of the top singers and players in the music industry, and he plays with Christians as well, like Barry McGuire, Kim Carnes, 2nd Chapter of Acts, Matthew Ward, and others.

Sklar posts daily on YouTube about the people he has played with over the years, each day selecting a different person or band. His broadcasts are somewhat impromptu, but also reflect his planning and thought for each, especially in the selection of the artist and the musical clips of the person that he chooses. I don't watch / listen to all his posts, but with some artists I can't help but watch because of my interest in that person.

All that to say that yesterday I had a Leland Sklar kind of day as I reminisced about and watched the great Bryan Duncan in concert and on albums. (This was not via Sklar, but my own thoughts and memories about Duncan, who I've known of since his Sweet Comfort Band days.) (What a resource YouTube has become!! And easy to take for granted.)

Bryan Duncan is just an incredible Christian singer and songwriter. From a young age he gave his talent to God and isn't shy about sharing his faith in his songs and concerts. I watched a concert he did in the Netherlands some years ago. Wow! He was matched with some really, really top musicians, who were also very good singers. There was a big crowd of predominantly young people who were super into his music. If you want to listen / watch, here it is on YouTube: https://youtu.be/Z-qBPcO6iZ8

Friday, May 21, 2021
Sometimes it's hard for me to hear the Lord's voice.

Jesus is real.

There's a documentary worth watching. It's named "The Journey of CeCe Winans". You can see it free on YouTube here.

I was heavy into the music scene in Seattle in the 1970s. I got in a real jam, and when the smoke cleared, I had accepted Christ. I got out of the jam. But I would never be the same. The person most instrumental in my coming to Christ was Ben, a white friend who I'd known since junior high. He'd "gotten saved" years earlier during the hippie days. He was one of the teachers in a predominantly Black preschool in Seattle's inner city. He married a Black woman and attended a predominantly Black Christian church. I accepted Christ in his front yard in the projects. Holly Park.

Eventually I left that church in favor of a Pentecostal Black church. This was in the early 80s. At just the right time, the Winans came into my world. I felt the love of God through their music, me, one of the only white people in my church and neighborhood. I felt it.

You gotta see this documentary. CeCe and BeBe her brother are pioneers. They are strong and good. Listen to them tell how it was as two of the very few Black people in white Christianity! They have integrity.

Anyhoo. Today I played an almost overdone Christian hymn and posted it. I'm sure the world has been waiting for my version, probably the most played song in history. Here it is on YouTube.

Yes, it is derivative. Tommy Emmanuel. Here's his rendition of the same song on YouTube. (Yes, I listened to his version before being inspired to play mine.)

Tuesday, May 18, 2021
A little over two weeks since my last entry. A lot has happened.

My health crisis got worse. I had an endoscopy and a colonoscopy. It wasn't too bad. The medical personnel were not only skilled, but personable and kind. It means a lot. I thank God for them.

For about a month or even more, I composed a song. It went through a lot of iterations. Toward the end, things came together, and even while recording, things happen serendipitously. Leeland Sklar, the great bassist, talks about this in his daily YouTube broadcasts. In each broadcast he picks a different artist that he worked with and describes what it was like to make music with them. Last night I listened to his description of Barry McGuire, a most interesting cat.

McGuire composed "Eve of Destruction." If you were alive in the 1960s (after 1965, when the song was published), you probably heard this iconic song.

McGuire became a born again Christian in 1971.

Back to the song I composed. There are stages when I write a song. It can be real work, but a funny kind of work. It's a kind of emotional / spiritual labor (as in giving birth, not that I know much about that physically speaking). It is kind of an audacious believing in oneself that despite the physical evidence you have as you first begin to get some words and notes, and your feelings about those things, you can keep going, you somehow keep at it. Fighting (or really just ignoring) strong feelings that it's worthless, and that I'm not an artist or musician of any worth. Somehow the song comes out anyway. It's called "My Offering." (click the title to see it on YouTube)

I played guitar and bass on the song, and it's the first time I've done percussion on one of my recordings.

One person described the song as morbid. It is that. When I composed the lyrics, I did not feel like I was long for this world, considering how I felt physically.

After I posted it, I was dinking around with a hymn several days later and recorded it. I posted it, but am dissatisfied with it, and may take it down. It amazes me that I spend time working on something and post it, and then just take it down. It seems like such a waste. (I've taken down probably half or more of my music videos over the years; I just don't think they're very good.)

Regarding my listening these days, I am really into Will McFarlane. He accompanied Bonnie Raitt for years and then gave his life to Jesus. I actually first heard one of his gospel songs almost 40 years ago. I am just amazed at the guy. He can play guitar like a ring in a bell, and he's got a great voice.

Friday, April 30, 2021
My health crisis has lessened a lot compared to what it was, but I'm not fully out of the woods. Let's leave it at that. I read in the Bible this morning that suffering produces perseverance, and perseverance, character. Let that be what is happening to me, please God, because that is valuable.

Last night I performed publicly at an open mic, my first public performance in over a year.

The night of music was conducted under permissions of the current Covid phase we are in in this county. Interestingly, the policy of this venue is, "bring your own mic," (BYOM). Many of the performers sing.

It was interesting to hear others, but the main idea was for me to get back in the saddle. I prepared for the foray, but as one waits to perform, and during the performance, and afterward, it seldom seems like preparation was sufficient. I suppose there is hindsight in this.

Some things went ok, others went well. Other things did not go well, chief among them technical problems in micing my acoustic guitar. This problem was primarily unforeseeable, and it was disappointing. After loud, bassy, rumbling feedback on one side and not being able to hear the guitar at all on the other, the soundman reached a compromise by trial and error during the performance. Performing while this was going on was rough and marred my confidence and the performance. One presses on. By the last song, things were working better.

Did you know that most acoustic guitars can be plugged into amps these days? One sacrifices some warm, woody, acoustic tones with an amp, but that is better than not being able to hear the guitar. Micing an acoustic guitar works in a quiet recording studio, not so much in a noisy club.

There is the possibility that some people in an audience may not listen to a performer, and there was some of that with each performer. But an experienced ear can tell if people are listening, even if there is background noise. There is a hush in the talk.

As I age, I'm realizing the cost of public performance. The stress. The energy needed to proactively analyze and adjust to quickly changing circumstances while under the pressure of people listening to and watching me carefully.

Age and experience have benefits. I thank God my message is clearer, stronger, and more urgent. My skill is increasing, and even more than that, I'm not letting worries about my abilities cloud my music and the spirit as much as previously.

I sang and played guitar on How Great Thou Art, Somewhere Over the Rainbow, and God Will Make a Way.

(Afterward, one woman asked if she could buy my CD. I told here that, unfortunately, I didn't have one.)

Friday, April 16, 2021
In the midst of my health crisis recently, a number of things happened. The most important and life-giving were words from the Bible that came to me when the pain and oppression were worst. This was usually at night as I lay hurting and sleepless, and opened my Bible as a last resort.

I got help from Psalm 139, how God promises guidance, but His main focus is holding us close. Verses 9 and 10: (no matter where I am, in heaven or the house of death, even the 'uttermost parts of the sea') "even there your hand shall lead me, and your right hand shall hold me".

I got help from Psalm 30, a promise of healing (verse 2).

I got help in Psalm 25. Verses 16 - 18, among others. God is still my friend and is with me, despite my troubles.

Also during this time I got the idea to reharmonize "What a Friend We Have in Jesus." I recorded it and put it on my phone. Then I went to the beach with my wife and she filmed me lip-syncing it. So for a change you don't have to look at my ugly mug inside, you can look at it outside where there are other things to distract you :)

Here is the reharmonization, which means that I created a new melody and chord structure, but kept the lyrics the same. Reharmonization of What a Friend We Have in Jesus - vox, cello, drums, guitars

I sincerely hope you are motivated by what I've said above, and the advice of the song, to believe in Jesus and pray to Him, and to read the Bible. He is very real, and he loves you.

A parting word. In the song, "trials" means difficulties. I think we can all relate to that. "Temptations" can mean situations we are led into by lust, which don't end well for us. But "temptations" can also mean a very difficult situation where we are tempted to lose faith.

Thank God the Bible lets us know that trouble in our lives does not mean we have fallen out of favor with Him. In fact the opposite is often true. "Many are the afflictions of the righteous."

Tuesday, March 30, 2021
A word about this website and blog. (I've noticed an uptick in visitors and want to help orient you.) My goal and hope is that this would be a resource for people of differing backgrounds and interests. I've had many interests, passions, and experiences. Music is one. In the midst of that journey, I found Christ and experienced things regarding the gospel. I am also a person living in the present time, which is without question a period of tremendous challenges.

For example, as described below and other places like FB and an online musicians' forum, I've described a debilitating condition of my fretting hand that eventually required major surgery. Before surgery and during the long and painful recovery, I questioned whether I would be able to play again. But now, after more than a year post-op, I can play again.

I was so pleasantly surprised to get an inquiry about my surgery experience from a professional guitarist named Jim in Texas. He had followed a link I left in an online musicians' forum to my website, and from there dropped me a line. We traded several long emails about my experience as he considers the weighty decision of having an operation like mine, which will impact his life and music in a big way for a long time, hopefully in the long run for the good (if he opts for the surgery). Giving people like Jim resources to aid them in their journeys and decisions gives my life purpose.

I also like to share my experience of God. For example, I've found that God loves to take what seem to be crushing, negative events at the time and redeem them. During the years my hand degenerated and got more and more painful to use for playing, and during my recovery post-op, I worked on my singing. I took lessons from notable Pacific NW singers Greta Matassa and Jake Bergevin (actually only one lesson apiece), sang in two choirs at different times (details below), and attended a number of vocal jams where I performed onstage (when it was my turn). In this way I kept my hand in music and performing, and improved as a singer. God redeemed the negative instrumental experience and expanded my horizons as a total musician.

I'm currently experiencing a health crisis (stomach cramping and diarrhea) that has brought three walk-in clinic visits, one lab visit, and one visit to the ER in the last two weeks. My recovery (I say in faith) is still in process. Additionally, I had one Covid vaccine so far, which my body didn't seem really happy about. Just being honest.

In the last couple weeks, my music involvement has been more limited. I did find a great video on YouTube by Alison Krauss and "her" band Union Station performing "There Is a Reason," a gospel song by one of the guitarists in the band, Ron Block.

I'm also slowly working on a new song. I have such low self-esteem as a songwriter. That is a major hindrance. Sometimes things flow in the creation process. With this one it has not.

Wednesday, March 17, 2021
Here's my newest video: voice and acoustic guitar Somewhere Over the Rainbow. This is my second version of this song. It is in Db, a whole step down from the first version to help me hit the high notes :)

There's a crazy story about how I got a Gibson Gospel acoustic guitar. Suffice it to say that it was at least a couple miracles. The guitar is a lot harder to play than my ES335 copy. No joke. But I like the way it sounds. An acoustic guitar makes a distinctive sound that some players like Tommy Emmanuel feature as their main instrument, though they can play an electric like a virtuoso as well.

I recorded this live in one take. It shows :) In the funny papers, they show a couple versions of the same picture and you're supposed to pick out the small mistakes between the two. There are a number of mistakes in this video. But I hope they don't distract from the general feel.

I recorded this with Reaper and a fellow named Max mixed it for me.

Friday, March 5, 2021
Just finished a song and uploaded it to YouTube. Precious Lord. The lyrics were written by the Rev. Thomas A. Dorsey, who also adapted the melody. The melody is credited to Dorsey, drawn extensively from the 1844 hymn tune, "Maitland". "Maitland" is often attributed to American composer George N. Allen (1812–1877), but the earliest known source (Plymouth Collection, 1855) shows that Allen was the author/adapter of the text "Must Jesus bear the cross alone," not the composer of the tune, and the tune itself was printed without attribution for many years.

Dorsey wrote "Precious Lord" in response to his inconsolable bereavement at the death of his wife, Nettie Harper, in childbirth, and his infant son in August 1932. (Mr. Dorsey can be seen telling this story in the 1982 gospel music documentary Say Amen, Somebody.)

Mr. Dorsey was a Black man. He recruited Mahalia Jackson to sing the song. It was also Rev. Martin Luther King Jr.’s favorite song.

Two of the first churches I attended and became involved with after I "got religion" in my 20s had predominantly African-American congregations and were pastored by Black men. I heard this song often. (For information about how I got religion, see the About page of this website.)

One night several weeks ago I awoke in the night. I forget what troubles I was going through at the time, but the words of this song came quite simply and distinctly to me. It helped. The next day I began to figure out the chords. This is the result.

This is one of my first songs created with Reaper, a digital audio workspace. I may elaborate at a future date.

Tuesday, March 2, 2021
It's been almost three weeks since I made a blog entry. I promised to talk a bit about performing live (including jam sessions) versus recording in a studio.

I decided to jump back into the live music scene some years ago after I retired. I bought a performance guitar (as opposed to my unamplified acoustic). I practiced a lot, learned a lot of new songs, and listened to music I was interested in online and live. I augmented this with attending jam sessions to listen and participate as often as I could. Occasionally I even got a real gig. I performed either by myself or with a few others at retirement centers. As a kind of internship I played once a week at a restaurant for tips. The pay was lousy, but the experience was priceless. I learned about playing in front of people, interacting with them, and cooperating with the restaurant staff, who were kind and supportive. It was a symbiotic relationship with them—we each benefitted from my playing in their establishment.

Many of the jam sessions were way above my head, as far as the caliber of players. I sure heard some incredible music. I participated occasionally. Each time I found the courage to play and / or sing, it was a trial, a stretching experience. I used to go often to the Owl & Thistle on the waterfront (jam session hosted by Eric Verlinde and Jose Martinez), and the Musicquarium, so called because of the huge aquarium near the stage and dance floor. (This latter jam session was hosted by Brian Nova and his band.)

There are some really great players in the Pacific Northwest. They are as good as anyone in the world. Many are obscure, sometimes really only known by other topnotch musicians. I could name many names.

Of all the hundreds of performances I experienced, three stick out as almost out-of-body. And coincidentally, one person was in two of these three.

There was a jam session for advanced players at the Angry Beaver in Greenwood. One night I came in and two musicians were playing by themselves while everyone listened, a departure from the usual bass, drums, chording instrument and multiple soloists, mostly horn players. Just guitar (Wolf Kienzle) and sax (Darian Asplund). They were playing Stardust.

The next notable experience happened at a jam session that took place on Sunday nights at Darrell’s Tavern in Shoreline—Wolf Kienzle playing Misty. (Of course Kevin McCarthy was probably playing standup bass.)

The third was Eric Verlinde (piano), Dean Schmidt (electric bass), and Jeff Busch (drums) at the Owl & Thistle. They played Henry Mancini’s Charade. Oh for a recording of that!

At a jam session, anything can happen (and usually does! :), and at times there is an art experience that takes place that is indescribably cool. There are some videos on YouTube of this kind of thing happening at church jams, mostly at African American churches.

For more blog prior to March, 2021, click Blog archive