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Donna

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Blog Entries posted by Donna

  1. The Cable Tv Taping

    By Donna ,

    Feb 21, 2012 Thorny Swale performed 5 of my original songs at Northwestern Community Television (http://www.nwct.org/) a public-access cable station west of Minneapolis. This great opportunity came through a partnering between NWCT and the Minnesota Association of Songwriters (http://www.mnsongwriters.org/), of which I am a member. "Minnesingers" the original music program consisting of MAS performers is the brainchild of MAS member and NWCT Executive Producer Rita Fox.

    This was an ambitious undertaking because just weeks before the taping guitarist Scott Iverson and I began playing our respective instruments (Scott had played drums on the originals while I fronted and played rhythm guitar) and I also began using an in-ear monitor system with my own mixer. In addition, there were three new songs - one of these (Be My Love) was so nuanced that it necessitated drawing up huge charts on gigantic-child paper (4 in all -- the Out took up one page in itself). I cleared my mantle, took down the painting over the fireplace and fastened the charts to the wall, where they remained for 2 weeks.

    Guitarist Mark Rocheleau and I additionally spent an afternoon one-on-one with this song, for which I was very grateful.

    Because of circumstance, we lost 2 rehearsals (I had wanted 6) and I think ended up doing four. I must thank "Sneakers" (http://www.reverbnation.com/sneakersband), the other stellar band I'm in for an intense period of regular rehearsing, the results of which were so edifying, I could come to T-Swale with complete confidence that we could and should do the same kind of focused hard work. I try to remain mindful of the sacrifices the wives and families make in letting their men go - bandmates who have full time dayjobs, busy families, and some of whom drive from out of state to rehearse.

    Thanks to a new mini digital recorder, we were able to record and and I supplemented w/ other MP3 files (rhythm & lead guitar motifs, etc;) so the guys learned the new material increasingly with each rehearsal. I hoped to encourage them (within some strict visions I had of the songs) to make their parts their own. They did, to the point of re-arranging the 4-chart song Be My Love to a manageable complexity, and it was the right decision. I watched as the short weeks rushed by, my busy bandmates keeping up with MP3 files & accompanying musical ideas/notes/proddings, plus the logistics of my new monitor set-up, and increasing technical/practical details of the NWCT taping itself.

    Myself, I was in athletic training mode 2 1/2 weeks prior to the taping. Number one, I practiced drums at a much slower bpm than normally played, to a click, recording everything and forcing myself to listen to all playbacks in a very focused way. I knew from the past (http://forums.songstuff.com/blog/76/entry-865-vital-studio-lessons/) this was crucial for getting inside the groove; and since I hadn't played these songs on drums live (save one), I was writing parts and shaping the songs. Many tools were needed to above all try to communicate the vision I had to my bandmates, and I learned that intimately knowing that vision could be an obstacle in said communication. I had to try to listen to what they were saying, try to understand what information they needed. They were very patient and dear with me.

    Our bandmates are our best and only allies in very real ways. They deserve respect, gratitude, and sweetness wherever possible.

    Vocally I had my work cut out. The 5 songs seemed quite different in power, style, etc; Be My Love uses the highest end of my range purposely breathy almost throughout, while There's Gonna Be A Storm is to the wall heavy. I practiced all vocals sitting down, because that is the way they'd be performed, sometimes a single phrase repeatedly...then 2 phrases in a loop and so on. That kind of care was needed in analyzing strengths/weaknesses vocally, not only because I was playing a different instrument now, but a loud instrument. I'm no stranger to this nit-picky work, it is how I learned to sing my own songs. A satisfying day when I was ready to concentrate solely on singing & playing as a whole.

    The material came together at the eleventh hour. I wished for more time to reflect on how hard T-Swale had worked. These guys are accomplished soloists. As I learned (again) in drum prep, I needed restraint most of all in order to let the groovy licks shine. The whole band learned a lot about the discipline of doing this. I cannot express how pleased I am with our result. Simple to say "The Song Is Queen - Serve Her", but it is much harder to do. I know at least some of the guys wanted one more rehearsal (bless them!), but our time had run out.
    ___________________

    We arrived at the NWCT studio intact. I'd been sick for a few days, striving to remain calm above all in the face of sore throat/sinus woes. We were one of 2 acts scheduled to tape and thus slated to have 90 minutes to set up a 6 piece band, sound check and then film, a challenging undertaking that we accepted, yet were nervous about being able to fulfill. Yet various supportive and buoying things had happened along the way. The people were sweet and really for us, in various email and other exchanges concerning gear & logistics -- notably Wayne Hamilton (President of MAS), Rtia Fox Executive Producer, and Ray Dahl, Sound Engineer at NWCT. It was an unexpected happiness therefore, to find out at the studio that we were granted additional time, as the second act couldn't appear that evening.

    The studio was large and felt expansive, housed in a modern, sound building. There were amenities like a large, clean break room (w/ treats) and a great ladies room (LOL). Ray Dahl, Rita Fox and Wayne Hamilton (himself nursing a winter illness) all helped us load our gear into the studio. I was especially touched and felt supported to see Wayne there under that circumstance. He immediately asked if we wanted to use risers and began discussing some set design. Risers seemed like a good idea, so people began getting various set pieces and hauling them in. I was so happy to be vocally warmed up and confident I could sing.

    (Sidenote: Tenor saxman and vocalist Jeff F and I are both hairdressers - I cut his hair last month, and he cut mine a week before the taping. So it was to him I showed the clothing I'd brought and we discussed possibilities. It's a comfort to know he's there on-the-gig for hair tousling or any aesthetic needs).

    Once our stage set up was completed, we got a chance to sound check & actually rehearse. That was my favorite part - maybe because the studio door was open, and there was a buzz in the air. Producer Bob Woods then sat down with me, introduced cameraman Mike (we later met cameraman Mark), and we mapped out the songs in some detail regarding soloists and other cue-like info the camera crew would find helpful. The last few minutes before taping I listened to a recording Jeff F had done with new sax parts, which I was to yay or nay (he ended up doing them).

    We were fortunate at being able to do some second takes of songs if we weren't pleased with the 1st result. I had one monitor in my ear and the other bare, to hear the whole stage sound. I love in-ear monitors, I can finally hear myself sing in a way I never could before. It felt so good to be playing those songs -- which happen to be my songs, but as writers tell it, often enough the song writes you. It's really been in the last 2 weeks that I have ever heard some of them, the way they've been in my head for so long. It is rare & thrilling in a deep-down way to behold. And frankly, it was wild to have an audience and be filmed right on the heels of still kind of in shock about the tunage being realized outside one's head.

    This is T-Swale -- exceedingly tasteful and never robotic. Yet it had been a long day. In the end, we were tired and our own worst critics. But I have the little rough draft tapes of tonight, already listened to....even without hearing them, this writer couldn't be more pleased. But I am totally stoked! I am not the only songwriter in Thorny Swale, for one. And we are up to at least 7 originals live, with more of mine waiting in the wings, if the guys want to do them.

    So grateful to God for this wonderful opportunity via the MAS, NWCT & Thorny Swale!

    -Shrove Tuesday, 2012

  2. The Cable Tv Taping

    By Donna ,

    Feb 21, 2012 Thorny Swale performed 5 of my original songs at Northwestern Community Television (http://www.nwct.org/) a public-access cable station west of Minneapolis. This great opportunity came through a partnering between NWCT and the Minnesota Association of Songwriters (http://www.mnsongwriters.org/), of which I am a member. "Minnesingers" the original music program consisting of MAS performers is the brainchild of MAS member and NWCT Executive Producer Rita Fox.

    This was an ambitious undertaking because just weeks before the taping guitarist Scott Iverson and I began playing our respective instruments (Scott had played drums on the originals while I fronted and played rhythm guitar) and I also began using an in-ear monitor system with my own mixer. In addition, there were three new songs - one of these (Be My Love) was so nuanced that it necessitated drawing up huge charts on gigantic-child paper (4 in all -- the Out took up one page in itself). I cleared my mantle, took down the painting over the fireplace and fastened the charts to the wall, where they remained for 2 weeks.

    Guitarist Mark Rocheleau and I additionally spent an afternoon one-on-one with this song, for which I was very grateful.

    Because of circumstance, we lost 2 rehearsals (I had wanted 6) and I think ended up doing four. I must thank "Sneakers" (http://www.reverbnat...om/sneakersband), the other stellar band I'm in for an intense period of regular rehearsing, the results of which were so edifying, I could come to T-Swale with complete confidence that we could and should do the same kind of focused hard work. I try to remain mindful of the sacrifices the wives and families make in letting their men go - bandmates who have full time dayjobs, busy families, and some of whom drive from out of state to rehearse.

    Thanks to a new mini digital recorder, we were able to record and and I supplemented w/ other MP3 files (rhythm & lead guitar motifs, etc;) so the guys learned the new material increasingly with each rehearsal. I hoped to encourage them (within some strict visions I had of the songs) to make their parts their own. They did, to the point of re-arranging the 4-chart song Be My Love to a manageable complexity, and it was the right decision. I watched as the short weeks rushed by, my busy bandmates keeping up with MP3 files & accompanying musical ideas/notes/proddings, plus the logistics of my new monitor set-up, and increasing technical/practical details of the NWCT taping itself.

    Myself, I was in athletic training mode 2 1/2 weeks prior to the taping. Number one, I practiced drums at a much slower bpm than normally played, to a click, recording everything and forcing myself to listen to all playbacks in a very focused way. I knew from the past (http://forums.songst...studio-lessons/) this was crucial for getting inside the groove; and since I hadn't played these songs on drums live (save one), I was writing parts and shaping the songs. Many tools were needed to above all try to communicate the vision I had to my bandmates, and I learned that intimately knowing that vision could be an obstacle in said communication. I had to try to listen to what they were saying, try to understand what information they needed. They were very patient and dear with me.

    Our bandmates are our best and only allies in very real ways. They deserve respect, gratitude, and sweetness wherever possible.

    Vocally I had my work cut out. The 5 songs seemed quite different in power, style, etc; Be My Love uses the highest end of my range purposely breathy almost throughout, while There's Gonna Be A Storm is to the wall heavy. I practiced all vocals sitting down, because that is the way they'd be performed, sometimes a single phrase repeatedly...then 2 phrases in a loop and so on. That kind of care was needed in analyzing strengths/weaknesses vocally, not only because I was playing a different instrument now, but a loud instrument. I'm no stranger to this nit-picky work, it is how I learned to sing my own songs. A satisfying day when I was ready to concentrate solely on singing & playing as a whole.

    The material came together at the eleventh hour. I wished for more time to reflect on how hard T-Swale had worked. These guys are accomplished soloists. As I learned (again) in drum prep, I needed restraint most of all in order to let the groovy licks shine. The whole band learned a lot about the discipline of doing this. I cannot express how pleased I am with our result. Simple to say "The Song Is Queen - Serve Her", but it is much harder to do. I know at least some of the guys wanted one more rehearsal (bless them!), but our time had run out.
    ___________________

    We arrived at the NWCT studio intact. I'd been sick for a few days, striving to remain calm above all in the face of sore throat/sinus woes. We were one of 2 acts scheduled to tape and thus slated to have 90 minutes to set up a 6 piece band, sound check and then film, a challenging undertaking that we accepted, yet were nervous about being able to fulfill. Yet various supportive and buoying things had happened along the way. The people were sweet and really for us, in various email and other exchanges concerning gear & logistics -- notably Wayne Hamilton (President of MAS), Rtia Fox Executive Producer, and Ray Dahl, Sound Engineer at NWCT. It was an unexpected happiness therefore, to find out at the studio that we were granted additional time, as the second act couldn't appear that evening.

    The studio was large and felt expansive, housed in a modern, sound building. There were amenities like a large, clean break room (w/ treats) and a great ladies room (LOL). Ray Dahl, Rita Fox and Wayne Hamilton (himself nursing a winter illness) all helped us load our gear into the studio. I was especially touched and felt supported to see Wayne there under that circumstance. He immediately asked if we wanted to use risers and began discussing some set design. Risers seemed like a good idea, so people began getting various set pieces and hauling them in. I was so happy to be vocally warmed up and confident I could sing.

    (Sidenote: Tenor saxman and vocalist Jeff F and I are both hairdressers - I cut his hair last month, and he cut mine a week before the taping. So it was to him I showed the clothing I'd brought and we discussed possibilities. It's a comfort to know he's there on-the-gig for hair tousling or any aesthetic needs).

    Once our stage set up was completed, we got a chance to sound check & actually rehearse. That was my favorite part - maybe because the studio door was open, and there was a buzz in the air. Producer Bob Woods then sat down with me, introduced cameraman Mike (we later met cameraman Mark and lighting tech Nikki), and we mapped out the songs in some detail regarding soloists and other cue-like info the camera crew would find helpful. The last few minutes before taping I listened to a recording Jeff F had done with new sax parts, which I was to yay or nay (he ended up doing them).

    We were fortunate at being able to do some second takes of songs if we weren't pleased with the 1st result. I had one monitor in my ear and the other bare, to hear the whole stage sound. I love in-ear monitors, I can finally hear myself sing in a way I never could before. It felt so good to be playing those songs -- which happen to be my songs, but as writers tell it, often enough the song writes you. It's really been in the last 2 weeks that I have ever heard some of them, the way they've been in my head for so long. It is rare & thrilling in a deep-down way to behold. And frankly, it was wild to have an audience and be filmed right on the heels of still kind of in shock about the tunage being realized outside one's head.

    This is T-Swale -- exceptionally able, tasteful and never robotic. Yet it had been a long day. In the end, we were tired and our own worst critics. But I have the little rough draft tapes of tonight, already listened to....even without hearing them, this writer couldn't be more pleased. But I am totally stoked! I am not the only songwriter in Thorny Swale, for one. And we are up to at least 7 originals live, with more of mine waiting in the wings, if the guys want to do them.

    So grateful to God for this wonderful opportunity via the MAS, NWCT & Thorny Swale!



    -Shrove Tuesday, 2012
  3. It's been a long time since I've written here. Paradoxically, my drum life has been very busy and engaging. Often times the work behind the scenes is the only work. And now it seems I've come full circle, yet for the first time, in seriously planning to do a significant project as a singer songwriter playing drums.

    In 2008 I began playing drums "in earnest" following a scant 3 years prior to that, and a 12 year break prior to that. Probably the most courageous thing I ever did was to commit to drums after what was in effect pretty much a 15 year absence.The only original music I had going on those years was periodically developing and singing my own catalogue of songs w/ acoustic guitar accompaniment. Sometimes I played and wrote in bursts, but mainly life was very filled with raising children. At one point I missed the music so bad, but had no time for it, that I took up sewing as art. A practical art it was, as whole wardrobes began appearing for little ones.

    Also around 2008, I realized that I'd become a strumming-guitarist-singer-songwriter by default. All my music friends seemed to have vanished - or maybe I did. There was no one musically to help me for a long, lonely time. Because of the periodic nature of playing my catalog, I often felt I was completely starting over and nothing but belief in, and liking for my own tunes kept me doing it. There was one other musical thing going, which became regular, and it, too, was something I hadn't sought: singing in a Latin Mass choir consisting of polyphony, Gregorian chant and motets. At the time I felt like it was barely keeping one toe in the musical stream, but in hindsight the consistency added up. It was certainly different from popular music singing, and they let me sit in, so I did.

    After a couple years in choir as I became more comfortable, people I knew began commenting favorably on my voice. This was familiar, as I'd begun lead singing as a drummer professionally at age 17. What was bizarre about it, was that none of my newer friends knew me as a drummer or songwriter. Then it struck me that all but one of my own children had never heard me play drums.

    It's hard to describe how uneasy, and eventually terrified, this made me feel. From that void, I consciously made the first step on the road back, in my own mind.

    Since 2008, the bulk of my work has been networking with musicians and deepening friendships with those I already knew (like John Moxey & Steve Perrett from Songstuff). Other musicians are our best allies. We need each other, and some of our greatest needs have little to do with money or getting work. We need each other to keep the music, and ourselves, alive.

    In addition to reuniting with band members from when I was 17, and taking up anew as a singing drummer in a gigging variety band, Thorny Swale (the name of this band) began doing my originals (I think) in late 2010. Guitarist Scott Iverson can play drums, and I found out that my default-status as a rhythm guitarist was actually rather nuanced regarding my own songs, so for the originals, I've been playing guitar & fronting. I realized again that other musicians are our best allies, and that the first people to "sell" a song to are one's bandmates. The few experiences I'd had in bringing originals into a band setting long before my 15 yr break from drums, were quite different from the relaxed "show me" that Thorny Swale offered. It was so pleasing. And something happened to the band, something good. It got both more rooted and more alive. I really liked playing guitar and singing, as well.

    In 2011 I set out to find more gigs in addition to Thorny Swale, which meant "cold-calling" networking, promoting myself and auditioning. In July, up 5 flights of warehouse stairs in 103 degree weather was when I first heard Ray C. (a guitarist auditioning for the same gig). That gig never materialized, but I made sure to keep my eye on Ray, because I knew I wanted to work with him. We began working together late summer, and amidst some bumps, our 4-piece band "Sneakers" began sneaking around on a very consistent rehearsal schedule, making our debut last month.

    It's very exciting to be in both bands, and I'm psyched for the future in gigging with both.

    The full circle come around that I've never been to before, is what I'll close this entry with. As a member of the MAS (Minnesota Association of Songwriters), members have been given an opportunity to do a cable TV taping - up to 6 songs. (The MAS is a whole other story - very active and thriving organization with regular showcases, song circles, and stellar songwriting workshops, among other ever-increasing irons in the fire). I'm one of those MAS members who isn't versed in appearing solo (I gave it a good try, though), and I'm happy to be given a shot among MAS peers to appear in my element, which is with a band.

    Just before the New Year, it struck me that guitarist Scott and I should play our respective instruments for this taping, and also, it's a lot harder to lead a band as a guitarist than it is as a drummer. The only thing is, I'd not only not lead-sang-while-drumming the newer originals slated for the MAS taping, but I'd not ever seriously considered, or even casually entertained, the thought of being a drumming singer-songwriter. Yeah, there've been a few, we know who they are (though the cat I'm really interested in is Brian Blade). It doesn't matter how many or few, but that I'd not tried that on for myself.

    It has been confusing at times, being a writer, a singer and arranger. Frankly, it would be a whole lot simpler to be a drummer, period. But the years and experiences have shown that putting one or more musical aspects away, leaves me with that void. I'm a practical musician, so immediately upon securing the MAS taping date, I set into action to prepare - which means Thorny Swale's guitarists (they switch off parts) learning rhythm parts and chordings. More than a couple experienced guitarists in other settings have said I, not they, should play those rhythm parts (this could be a good sign or bad), so the final outcome of the taping will depend on how things gel, and I suppose, me letting go of some of the quirkiness of my r. guitar parts.

    But the main element and most recent discovery was sitting down to record myself playing drums while lead singing some of these tunes. I knew the playback would tell me if a drumming-singer-songwriter might fly.

    "I think she may".
  4. Make new friends but keep the old; those are silver, these are gold
    - Joseph Parry d.1903

    I am the daughter of two left handed parents. It was normal, being
    around those opposite-handed to me. It so happens that the two gentlemen
    equated in my mind as the drumming buddies are left handed.

    Martin Applebaum was walking down an alley one day and heard drumming
    from a garage. About 14 at the time, he investigated who was behind the kit.
    It was 12 yr old me. Martin had curly hair and a double bass see-through blue
    8 piece kit. He was learning Rush's 2112 album and soon after we met,
    nailed it. He played right handed, matched grip. His drums were set up right
    handed which came in handy as we were co-drummers in a teenaged band.

    Martin was very technically proficient, a real student. I was in awe, but he
    was so kind and natural I'd no excuse to be intimidated. I on the other hand
    had pretty much stopped practicing rudimental things or anything - I just
    played. Martin solo'd while I was happy playing a ballad that built to crescendo.

    He went on to teach, to study jazz w/ Marv Dahlgren, to ditch the double bass and
    (I think) flirt with traditional grip; to record and become a very sensitive musician.

    Recently he asked if I would be a tech to a special annual gig he does with Second
    Generation. (Which my dear friend Loo is also member of). I was delighted he
    asked me! We're still trying to mesh our schedules for a drum jam. Recently Martin
    gave me an unused China cymbal and a smaller ride.

    Connor Mcrae I met walking into Ellis drum shop about 18 months ago. He called me
    "Wendy" and I forgot the name and genre of his band. Months later, I was 'found' by one Tom
    Harkness via Facebook (Tom'd played trumpet, and I percussion in elementary orchestra).
    Tom was currently heading a band called The Swamp Kings - they did Cajun swamp blues.

    "What is THAT?" I wondered and yet it vaguely rang a bell.

    Tom urged me to come sit in with them on what happened to be my birthday, last year.
    This date will always be to me my official out-of-retirement. I learned that Connor was
    the drummer; that The Swamp Kings were a great band, and that Connor
    is also left handed. At that gig, Connor moved the snare, floor tom and high hat
    around for me.

    I had the most amazing experience one year ago because Connor was my new idol,
    for lack of a better word, and I hadn't really had one since age 12 in meeting Martin!
    When I looked out from his kit, I saw him enjoying his own band and I felt not
    one ounce of intimidation. Only great joy in musical friendship, the extended hand
    Tom had initially offered, echoed by Connor, bassist Matty Page and
    Hammond B3 madman Toby Lee Marshall. In subsequent gig I also had wild
    fun playing when accordionist Harry Pulver Jr. was present.

    The Swamp Kings
    (If you can only listen to one song, I suggest Joie De Vivre)


    There are significant similarities in my friend and drummerships with Martin and Connor.
    Also with the kind of drummers they are - Martin went on to become heavily involved with
    marching corps as an adult and Connor I think must've begun once weaned off the breast!
    Both are outstanding technicians.

    This summer I've seen Connor regularly at the drum shop because a standing appt for one
    of my children is nearby. He always asks about the children (several have been to the shop).
    Love for music/drums and a brimming-over kind of zeal is the basis of our friendship, even
    as Martin and I chat "like nuns in the kitchen" about our families and our cymbals. Both lefty's
    have fixed my gear - repeatedly, LOL!


    Sept 3, 2010
    I should've noted this previously, but unless credited, any exercises or sticking variations
    of standard rudiments or like concept written about are things I've discovered myself -
    which (likely) doesn't mean that I created them "first", although it could be so.


    Tonight I worked on the 7 stroke roll as mentioned last entry LLLRRRL -- RRRLLLR but played
    with a 4 feel -- 1e&ah, 2e& , expanding
    on it by alternating with the standard LLRRLLR -- RRLLRRL, but playing with a triplet feel,
    working it up to one endless, slow line concentrating on the swing, time and feel. My mind is taken almost
    exclusively with swinging every 4 fraction (quarters, 8th's, 16th's) into triplet and 4-ing every
    triplet.

    The basis of the swing/triplet from a four-feel it seems to me comes from that standard inverted
    paradiddle -- LRRL--RLLR. Related, when you turn a roll backwards, it produces that same kind
    of feel -- [7 stroke roll - RLLRRLL--RLLRRLL.

    march is a good example of beginning a roll with the accented "last stroke" (tho it's 5 and 11 stroke rolls have a definite march feel).

    Melodic note patterns on the toms w/ these figures took shape and this time I notated the
    motifs. I cannot keep up with them - every time I do drills of this sort, it turns into composing.
    So no wonder that hours went by like a heart beat. Then I played guitar/sang. Lastly, I got
    to the gig where The Swamp Kings were playing.

    It was the trio (which I love for multiple reasons). They are always tight, always musical, precise
    and swinging feel. Very happy to listen. But Connor caught my eye from onstage and asked via gesture if I
    wanted to sit in. Why is it, when we're not wanting or needing, that even better things are offered?

    So I got to try out some of the newer drum motifs 1st time live and unrehearsed. I think it went OK.
    Connor sang lead (he won't believe me, nor Tom either, when I say the three of us MUST sing
    together at some point; I cannot pass from this world w/out hearing our 3 voices). Connor kept
    saying "one more" after each tune...the place was emptied by then...little green sparkle 3-piece kit...
    man I had a great time!!

    Offstage Tom and I laughed about the cares and characters of the world, Connor asked about the children and Matty's flat top was regal.

    Conclusion
    On my knees thanking God
  5. Tonight I wanted to check my technique (hands). I felt like standing up so I put the old-fashioned
    practice pad (triangular type wood-block base with roughly 4" square rubber pad) on top of a
    waist high dresser. Propped in back against the crash cymbal I placed a 3'x2' mirror. Great
    view from neck to waist so shoulders, neck muscles, arms, hands, sticks, pad in perfect view.

    I practiced w/ the metronome on one setting, fiddling around w/ as many different even fractions
    of speed possible, and watched. Firstly, it was a check-in to see my hands, especially fingers.
    I've been making myself lead w/ non-dominant hand about 65% of the time for a few weeks now.
    Slow going, but steady going. I wanted the check further because as I've regular dates with the
    Stick Control book of late, I wish to be obedient in going through these exercises: play with
    no tension whatsoever.

    One can try!

    After awhile the soloing began, using the pad as I would my kit (rimshot hag here) and getting
    pleasing sounds from the wood proper. Things got a bit out of hand and eventually involved
    book case shelf, music stand, mirror frame, anything within reach.

    Most of the soloing was doing those things in drumset practice lately -- slowish
    yet swung tom/snare "rolls" with the kick drum inserted, with double speed Bonham HHK
    triplets (Hand Hand Kick) in the phrase. I was most pleased at the result, standing up too,
    metronome still going and the drummer in time, with feel, dynamics, recovery.

    That kind of eval was not why I set things up in the first place. I'd forgotten: periodically it's
    essential to get off that drumset and check those very things - time, feel, dynamics, recovery.
    All the above I loosely group as precision - here I think is a truthful check. Excellent to eval
    via hands on knees and feet on ground. With sticks and rebound surfaces also fine. It's too easy
    to lose oneself behind the kit - the distraction of its many sounds, volume, overtones of drums,
    cymbals and those bewitching rim shots.
    + + +


    In the ongoing exploration of triplets I found something else - a seven stroke roll like this:

    L L L R R R L (then alternate) R R R L L L R --- the counting: 1 & 2 & 3 & 4 -- 1 & 2 & 3 & 4 --
    If or when speed comes count --- 1 e & ah, 2 e & -, 3 e & ah, 4 e & -

    Accent the 7th stroke. Try to bounce the triple stroke. Endeavor to work up 2 bars x 20 repeats (I will, too)
    Speed is of no concern! Play it, learn it, sink deep into the bones. There's the shortcut to speed. Swinging!!


    Conclusion
    Be grateful & ride the practicing Wave
  6. Recently I've learned some of the most important lessons ever in my musical life.


    Music Vacation
    About 7 days ago what began as an impromptu conversation and wish for me maybe laying
    down a drum track for friends' material turned into a plan for one of my songs being recorded.
    I wasn't entirely sure until mid-week beforehand that it would actually go down, but I began the
    prep early in the week anyway. Another big chunk - guitar, drums and vocals.

    This is an account mainly about a successful studio prep for drums.

    The studio I speak of is owned by Phyllis and Stefan Johnson; some time ago in the Dahlnotes
    blog I'd written about Phyllis, a former bandmate, who in the intervening years has become an
    accomplished songwriter (in addition to already having been an accomplished musician and
    vocalist). I may be writing a complete entry on my time with the Johnsons in Dahlnotes.

    Phyllis Johnson Music

    The song we'll call Dylan's Dream - as the lyric was based on a dream my son had. It is so
    new that Thorny Swale (the band I'm in) had only played it a few times. As I've been doing
    rhythm guitar on all my originals in rehearsal & live, I'd not given thought to drums.

    As it happened, my children were away for the week, so I was free for immediate prepping.
    I did not know my own song on drums, did not know what I "really" wanted - the particular
    beat nor fills nor builds.


    Slowing the Tempo for Studio Prep
    The tempo of Dylan's Dream is between metronome settings (I'm not digital folks) so I opted for the
    slower of the settings - and soon realized this was key to all of my drum prep. It coincided so
    beautifully with the bulk of my practicing this summer, as the desire to leave no stone unturned in
    broadening the understanding of how to swing, had me halving my speed on a regular basis.

    Halving (or going down a third of the speed) in my opinion has done wonders. Part of it is purely
    practical: I dislike changing metronome speeds and I have so many children and duties that it's
    calming for anything to stay at the same tempo for a prolonged period. I just...halve the speed,
    do the figures in triplets, double the speed, whatever is possible using the same setting.

    Prepping the song in the slower tempo was agonizing, but I hung in there and did my best. The
    result was that I was nailing (in understanding, then execution) the various song parts.


    How and What I Prepped
    In this order I discovered (and/or "wrote" but not via notation), in roughly two practice sessions:

    Perfect Tempo
    Main Beat
    Basic Outline (swells, builds and overall feel)
    Feel of the fills and figuring out what specifically could get me there (eg double stroke snare rolls, slowed drumset rolls using kick drum)


    The next two practice sessions I concentrated on:


    Creating the Fills
    Executing the Fills
    Transitions from Main Beat to Fills and back out to Main
    Musically Playing Song Sections
    All the Above at Agonizingly Slow Tempo (via metronome mic'd through the amp)


    As many others do, I played in the air - the song was in my head (or it wasn't because the slowed
    tempo invariably placed a Zepplin-like riff in my head I could not get rid of). I was getting anxious
    because firstly I recalled how long it can take to learn a song -- by a good drummer with their
    nuances. But I was writing this song! I needed more time, but didn't have it, as by the 4th practice
    session the road trip to Phyllis and her studio was a for sure thing.

    The Final Preparation
    The last two practice sessions:


    Recording via the 4-Track
    Listening to result then repeat recording
    Even if recording solid, do again -- being able to "do it again" is important
    Bpm up to original tempo via 4-Track
    Continue Learning/Remembering Song/Fills


    The drum prep went hand in hand with guitar, though they were separate. The bulk
    of time and focus was drums. The last session was a short one, I took it easy and
    spent most of the day relaxing or sleeping. By this time, and maybe because of
    the focused drum practicing I've been doing all summer which seems to carry
    over favorably to guitar and vox, I realized this was the most complete, focused
    prep I'd probably ever done...and somehow I knew exactly how and what to prep.
    I also realized I'd fallen short of this in the past (eg w/ Dan who I've been working
    with). But mostly I felt grateful for the knowledge of my abilities and the ability to
    create and execute a plan which worked.

    The day of the session I did not play at all, and only sung for about 20 minutes, about 2 hours prior to the recording.


    The Result
    Maybe we got lucky - it was a reunion, after all, of 2 very-like minded musicians, it
    was out in the country (blessed change) and in their good-vibed home, with their
    son and the whole family atmosphere. I played Phyllis' kit and had an issue with
    the kick pedal tension...but after the 2nd take and I wanted to try again, Stefan
    was listening and made a comment, but it was the way he was listening, that made
    me listen to him, and take it to heart. I'm not sure what decided things...I did
    find out then that each part of the kit took up a separate track, and there was a
    question of whether or not the space might be needed...yet then Phyllis listened
    and confirmed. It was not perfect, but "you're a human being!" It should not be
    THAT perfect that something's thrown out if 2 notes are a smidgen off with an
    otherwise great-feeling take.

    The more we listened to it, the more we liked it. Sadly, each fill I wanted was not
    realized - but what I did instead did work, and all the general things were included.

    But what really rammed things home for me was what Phyllis said: that out
    of all the drummers they've worked with, none had done what I had...that when I
    outlined to her the prep I was doing, she was so happy that a drummer would prepare
    via a click. And that a drummer followed through, in the transitions to fills and out again, in
    time, and especially that a drummer played the song. That a drummer would also
    practice a song, because previous drummers were convinced it wasn't necessary
    to learn material beforehand, and would instead listen a few times at the session.

    Phyllis further said that she had had to go back and re-do drums (and she is not a
    drummer) because at least she could play in the pocket (and she can - and did,
    I heard some of the recordings that night). "These are excellent drummers I'm
    talking about - excellent! Great live...but the studio?"

    There was nothing flowery about her praise, it was matter of fact and one peer
    to another. I knew I'd done right in prep, but couldn't have imagined how
    grateful the engineer/fellow musicians would be, the excitement with which
    they would now approach the work, and the trust they now placed in me.

    Conclusion
    Metronome me & Slow me...
  7. Hey All,


    I've graciously been given a vehicle -- this! -- more precise for those vain musical reflections I like to write,
    specifically "drumming conclusions" (as the Giver, John Moxey, has called them).

    Songstuff has been a huge help to me. It's not everywhere where one is welcomed, accepted, helped,
    encouraged to become and develop. From that, I was enabled to develop an introspection.
    Blogging or writing ongoing posts have been a map & guide: to confer with myself so to speak, with you all,
    along this road of music - aye, not luxury but necessity to this musician. And now it seems at this point in the
    study, things learned can be passed along to others.

    I will try to stay on task! Meaning, to focus on percussion.

    This first entry is a long piece, and I don't expect that will be the norm.



    Gig Conclusions
    Latest gig a number of breakthroughs for me. Since I also play guitar/sing a few originals in the cover band I'm
    singing-drummer with, there are multiple layers of attn, triumph, or bum out! It happened that there were
    triumphs in every area.

    The breakthroughs (drumming) came spontaneously. They are significant for me.
    I drummed an entire song w/ left hand (not my dominant hand!). Song's intro & groove so nice, I spied
    my little shaker like a toddler grabbing that candy. Of course by the 8th bar I realized there was no way out
    (actually there was...I could at least throw the shaker down). I didn't want a way out. But I'd never done it before.

    There is video/audio of this moment (not publishable) and I was delighted by solid time, tasty fills, and that
    my left hand had a cool mind of its own.

    The second breakthrough -- due to crowd soaking up the sound and me unmiced, at some point I ditched
    most of the kick drum stuffing, also some of the drum gel mufflers. Ooh it sounded so nice and FAT - of course
    the heads were then way easier to play. So in the midst of a tune I yelled out (in time) "let me solo".

    I am not a soloist, I have never been so publicly per se -- my friends may have different memories in my
    younger drumming years, but for a long time I'd zero interest in it and the main memories are the few times
    I'd been compelled to "have" to solo. But this last gig I wanted to solo and did so.

    I enjoyed it so much that I am working on a solo. But giving myself lots of room, minimal pressure to get it done.
    And I am approaching it as a song, in phrases, and notes or melodic sounds from the drums themselves. When
    I was little, my 1st attempts at songwriting were on the drums. I tuned my toms to a chord (I think) - not knowing
    what a chord was. It made sense to me, and I'd forgotten how much I enjoyed those melodic notes and making
    musical motifs. I was about 9 years old at the time.


    Teaching & Practicing Conclusions

    I began teaching drums this year. It's beautiful. Simultaneously I've been teaching myself drums, which certainly
    hasn't been a norm for me in recent years due to the singer/songwriting thing, time constraints of having a family
    but also because I'd been able to glide along w/ a respectable drumming vocabulary.

    I turned to drums again this year because the repetition of "drills" calmed my mind and heart and gave me exercise.
    My beloved mainstay, triplets with two hands ending in kick drum is incredibly calming and invigorating at the same time.
    Well, my eldest began commenting ("Mom! Aren't you tired? You've been playing for over an hour straight!" He wasn't
    complaining, btw). These sessions became increasingly regular - re: which this same child pointed out to me that I do nothing
    but solo.

    Heh. Two results became clear: A) The lightbulb went on that I love drumming and want to keep exploring. It took quite awhile
    for this to manifest because the singer/songwriting thing (and recording/engineering/physical music notation plus now connecting
    w/ producer/studio/real life musicians and so on) was all encompassing. I was improving.

    Becoming aware of how I practice and figuring out ways to learn whatever skill I want has enabled me to better achieve personal
    drumming results and also to teach my students (while the main framework has been decades in the making). I take a rounded
    approach w/ the students - for example, early on I began talking to one while he played, giving direction ("line 6!") at the end of
    the phrase, or in playing with him (clapping, shaker, cowbell). So that we don't stay only focused on our little selves.

    On the other hand (there are always two), self-awareness is exactly what I want to teach.

    The 10 yr old student, last lesson he went through the short exercises in a row. But when it came to the long "piece" at page's
    end, I directed him thus: I want you to reflect here and look through this music to figure out which tempo you can maintain at the
    same speed, all the way through -- can you hear what's written by just looking at it? OK, now when you get to this phrase that trips
    you up, consider that: you set the tempo in a thoughtful way, judge your own abilities.

    The youngster brought tears to my eyes. He did it. And wow, what a difference. It was day 3 of quite a heat wave, it was the end of
    the day, it's the very boring part of summer vacation, and this child's home has been through many days of upheaval because of a
    flood. He pulled off a centered and authoritative piece. He was recollected and there was a grace. I couldn't praise him enough and
    ended the lesson by letting him choose whatever he wanted to do.

    The other student (his father), same thing! We work on drumset, not easy to begin w/ all those limbs (even though he did have
    some knowledge of the kit prior to instruction and could play certain beats). It's easier to be alive to this in teaching whether hands/
    rudiments or drumkit because I am facing the same challenges, just at a different level.

    One thing lacking in my own formal instruction IF I'm recalling correctly: is that I was not taught to practice around something,
    or to break it down in specifically being aware of what exactly the problem was. Because in my experience, it is usually something
    small or minute. (I'm talking once past the completely beginning stage). There's no sense in focusing on whole phrases when the
    real obstacle is three 16th notes in the center of that phrase. The goal then becomes familiarity w/ those three notes, to play them in
    loop, then to work on transitioning both into, and out of, those three notes. Doing this can seem overly involved, a tangent, especially
    with drums, because limbs will need to be dropped out, practiced separately, and so on.

    Teaching myself has convinced me that practicing around something (as I refer to it) is effective. The drumkit student is responding
    very well to this instruction, and went away last lesson sounding almost bedrocked in something that 1/2 hour before had him
    paralyzed. That's what it is, when we really struggle or are obstical-ized, it's a paralysis. The mind cannot think beyond, it
    cannot hear, the limbs stutter or are frozen.

    And that's a sad, unnecessary way to leave things, my friends.

    To see this student calmed and happy where before a confusion had reigned, I'm left feeling grateful to have witnessed this, to
    have a hand in helping it come about.


    Final Conclusion
    Trust thyself.
  8. Thorny Swale played our first gig in 2 months, tonight. I began the last set by telling the crowd we were going to
    do 2 original songs, dedicating one to Dylan who was in attendance, and whose cool dream I based the lyric upon.
    The crowd was listening to what I said, and immediately began dancing once we started. The songs went by pretty
    fast, but I noticed in addition to the dancers, bar patrons paying attention. I have never had that experience before
    with originals - and maybe not with covers, either.

    I felt pretty detached - was paying attention to business: playing guitar, lead singing and cueing the band.
    Any wonder I felt was in my head, but my heart just loved the songs, esp Dylan's. I love playing that acoustic
    out front and singing what is mine. I love it that even when asked, I didn't tell the guys at all what to play when
    first introducing the songs to them. Said, "I could, but what for? You'll know what to do..." I love their parts and
    what they're making the songs become. I love it that Scott can play drums and it's full sound.

    +

    We want Jeff F to stay with us. He's come the past 2 gigs, videoing in addition to tenor and singing.

    +

    Kayla, Dylan and their friend Sarah came out. That was so cool!! Kayla shot dozens of pictures, there were
    many very good shots. We had our best gig ever. We needed a night like tonight, it seems like due paying
    has been extreme.

    +

    I actually asked for a drum solo tonight, during a song, and the guys could not make out what I was saying,
    so I said it through the mic: Let Me Solo. I have never soloed with the band now, or the former version, never
    asked to, never wanted to. I'm going to have a drum solo from now on.

    +

    This was the 2nd gig playing acoustic on originals, full band. Hooked...HOOKED HOOKED HOOKED

    +
  9. Wow! That was weird.

    Just...healing & being, really. Making stitches one at a time, whether sewing or knitting.
    No machines. Praying. Using a lot of vegetation from the gardens, whether herbs for tea
    or cooking, lettuces, cut flowers. The fruit is doing great.

    I felt I was pushing a river or two and decided to stop. 15 minutes later I get a call that
    everyone's set to rehearse and a 6th guy to sit in. Good vibe there, we'll see. Suddenly
    we have a gig as well, and all this stuff is happening, but I don't feel like I am! Maybe in
    fact, though, I am.

    Gen made her 1st Communion. Huge. Beautiful day, Mother's Day it was. Getting good at
    flower arranging.

    Growing on.

    Wanto post pictures w/ this entry, but I don't see the browse here...and the insert image
    isn't working for the Facebook urls. The gallery also wouldn't let me upload - 3 x's, I'm IN.
    No river pushing!!

  10. Teaching!

    By Donna ,

    I'm teaching two drum students (!!!).

    I love teaching! We've had our 2nd lesson, it's a father and son,
    drumset and hands respectively (for now).

    They know note values, have natural affinity for and will become good drummers!
    Get right in there and place my hands esp. on the boy's so he
    can feel that good wrist action. We're beginning traditional grip for
    both students plus reading while counting out loud.

    Am beginning to look into if there are others in my area wanting to learn.

    I've a lot of ideas and young T. is doing so well and has gone ahead by himself,
    I gave him the paradiddle for next time. It's exciting, he's trying to put the
    bass drum (R foot) in whilst he works on one sticking piece at home, and the
    little cat spent the whole of his fathers' lesson in another room, practicing.

    I think I'm twice as happy because I'm teaching both set and hands.

    Doooood.... ♫
  11. Just filled with gratitude for Dr. John Kaess' presence as choir director.
    He's such a wealth and depth for All Things Liturgical. And he's got the
    real fire, too.

    There is no one like him. I can't stop being amazed with him and amazed
    to be in HIS Latin Mass choir. I just love him!



    Yeah, we rehearsed tonight There is a tenor (I believe) head of some
    Schola (Gregorian Chant), which one I do not know - maybe attached to
    St. Augustine...but he is wonderfully accomplished and I almost wish that
    significant parts of the Holy Triduum were just the men chanting - because
    there is nothing like sung male chant. (strategically placed this eve, certain
    outstanding vocalists diagonal and down (I was on steps) - tenors, sopranos,
    doooood!!! Dr. K sang (way too little) bass this eve, great speaking voice,
    great singer.

    Drink in as much at possible at rehearsals and it's sinking in what certain notes
    sound like (in my head) so the likelihood of
    nailing them from the start getting high indeed. Singing alto is SUCH a blessing!
    The main obstacle presently besides seasonal allergies is forgetting that I need
    glasses when I read, cause it's so new...and I tend to forget to bring them.
    When other sections run through their parts I try to always read and sing
    softly...I'd hum, but this is the Latin language so every chance to mouth those
    syllables and vowels is important. I like sectionals -additional opportunities to read.

    I was also grateful this
    eve for having had exposure to loud music - because the group was large, the
    organ loud and ff at the end of the Gloria -- the Easter Gloria
    at that! -- well, I obey. Not everyone is used to the Cathedral Sound (as Dr. K
    called it).

    Before rehearsal I'd had mom-time waiting while a child was at an appt, so I
    played the axe and sang in the parking lot. It really helps...I remember Cos
    (Mike Costello pianist) in high school, who had a very full schedule of advanced
    courses + the oldest of 6 children and a job, "I practice every minute I get. If I
    have 15 minutes, I practice." Carpe diem, this is my road.

    I just love Dr. Kaess musically - I just love him and the opportunity to be under
    his direction and to hear him play and to try to keep up with what at times is that
    frantic-ness of him. His head never stops (I can tell); wealth and depth and fire.

    Zooooooooooooooom!
  12. Edit March 23 - Kayla's companion video to her book Mommy's Music

    + + +



    Whoa!

    whoa whoa whoa

    Things are moving quite fast. I am happy! So MANY new experiences that seem to fit like a glove.


    --- Another Kayla photography assignment, a bound book (of me). I thought it was
    just going to her teacher! It's a 68 page pictorial w/ about a 5 page bio. Kayla is
    also moving soon, we will miss her terribly! This 3rd year for her has been incredibly
    demanding, she constantly shoots and edits. Look her up on Facebook - Kayla Peterson
    Photography. Book Preview Link

    The basic sections are: little me (toddler to about age 15 - including a shot of a friend jumping off my folks'
    garage); young playing me (couple 8 x 10's age 19-23?); the producing section; Thorny Swale rehearsal;
    Thorny Swale gig; The Latin Mass Choir (in which I was squinting and looking terribly serious...because I
    needed reading glasses, but it took awhile to figure that out; and The Children.


    --- Thorny Swale (the band I'm in) rehearsed our first original (one of mine) and played it live 1st time
    I haven't heard the tapes, but it felt SO GOOD doing it. We are on FB, and as we record or whatever, the
    page'll show all that.

    ---- That's the other thing, I've written 4 songs in less than 3 months and I deem them to be some of the
    best yet (heh - I think). Tonight I began another...

    ---- Only on paper so far, but it looks like I have my first drum students, plural! Cannot express what it means,
    the thought of teaching is...just a total honor and so humbling to be asked.

    ---- OK - I had my 1st experience as a producer - Kayla was w/ me (that month that she followed me around
    like a stalker for her book) so there are 2 pages of photo's of that session in her book.

    ---- I'm hoping to submit one of the new tunes to a MN project called Operation Jamm Fest - they're trying to
    put together a CD compilation of local artists doing songs "which support our troops". It was very...unusual
    to be able to contact them and say, "I actually have something that fits your parameters." A few of my tunes
    have war or soldier reference here and there, but the new one is filled with this.

    ----I'm prepping to record w/ Dan and Scott. Boy...I think a lot has happened, it's hard for me to know cause
    I'm always around myself - but I'm playing standing up now, got the peg attached to the guitar (when the venerable
    repairman got out the drill to install peg for guitar-strap, I said, "this is like watching the baby's circumcision!" And
    I had to leave the room! Didn't leave during my baby's circumcision, btw, but I did for the axe!). I'm able to get thru
    singing/playing songs in my catalogue that were simply unthinkable before. Like the one about my 8th baby.... it
    is complicated w/ various sections. Well, I got a scratch on the 4-track today. I keep finding things...finding little
    ways to put in picking notes. One of the new songs has a whole section of just picking - unheard before, for me.

    The metronome and I have regular dates, aye we keep a lot of company. And tho I'm not always doing the grueling
    hard work of endless practice for recording prep, I find 6 out of 8 times during practice thinking "I'm getting better,
    this (song) is getting better."

    Drums too, little metronome. And it's really hard to stp once I start. Dylan was so cute, the other week he comes into
    the living room: "Mom?! Are you OK?" I shut metronome off. "Yeah, fine -- whatsa matter?" He said, "Mom, you've been
    playing straight for like 90 minutes! I was kind of afraid..." I just started laughing, because I felt so good and calm and
    clear and clean.

    Another time, he comes up: "Aren't you exhausted?!" I look at him. "No!" His eyes get big and he says, "Mom, you've been
    playing non-stop well over an hour...you're not tired?" I look at him. "No! Hmm...wow! No, I'm not tired, not at all!"


    ---- The 4-track is back up! I am WAY over the moon again to be recording regularly. Can you believe it? I's
    thinking about this, it was 2007 since I was recording, but because Dylan was on so ill, then on his death bed
    for all we knew, and recovering for a year, I think it's been almost 3 solid YEARS since I was really recording
    w/ any kind of modicom of sanity and peace. It's like no time has been lost - I seem to know more now than
    before!

    I recorded the band - which in my previous life, never thought I'd the gumption to set it up. Just went for it,
    thinking of Prometheus and his mayonnaise substitute for squeaky foot pedal when the bloke had no oil...
    It was nice for my bandmates, I think, to hear an actual mix -- which I got, my 1st as engineer for others
    (so to speak even tho I was one of the others).

    It's just so delightful and huge for me, to have attempted it - and esp. to get a mix where the instruments are
    separated and there's some kind of clarity - esp. w/ stuff like 3 vocals + drums all sharing one track! We got
    lucky with THAT!

    ---- I'm very excited about the band potential...really of all the players as individual musicians. Oh, btw, our
    drummer (he did 60%, I 40%, it freed me up to front some), Mike had to quit, so we're 5 piece and I'm singing
    drummer. Anyway: we have 3 lead vocalists - HOW it could get any better, well it couldn't. Everyone plays very
    well. But the writing...I'm now undistracted enough to really hone in, and I want Buce (keys) and Mark (guitar), I
    want all their snippets, motif's and songs. I told Mark that I am particularly keen on the uncovering of HIM, because
    the real him as doing originals is untapped, and I think there's a LOT there.

    3 of the 4 bandmates, they were the first pro band I was in (age 17). So...they got my back! I just LOVE them!
    And Scott, our other bandmate, dude, I'm finding out this guys drums, but above all, as we play out, how com-
    pletely tasteful his playing is. And he likes the funk (or equivalent).

    ----We had a very good experience, this last gig. Place had a good vibe and the audience was SO with us. OK but
    beyond that, 1st set I played almost totally w/ brushes - the BRUSH part, too, not the rubber. That's how quiet we
    began, and maintained reasonable level. I could hear everyone and everything. And concluded the word to use for
    this experience is "beautiful". A beautiful experience.

    I think there's more but really sick of myself now.

  13. 185 (3 Pics)

    By Donna ,

    Sometimes good news sinks in more than once and over time.

    Last week my rosy cheeked, good humored 18yr old boy asked, "Hey Ma, guess how much I weigh?"

    When I found out the answer >BAM< I really took it in....


    The following pictures of this beloved firstborn, Dylan, were taken on 7/7/07. He was intubated,
    on paralytic drugs, fighting for his life in the ICU at Children's Hospital, St. Paul. Dylan "lost" 8
    days of his young life during this time, at age 17.

    The third and last picture shows Dylan on his way toward 185 - the weight that he is presently.
    Those 30-40 pounds were hard earned!

    Yes - this is the boy you all prayed for and well wished and sent cards and letters to.

    miraclemiraclemiraclemiraclemiraclemiracleiloveyousonthankyouGodmiracle185





    L to R: FF1 (who helped me care for Dylan between United/Children's hospitalizations, "185", Kayla

  14. Phyllis / Light

    By Donna ,

    Light


    I received some. Tonight while practicing, I suddenly began playing as if doing a set. I knew the order,
    the venue, and it was a webcast esp. hooked via FB where it was as if I was seeing Arlo Hennings,
    (possibly Shawn Phillips), Mon Capitaine and Steve, Michael Mlazger, Jill and Phyllis
    Johnson + other friends watching via their PC's! It was no daydream, that's all I can say, and it of
    course was not really happening. Yet I've not had such an experience before, very odd.

    This came at the end of practicing. Practice, practice, practice. It's working, I'm getting better.
    I'm writing (2 songs) and just as importantly, discovering old ones. There was no filler in that set.
    Laundry, working out, Mom-chores-after-the-children's-bedtime wha who? I was gone, man. Many
    experiences over the years of getting lost in the work...maybe that's our meditation. Which makes
    me an expert of personal experiences like that - tonight was unique.

    Thank you, Lord God!

    Because now I can begin believing in the solo thing. All at once, I knew it is VERY possible. Once is good
    enough for me now, to know even once! That I can go from being experienced on one axe, not only to
    2nd axe, but to a solo artist because believe-you-me, since the Storm video, I had been seriously
    reflecting upon and acknowledging that of all many musical challenges contemplated or realized, this
    solo-artist scenario is singular. I can't really imagine a more difficult "hat", except scoring orchestral music,
    and finally, conducting.

    Reflecting enabled me to process the bizarre and hyper-detached /necessity the Mother of Invention path which
    brought me to having this first music vid: I'd become a solo artist by DEFAULT!! (Via having been in baby exile
    for years, with no one to help me musically). Now...it's not about default, it's about choice. What is mine?
    ______________________________________

    Phyllis

    She found me via FB. Keyboardist/lead singer in the outfit I was put in charge of running rehearsals for,
    in the 80's (band's name was initially The True - then became The Untrue). Curiously that band was 4/5's women.
    Phyllis I don't think recalls me being "(one of the) drummer(s)" - for Holly Chumas was the main drummer. I'd played
    various stuff, not well, but the others proficient thus they covered me). Holly played wicked bass, too, and Larry
    Preston played that funk and screaming guitar. Yolanda percussion. Most of us sang lead. V. good band.

    So she gives me her myspace and the sucka has almost 70 THOUSAND views! Heh. Her demo's have thousands of plays.
    It's so cool, I'm very proud of her. In the "About" section the band when she was 19, that's The Untrue. Anyway Phyllis
    since been playing guitar, too and writing a gazillion songs. She was NOT vocal about being into Bowie and all that cool
    stuff at age 19, but jazz, fusion, gospel, choral, headier stuff w/ a very smooth jazz-ish, powerhouse voice - scales,
    nuance. A vocal injury cut her career while in her 20's (but like I wrote her, who would KNOW? Only those who'd heard
    her before the injury).

    Her husband is Stephen Johnson, also a composer (and works at Willie's American Guitars which brings its
    own respect and fame). Phyllis Johnson Myspace
    2nd link also choice, imo: 7 yr old Winston Johnson (w/ mom Phyllis and dad Stephen) - Little Drummer Boy
    _________________________________________________________________________________________________

    Yes, the studio will be returned to....hence Practice x's 3.
  15. ...You Hoo, Mischkeeeee! Brotha coulda toad sumbahday the finished ad wiff my vokes innit.


    All Inc Ad - TD Mischke & Donna Dahl Vocals

    +++

    7 + hours in the studio. Two songs - rhythm guitar, drums, lead vox on each. Yes, I am tired to the
    point of having NO GOALS presently.

    We recorded again at The Monitors (aka Passive-Argh!ressive Studios) on St. Paul's Eastside.
    Was playing rhythm scratch tracks before 10:00am, drums already set up! I know I'll have a lot more to
    say (or at least to think) about this session after some down time.

    Scott Monitor I think is my new hero...that cat spent the entire time engineering save two short breaks.
    He was completely amiable! And Dan Coffeen is right there, too. Particularly with before-the-session
    direction and keeping in touch about progress and recording plan. Now I'm getting to the point of
    relying on Dan's opinion, esp. of whatever take was done.

    Scott and Dan are really good together,
    I can't even say why. The patience, support, strength, humor,
    truthfulness, of each and together...and they don't BUG you at all. Excellent listeners...wow.

    Tom Harkness spent half the day with us, doing lead guitar and b/u vox for "The Barre Chord Song".
    This is the tune that, in the studio early this month, I'd wanted heavy metal-ish/funk beat with toms.
    And ended up playing woodblock!

    We were all on the same page, working from the same scratch tape before the session. Hark came by
    twice to play guitars. His schedule this week was crazy! and showed up to the session having played
    Wed eve, hosted Thanksgiving whoopla, played night before studio, studio, and imm. to get ready for a
    gig after the session. His guitar work is beautiful and grooving. His playing reminds me of slide guitar but
    w/out the slide. His playing reminded me a LOT of Michael Allsup on this song. Which is the hugest
    compliment, studier-of-TDN as I am.

    I think we have: respectable...and hopefully more.

    The bassist, Jack Diehl will plug in at some point. And (!!) Dan will play lead on the 2nd song.

    A very different session from last one, where it was Discovery time, trying to take that all in as a
    brand new experience bringing my stuff to other musicians. Dan had (nicely) ordered me to sit wiff
    that guitar and metronome for many days in prep....I wanted another 10, but y'all know me by now.
    The last week I had to divvy things up and practice drums - a lot. The Barre Chord Song is the hardest
    song I've ever played as a drummer - because of its tempo. Ditto guitar. I wanna shoot so fast and
    furious with it, but that wrecks the lead lines, it cannot be sung that fast.

    Different this time, everyone was set to focus, dig in and work! I don't know if the piece is ambitious, but it
    is very stylistic of me, so I come away w/ a new and yet deepened appreciation of being in the other
    musicians' shoes. I love the studio! I love working w/ others, that dance is something else.

    Hope to have one song done by Christmas - we'll see.

    Today, as never before, I felt the obligation of being so directly involved and head of, a project. The last
    2 days of practice, I did every guitar or drum run-through as if it were a take - and I recorded, then
    listened to each.

    If I ran an errand, bam, when I got in the door I did a take. Regularly, with purposeful time in between,
    I did a take. Doing that w/ 2 instruments for 2 songs @ 2 days...the children were gone much, so I ran
    with that opportunity of time/space to focus.

    As a writer...well, that's really from which the "head" or obligation of these songs stem. The 3 instruments
    of voice, guitar, drums I wrote or composed all those parts. So in charge of them! And the musical confrere's
    asking "what do you think of this" or "is this what you envision?" What could be known beforehand, I quickly
    realized I was obligated to find out. To prepare, that the others would be more secure, more free was the
    biggest obligation.


    Dan suggested we try for 2 songs this time, I think that was the right way.

    For now, I've TONS of work to do. It is just what I need, practicing, rehearsals, High Mass, sitting in, etc;
    and each endeavor or group is definitely on a schedule. I've never done this much music, regularly, at this
    level. Boot camp.

    This morn in prep, I did a pseudo yoga thing for 8 minutes...mind too full w/ "take" practice.

    The writing/4-tracking I've done alone has directly prepared me for this. Without it, I would not have been
    able to do this, no way, not to sustain some kind of focus for 3 instruments. And the rhythm guitar tracks
    may only be a scratch. But I count it as victory high to walk in there and do what was done today.
  16. The video shoot: On Tues Oct. 20th or 27th, I called Jeff F. "Dude, maybe we should shoot - NOW!" It'd been a miserable
    Oct. in the Twin Cities and Jeff kept saying we just need one good day for the fall shoot which never really came.

    Jeff said, "get over here asap - we only have about an hour of light! Grab clothes, jackets, scarves, whatever you have!"
    I felt my heart kinda sink - so little time and ya can't go shoot a video without some primping + drive time.

    I'd told him of Dan's strings/piano audio addition - "we hafta use Dan's new mix, JF, it'll help me get into the melancholy of the
    song." So we had to upload that first at Jeff's -- more time gone!
    When I got to his place he said, "can't shoot at S. Kates, no time -- water tower!" St. Kates is a picturesque campus less
    than a mile from Jeff's, but he was right, we had to dash.

    We drove about 3 blocks to the W. Tower lot, grabbed the bags, clothing, axe. The hill was in 2 tiers and almost straight
    up. "Man, I ain't climbed this since skipping school in jr high," I said. My boots were slippery, but all that good training as
    a youngster on those Mississippi river slopes had me knowing what to do (wiffout getting the girlie clothes a-grass stained).

    Puff puff puff, top of the hill, COLD and windy. JF'd brought his Irish sweaters for me against the cold and we looked around,
    quickly deciding to use these cement things come out of the ground, where I could sit. JF got his little camera and the audio
    source hooked up while I tuned.

    We really just used what was available, figuring out "can't sit that direction, wind blowing hair in your face."

    The hardest part was the audio source. The speakers and mp3 player were so tiny they fit in the hood of jacket #3 (we did
    a take w/ me walking, and could only do that w/ the speakers in my hood). But the volume was like minus 100. The light
    was really failing...the fricking moon already up! I really had no clue how I was going to pull off actually playing guitar
    and singing to the mix, when I could barely hear it.

    Just did the best I could...Jeff directed me, and I felt righteous safe and comfortable with him.

    After 4 takes it was too dark to shoot. We made our way back down the hill (I was fully bent to the ground almost sitting - that way if
    ya fall it's only a tiny way down). Went back to his crazy rock-n-roll storehouse. The cat worked and worked and worked w/ the footage
    while I happily bounced on a huge yoga ball, eating egg rolls and a yogurt parfait. I was so happy.


    It turned out that the main "face" or self of me done in the video was our first take.


    (This is the final version (I think) strumming is more in synch now)
    ___________________________________________________________________________________

  17. 1St Music Video Is Up

    By Donna ,

    An updated audio version of 'Out To Storm' - Dan Coffeen did lovely strings/piano. I don't think
    we were done w/ the mix - or the footage!

    We did 8 takes that day in October and I kind of expect Jeff F to put them ALL up. I didn't even know
    he'd done it, Harkness told me! I'd thought The S. King was referring to the Jackson
    5 youtube I'd put up on my FB page ("Maybe Tomorrow"). Amusing conversation.



    Second Version


    Will add if there's more he puts up, at least to document it. Though, JF may take them down again.

    Very happy about this all! As I viewed each take critically, kept coming back to
    "this is a good song". If it wasn't, the video wouldn't be either.

  18. Jingling With Mischke

    By Donna ,

    ~ My first paid studio work tonight ~


    Last week I called Mischke, so fired up about choir rehearsal I'd planned to leave a msg singing Latin hymns.
    However: he actually answered the phone! I said dang Tommy, now I cannot sing the Credo on your machine.

    He said, I just did this ad for "All Inc" and I'm thinking "female vocals." He gave me a link for the unfinished
    Youtube, I hit play/record on my little tape deck and recorded the ad via pc speakers ("children quiet, I'm re-
    cording!") - and basically made up my part while listening to the cassette doing "mom" chores.

    I must say I thought of The Swamp Kings, because a couple of their tunes are about food or cooking and "All Inc" is this
    really cool kitchen appliance place - they sell the whole kitchen actually. Mischke'd said to do whatever I thought, so
    I did, including adding a few lyric lines.

    Tommy showed up at the house to caravan over to Graham O'Brien's place. Graham (Mischke's stepson) was the engineer
    and is a fantastic drummer. All 7 dwarves were home, and several of them took turns bouncing on the Jeff F yoga ball in between vying
    for Mischke's attention. At one point Genevieve (who turns 8 tomorrow) was standing in between her eldest brother Dylan and
    Mischke, holding onto each man's shirt. I didn't know if she wanted to swing on a ride in between them or was just set
    on not letting either of them go.

    As we left the house, Tommy said he may run out of gas at any second and that he didn't know the way to Graham's from my
    house. I assured him I'd keep an eye out behind me, and "just honk if you run out of gas!" It was a lot of turns til he knew
    where he was, but before that I turned into a gas station. Tommy pulled alongside and asked, "what? Are you lost?" I said,
    "I'm stopping so you can get gas." Tommy simply replied, "Oh, I'm not getting gas til after Graham's."

    Mischke = fun.

    We got to Graham's studio, met the dog and cat and began almost immediately. There was a window of one hour G. had to
    give us that eve, acc. to Tommy. The ad is a cool little hip-hoplike number. We ended up doing 3 takes of what I'd worked
    out, 1 of me attempting harmonies w/ myself here and there and 1 or 2 of percussive (vocal) sounds. I asked Graham if I
    could play his drums (a TINY and very cute Donna Dahl-like doll house kit which sounded excellent!)

    Graham was very nice, very good to work with, mellow and encouraging.

    When we left, I pointed out the full moon, Tommy said he was re-doing some images and hopefully'd send me a link in 2 weeks.
    "Should I follow you to the gas station?" I asked. Oh no, only to Smith Avenue, for it was 3 blocks to the gas station from there,
    and all downhill so he'd make it for sure.

    We nailed the session in 35 minutes.

    The All Inc ad (thus far)

    No Bird Sing (Graham O'Brien drums)

    Woo - sha la la - HOO

  19. Electric Encouragment

    By Donna ,

    People: Tom and Nancy Harkness & myself ~ Place: Cherokee Tavern, West St. Paul ~ Band: Steve Daly,
    Jason Kraft, Paco, the killer bassist whose instrument is really tenor sax.


    Tom asked me if I play electric guitar.

    I said no.

    He asked why.

    "All I have is an acoustic."

    Have I ever played an electric, though?

    Yes; I had one long ago, but I don't think it was a good instrument.



    He told me I should try; he told me I was precise on the acoustic, and quite
    a bit more lauding my guitar playing...(which I cannot yet wrap my mind around).
    Tom said why don't you try electric, you should try, have you thought of...(and then
    I don't recall what was said because moments earlier he had just blown me away
    sitting in w/ the band, and now telling me I was good on guitar).

    He said he had an electric to loan me, why don't I try. I said I gratefully accept. Later
    on Nancy said, in a few days we should go to Plums songwriting showcase, do you want to?
    I said yeah and we all agreed Jeff F can skateboard there, it's really close to his house.
    At night's end, N. brought up Plums again - I said I have to practice for a couple weeks
    first, maybe a month. Tom burst out, "You don't have to practice!"

    So we're going in a few days; they sign writers up online I think, ahead of time. I'm cool
    either way for playing or not.

    I asked would it be weird if I got that guitar tonight? So I went to their house, met their
    cats, took a tour of the place, and came home w/ one of The Swamp King's guitars.

    You can't make this stuff up.
  20. Well now, there've been 2 double-header weekends in my sphere of late, all the best worlds,
    can't think of any better: a party w/ bands, jam, friends; a family party w/ about 40 relatives
    on the river; a studio session; and High Mass!


    Lola's B-Day Bash ~ St. Paul side of the River ~ Oct 11, 2009


    My beautiful cousin Patrice Glendenning, and myself



    Ginger Glendenning, my beautiful cousin, and I. In the backround is Ginger's nephew Brian
    Glendenning holding niece Anna. Competition for which Auntie, Uncle or Cousin would next hold that great baby.



    Ooh, this is good, the venerable olde guarde: Front: Cousin Peggy, Mom, Auntie Lola. Back: Cousin Mert, Cousin Ted.
    ~ Mert and Peggy found love together late in life - they are 1st cousins of Mom & Lola recently married to each other, but
    from totally opposite sides of the family and unrelated. I have cousins that are both seniors and babies



    ~ Me and Mom ~



    Anna Glendenning (4th generation) being held by her 1st cousin twice removed; on the Mississippi River (St. Paul side).


    + + +

    This weekend Dan Coffeen and Scott Monitor had me over to their studio again. I'd asked Tom
    Harkness of The Swamp Kings to play on this song, and esp. interested that he sing. Jack Diehl
    (bass) also came - and I think it's very good to be in a group with the names Jack and Tom. They
    go very well together, those names.

    (we shall "all" be returning to the studio to hopefully realize my little song) At this point, that
    doesn't matter so much to me as what happened and the bigger view of life/art/writing/
    friends/musicians which came to me via that session.

    Hard to explain - the sound (scratch recording) turned out totally different from what I'd conceived, it was
    almost an opposite. At first this confused me...I took a break and suddenly realized that in this inception
    w/ these players at that moment, a simplicity was required...and I'd a long road back! Traveled it some
    that day...listened to the scratch later and became enthralled. Now I can't quit, I like it more and more.
    I think mainly due to Tom's guitar lines - of which I'd been ignorant that a guitar could effect so much
    the song-ness of a song, the melodicity.

    So there's something beautiful which got tapped...and I never wanted to sing a beautiful line in falsetto
    but that's what this is - and may be for the real tracks. How can it be, that I's set on a very heavy slow
    funk w/ toms...and end up playing woodblock? I walked away from the session going what the heck
    HAPPENED in there yet I felt so good and excited, like part of an unknown treasure was discovered.
    I literally saw the gold glinting, the cave where it lay, I think there's more in there once past the entrance.

    Being w/ Dan and Tom who've known me from long ago and esp. that neighborhood connection (w/Tom)
    made things very comfortable for me. I'd not done this before.

    Dan still has a horror of stepping on my individuality. We are getting together to probably re-write some
    of it, or strengthen transitions (4 song sections at this point). Which will mean editing.

    It's The Bar Chord Song we're fiddling with.

    + + +

    Then this morn was High Mass...how can it be, over and over again, as years go by - YEARS - and
    situations of life mundane, gorgeous or horrific...that I can stumble into that choir loft and be
    struck that a pauper off the street somehow landed at Beauty Itself? Everyone else in the choir
    tends to business and I do, too...but sometimes I don't know how I can sing.

    The melodies of the Latin Propers...sigh/swoon.

    There's hallowed things going on I thought at my very first Latin Mass - stunned at the existence of such
    a thing, much less having the good fortune to behold it. It's overwhelming at times, this sense of a love for and
    knowing of my person that is not of this world. Yet so familiar. My whole musical life and children, family, friends,
    all the great characters of my little world I think of, especially in that choir loft. Nothing is separate. That's
    why I hate the "religious" category of music. I don't believe in that. (besides, if it's a hit, it's a hit).

    Anyway, a great, slow warm up singing for 70 minutes or whatever it was. And the smile on Dr. K's face!
  21. Dr. K I have missed! He wore both suspenders (and socks) this eve, sitting close
    by us playing only the piano.

    The 6 youngest dwarves and I went to choir rehearsal...Anna the eldest will be
    a shoo-in as far as interest and ability but we shall see how this plays out.
    We came home w/ two copies of The Mass of the Guardian Angels.

    There was present only one other female adult singer; and since this was the first intro
    to my girls, I sang soprano that they'd be sure to hear the melodies. When I get to D
    above middle C, my (maturing) voice -in this setting- holds such body....I was shocked
    to hear myself filling that whole church. little me!! Even standing on the main loft floor, not
    the "risers" (which is where the alto's go, but also short people else their mouth is level
    and the organ blocks the sound. At least I always thought it did. I would've bet my life
    it did! But it doesn't matter. Wow!)

    This reminds me of an anecdote about Bl. Pio Nono, the 19th century Pope. As he was
    giving the Papal Blessing to a group, a woman was struggling to get the roasry out of
    her pocket amidst her children. Pio Nono waved his hand and said, "never mind, Mother,
    the blessing goes into the pocket, too."

    That's what the voice did!

    The lack of choral singing these past months has taken its toll on the higher register.
    Something's happened where I seem to have choral and pop chops separate. I do not like
    this. I think it's lack of having been in choir. Which I aim to amend, if possible.
  22. ~ Donna Dahl Links ~

    listen originals






    An unusual and lovely birthday!

    Highlights of the fam ~

    Damien gave me many toys of his; Gen, a soft nightgown; Mary will be treating me
    to a slurpee or ice cream cone; Melanie made 2 cards (one while in a cast from broken
    finger) and earlier this week gave chocolates and a tiny candle; Leah gave also multiple
    gifts, the 2nd of which are vintage earrings; Anna astounded me in making a necklace -
    it is 7 squares of plastic decoratively hung - each square contains the name of my child, in
    Japanese, and the squares are beautifully, colorfully inscripted; and Dylan will be taking me to
    see The Pretenders !

    Mom and I will sup somewhere to come; Mia dropped off a girlfriend card - then appeared again w/ a FABULOUS
    fresh strawberry pie, several kinds chips and dips...it was so hot today this was a perfect meal. Kayla got this nice
    black frame, w/ a black treble cleff etched on the front and that will go on the wall behind my kit!


    It took awhile to wind down come evening and I gave myself time to do so. I was to pick up Kayla and Jeff F. but K.
    got sick Wed. so it was just me and Jeff. I was glad to see he brought his horn (tenor). His video stuff too, but there
    was a glitch somewhere and he'd only 25 minutes of "film".

    I feverntly hope he got vid. of himself sitting in w/ The Swampkings, and that he puts it up.


    The Schooner was a lovely place - not decor wise but honest w/ its particular patrons and ambiance. Dan Coffeen
    (recorded the MP3 w/ Jeff F in attendence at The Monitors' studio) was already there. He looked serene and something else I can't
    put my finger on. I felt glad for his company - protective-brother feeling, tho there was of course no danger or anything
    like that. Dan had been to Europe recently and he gave me a birthday present so special I don't want to say what it was.
    He had had some singular experiences there in Ireland. Something beautiful, I think, is happening for Dan related to his time
    in Europe with his family.



    Jeff F. warmed up on his horn while Dan and I thoroughly dug The Swampkings. O my dear Lord, they were so very good.
    Toby Lee Marshall (the Hammond King!!) was also on board. I couldn't believe it wasn't sro, but there ya go, the life of a
    musician. The familiarity of a long standing acquaintance is such a blessing! Simple things like commenting briefly on The Swampkings
    (esp. drummer Connor McRae), certain patrons, etc; and then I looked at Dan and said, "I miss JC...I really miss JC," (John Clegg
    tenor and bari, who died Feb '08). Dan said likewise and we toasted JC.


    Drummer Connor MCrae is 24 years old. He is accomplished and authoratative , so much that immediately I thought of Michael Bland,
    Stewart Copeland or others equally identifiable by mastery and personality on their instrument. The whole band was just very, very
    appreciated for their musicality by Dan, Jeff and I. Connor is left handed, completely fluent + lots of delight with his sticking on rims,
    cowbell, great hi-hat work, etc;

    I didn't sit in til last set, almost opted out entirely. I told Tom Harkness I didn't want to now that I knew they are even better
    live. Tom was very cool (reminds me so much of Mike Loonan in that!) and assured me Connor would switch his drums (and the mic)
    around, etc; Meanwhile, the first 2 sets, Jeff F was tearing it up with those guys. He continually astounds me, Jeff F does.
    One thing we have in common is both being late bloomers. Jeff seems in full flower yet I sense that the cat is just beginning to hit
    stride- there is def. more to come w/ him. Also in guitar, singing, writing, video and art. Plus God knows what else. He hadn't played
    his horn in months nor played out in forever.

    The band was bright and communicative in trading solos and lines, by turns Tom and Toby Lee echoing Jeff F, vice versa, everyone bring-
    ing each other higher. The drums were unmiced and Connor was delightful with his closed rolls, fiddling w/ the time and dynamics.
    Plus everyone looked healthy and good. They say that age 50 is "the new 30"...and I'm not sure what exactly these mid
    and upper age 40's are "supposed" to look like, but everyone on that stage looked good!

    Dan left mid 2nd set. When I was almost turning down Tom to sit in, Dan gave me that look and said, "you should." It was because
    it was Dan saying it, who's known me since I was 18 and in some particular struggles, that I could take it to the bank. As soon as I sat down
    and we began a rumba (?) I think, I wondered why I'd thought I couldn't fit w/ those guys - probably cause of the technical proficiency of either the musicians, songs or both. I don't have an answer - honestly I didn't think I could cop. It didn't even bum me out, took it as a point of fact like the sky is blue not purple. But it was evident that I'd been mistaken. I enjoyed playing with them very much. The bassist Matt Page was wonderful and inspiring, and ended up playing all but one song I think, of the last set.


    This is my 2nd time around I guess as a musician. The most recent thing I've to compare to is many years ago; and because the 80's was when
    I was last out there, my thoughts and comparisons automatically go hence. Thus, as I saw Connor sitting at his table and didn't feel anything
    as I used to when a younger player...wondering what he was thinking, seeking to impress, none of that! But rather...ya know when you're
    a kid just whipping around the playground or at the river giving it all you have on the rope swing w/ friends, acquaintances,
    chance-meeting kids for that day? THAT'S what it was like! Joie De Vivre. Ditto for when he jumped up to front some songs.



    This was obviously different from O'Gara's, which had a definite showcase-feel. Too, other players inspire me to the point
    I fear falling apart for being in awe of what they play at the moment. Esp. Jared's Hammond and Mischke singing! This also
    happened w/ my 1st pro-band reunion...so I figured that would be a factor particularly with The Swampkings. Yet tonight, even
    if that did happen which I doubt, I wouldn't have cared, there was something so relaxed about it all. Plus the audience was
    great. For the first time ever, tonight I equated the audience as a whole and individually being as important as the band is. It
    was almost palpable.

    [Edit Aug 17 - happy b-day Luch! - Wanto say more about new gleanings of the audience. Previous to Aug 14, I simply
    had not the level of awareness or take-it-in ability of what the listener or audience is. Even tho I, too, have spent a lifetime being
    a fan. Therefore presently I would answer no to the Zen question if a tree falls down in the woods does it make a sound
    if no one is there to hear it?]

    V. glad to sing - b/u plus a verse of Feeling' Alright and I copped as exactly as possible Danny Hutton's 2nd verse,
    devotion in my heart for 3DN! (From Three Dog Night: Captured Live At The Forum, 1969).

    By evening's end, Tom gave Jeff and I a CD...I told Tom I was going to learn all the songs, "I've already
    started learning them." I think his and my voices would sound v. good together. Ya know what can I say? He's great, as a guitarist,
    vocalist, writer. I want to think about his playing right now, not try to describe it.

    Connor gave me a pair of drumstiicks - and what really rocked, he presented them to me: "As a memento of your
    night with us, and happy birthday!"

    Afterward, Jeff F, Tom and I hung out for an hour or so...we wanted to go eat but nothing open that late. Actually pursued this in a
    caravan, but ended up chatting awhile by the side of the deserted late-night road when it became evident nothing was open. Jeff F.
    was his usual v. grateful-and-giddily-inspired self. At one point I said (simultaneously as Jeff bantered on) hey Tom, you see how this
    is - when w/ Jeff F one is required to not only listen and respond, but all the physical touch...because our hero, when inspired, constantly
    holds out a hand to shake it, or hgh five and etc;

    Tom asked us if we were free to get together next week. We'll be in touch on that. Tom mentioned wanting to play his acoustic more
    and I asked, would it be too many acoustics if all three of us got together and played? T. said not at all. So...my one free eve next week
    already taken up w/ a rehearsal of my 1st pro-band...I am going to see about freeing up another night.

    Now it is very early morning of "the next day" and I am content because I wanted this written while still fresh.


    PS: Jeff F. and I are going to the High School reunion this eve. Dylan will sit w/ his siblings. I expect to see dozens of people I
    know, JF will see hundreds, and some of mine newly connected. I wish we had an opp. to play, tho. But I'll be up for dancing,
    having a great time and an earlier evening.

  23. The Swampkings!

    By Donna ,

    This'll be hot, going to see Cajun Swamp Blues music!

    I knew Tom Harkness when he was a 10 yr old v. nice, shy trumpet player.
    Yegads, the guy's become this venerable blues master! We ran into each other
    on FB. No, I am not getting tired of old school and post-school friends now
    accomplished and/or gained noteriety. I am so darned happy for them,
    happy to know and behold how growed up fab they've become.

    Swampkings Music

    (Fav song right now is Joie De Vivre)


    And so, please join me at The Schooner Tavern in Mpls, August 14.
    Gig Info (no cover)


    I've already invited 9 friends and may post on my FB. I hope scads
    of pals can come to celebrate everything, including my birthday

    Fantastic band The Swampkings!

  24. Ulp Er I Mean, Yay!

    By Donna ,

    Well, my 1st pro band whom came over to jam, we have a gig.

    It's kind of 2 groups, because the boys have been playing
    w/ 3 others (guitarist, drummer and sax).

    But Mike (drummer) cannot
    make the little show I speak of. That's what I didn't count on
    and why my 1st reaction is, the thought of doing several hours
    of covers intimidates me!

    I want the time to practice that this deserves. Ditto rehearsals.

    I am going to pray about this! Trying to be docile and ask
    heaven to help me have fun and enjoy playing period.

  25. -----

    By Donna ,

    -----

    I visited ____________ recently from whence we returned home one year ago.
    my people, my families...there are so many loves in this life...thank you...
    Jesu, Maria


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