Another Good Morning

 

 

Once upon a time I co-starred in a movie called Goldenrod which was filmed in and around Calgary, Alberta.

 

It had a theatrical release in Canada (I think), and was shown in the USA on CBS-TV.

 

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I was 14 years old.

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Because of Canadian rules about airing a certain percentage of  shows which have been produced in Canada, it still can be seen from time to time on Canadian TV.

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One of the producers had a daughter whom I met on the set when she visited from Toronto.

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Although it seemed unlikely at the time — since I lived in New York and Connecticut while she lived in Canada — Sarah James and I have remained friends ever since.

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She still lives in Toronto, and like her father (and mother) she works in film and TV production.

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For the past few years she’s been helping to create Canada’s version of the TV show The Amazing Race.

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She and her husband — who among other things is a wonderful musician who has taught himself how to build ukuleles! — and daughter live in a sweet house with a small garden out back which ends at a garage.

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Above the garage is an office/guest bedroom where I love to sleep and read and write songs when I visit them.

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I started writing “Another Good Morning” a couple of springs ago.

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The sun was shining.

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Birds were singing.

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And Sarah was making breakfast for all of us.

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It is what I call a “gets-me-out-of-bed-in-the-morning” song.

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I have probably mentioned this type of song before in this blog, because — in the spirit of “teach what you most want to learn” — I end up writing a lot of songs with upbeat messages.

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Because I need them….to muster a little bit of optimism before I head out into the day.

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As you have probably already guessed, I continue to love the photo site Pixabay.

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I send a huge thank you to all the folks who have shared their lovely images there!

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I do not own a cell phone or carry a camera…

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But I appreciate those who do.

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THANK YOU for reading and listening.

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PS: The pianist on this song is the multi-gifted Doug Hammer, and we recorded it at his studio in Lynn, MA earlier this year. It is one of many we will be performing on April 30, 2016 at Third Life Studio in Somerville, MA.

Does July Need A Sky Of Blue?

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Hurrah for summer on planet earth.

1) I can again ride my bike to and from Music Together classes.

2) The mulberry trees in Arlington have been particularly generous with their berries this season, and there are many days that my tongue has been colored purple as a result…

3) My sweetheart and I recently visited family in upstate NY, where we were fed currants and bok choy and eggs — all of which were grown on my sister’s farm.

Yum.

4) And jazz pianist Joe Reid and I continue to perform our hour-long programs of songs written or co-written by Harold Arlen, the Gershwin Brothers, Jule Styne, Hoagy Carmichael and Cole Porter at retirement communities, coffee houses, and libraries around the greater Boston area.

After a recent show, I was speaking with one of the audience members about how — before the arrival of amplified sound in theaters — a song had to be crafted so that it could be sung by a performer and heard way up in the highest balcony seat.

Vowels and consonants and words and notes and melodies and ideas all had to travel from one person’s vocal tract to another person’s ear without the aid of electricity.

As far as I can tell from reading dozens of biographies about songwriters over the past couple of years, there were many factors which allowed this to happen.

a) Theaters were designed with great sensitivity to acoustics.

b) Songs were orchestrated to leave some sonic space for human voices to cut through the overall blend of musical vibrations and be heard.

c) The audience was accustomed to leaning forward and LISTENING carefully — compared with today, when I take earplugs with me in order comfortably to withstand the blast of amplified sound that is the norm in today’s pop music and even in today’s musical theater.

d) The singers — Ethel Merman being one of the most famous examples — knew how to generate potent streams of sound.

e) The songwriters knew how to craft songs with vowels and consonants and rhymes in all the right places while telling a story and advancing the plot.

One of my favorite examples of this craftsmanship is the song “Do I Love You, Do I?” which was written by Cole Porter for his musical DuBarry Was a Lady.

It is extremely fun to sing — especially near the end when the melody of the final “Do I love you, do I?” rises to a big, high note with total ease due to the extremely functional (from a singing point of view) vowel sequence of the two words “do” and “I.”

You can listen to this — and sing along if the spirit moves you — by clicking the song bar at the top of this blog entry. It is a recording I made a while back with the great pianist and songwriter Steve Sweeting when he lived in Brighton, MA.

Steve and I have recently finished recording a nine-sing CD of HIS extremely well-crafted original songs which I will very likely be writing about in future blog posts.

May there be lots of music in your life today and every day!

And thank you, as always, for reading and listening.