Gathering of Nations and Thoughts About Spring Gigs

I hope this post finds everyone well. Spring in southern New Mexico means wind and more wind. Trees are greening up and I’ve learned that Mesquite trees will always tell you when it is safe to plant your garden. I’ve been busy with a few gigs, trying to get to recording, writing and building a sound isolation booth. The Taizé service I was part of was very beautiful and reflective. It still amazes me that I am playing the Hang and Native American flutes and singing in part of a ceremony. Using my music in these ways is so different that concerts or other gigs, but every day I affirm that “I perform my music in perfect ways, for wonderful people and for perfect pay.” So who am I to argue?

Next week I’ll be in Albuquerque. One gig is a good old-fashioned working type where I’m playing for the annual meeting of a national heating equipment association at a swank resort on Santa Ana Pueblo. The other is at the Gathering of Nations International Powwow. I’m honored to be a part of that and will just do what I do and maybe have some resonance leading to greater things. The Gathering of Nations is remarkable and the awe when the Grand Entry comes in is something I look forward to. I am performing on Stage-49 Saturday, April 25th at 11:20AM. Again with my Hang, such a new instrument in the midst of tradition. People ask me all the time if it is a Native American instrument or a traditional one and I have to again relay the story of its origin, where it is from, how I got mine etc., etc. Instruments were being created by the first peoples all the time and exchanged often. Innovation is nothing new but you have to take a lot of ribbing and slack-jawed questions when you are doing something completely new to people. Of course playing the Native American flute for people who are hearing or seeing it live for the first time is thrilling and an honor. I feel like an ambassador for the flute most of the time.

Being a person who suffers from Arthritis flare ups can be tiring. When it happens at the same time a bout of depression happens it can be a challenge to find any good that I am doing in the world. I’m not whining and don’t really want any sympathy. These are just the realities of my situation and I know I’m not alone in my experience. For a while this spring I’ve had times where I feel completely useless when I feel I’m not getting anywhere and am always chasing gigs and I see other players who are better at ingratiating themselves and being downright aggressive pursuing gigs, festivals and teaching workshops. I finally had a dream where my late dogs came to me and really gave me a talking to in their own way. I got their message. Battling severe depression is not like having the blues in any way. Not having insurance I rely mostly on herbal supplements. Sometimes they aren’t enough. One wonderful and caring friend and fan even asked me if I they had done something wrong because I had not been as warm and friendly. It is hard to explain that it is “me” who has the problem and finding the energy to constantly create and give means I need to shut down and recharge sometime. With Arthritis I really can’t hike or be in nature which has always been my tonic. I had to work really hard to remind myself that I need do absolutely nothing more than what I am doing right now and believe it is exactly right for me and for everyone else. Mining that level of emotion and truth can be hard a person. History is rich with examples.

In May I’ll be heading up to perform at the Zion flute and drum festival in St. George, UT. On the way I’ll do a show in Tucson with some wonderful musicians, Martin Klabunde and Stephen Cumberworth. We will present a show May 13th at a little casita called The Ranch 3742 N. Edith Boulevard, Tucson, AZ, 85718 at 7:30PM. We are going under the name “Trio Corona” and it should be fun. Martin is an excellent African drummer and Stephen a talented flutist. More info on my website or MySpace calendar. I’m always looking for more gigs so if you would like to host a house concert, a show at your community theatre or center or even your church please contact me.

Randy

Taizé Service, Meditation and Thoughts

This time of the year I always find myself in a contemplative and somber mood. It could be the 60mph spring winds, the years of attending a Catholic school and being an altar boy well in to my late teens or the fact that it always gets cloudy on Good Friday. It can’t be coincidence that Christians, Jews, Pagans and ancient Greeks all mark this time of year with some sort of ceremony or service. On some calendars it is the beginning of the New Year. Easter always falls on the Sunday nearest the full Moon following the Vernal equinox. Whatever the significance I find myself combining two areas of my life this season; music and service. I will take part in a Taizé service at a local place of worship. Taizé is a type of service that “emphasizes silence, light, and above all the meditative weaving together of prayer and music.” It was started by a monk, Brother Roger, during WWII in Burgundy, France. He offered refuge to Jews and later German POW’s and began an inclusive ceremony with the other monks. Brother Roger would pray in the woods as to not bother his non-Christian guests. That alone is remarkable.

Taizé services have become popular all over Europe and the US for their simple concept of meditation, silence and the music. Candlelight is the only light used along with some inclusive prayers and chants. Tonight, I will be the music. Going back and forth between Native American flutes, the Hang and singing I will be able to use my tools and talents in a way that is exactly like I had been searching for. I had approached the music director of the church several months ago saying I wanted to have some sort of music and meditation hour where people could come and go and that there would be no applause or performance per se. He forgets that I mentioned that when he, I and the new minister met to discuss this Taizé service. Point is that it seems the consciousness and intent attracted what would be best for everyone, and I’m really grateful. Check my Calendar if you want more information.

Being a professional musician involves so much more than chasing recognition and awards. Making a living means doing commissioned pieces, Busking, getting paid for individual downloads or listens on Rhapsody sometimes .06 at a time. It adds up. I’m learning to expand completely my own idea of what success means and understand that my opportunities are unlimited—something I actually affirm every day. So one week I’m playing a Taizé service (and getting paid), later this month I’m playing the annual meeting of an Industrial Heating Equipment association at a resort in Albuquerque, three days later the Gathering of Nations Powwow and at least three albums worth of music to record, release and promote. But, for tonight, I will gather all the skills and magic that has led up to now and uses my music in the truest way I know to bring comfort, healing and peace.

Happy Easter, Passover, New Year or however you mark this season.
Randy

Here is a video of an unrecorded song Hello Daddy. Soon to come....

Scheduling a concert in your hometown can be a risky gig. If you bomb and no one shows it can be hard to swallow. On the other hand if you are widely successful you are tempted to stay closer to home. How should an artist measure success then? Monetarily? Audience size? Quality of performance?

I feel my most recent hometown show was a success in the sense that I presented an entertaining performance and people were moved. Some told me a musician hasn’t made them cry, like I did, in a very long time and others were just happy. I made a profit and filled most of the seats. Yet that nagging habit of wanting to see how it could have been more successful is something that I’ve been fighting to not let creep in to my consciousness. Why weren’t more people there? Where were all the musicians I know etc? I come across people all the time who ask when I will play in town and to let them know. I did. I understand how hard it is to get people out the door of their home. I think did I piss them off somehow? Was it the venue? Spring Break?

And yet I have nothing to feel disappointed about. People came and stayed the whole concert. I felt good about my performance. Maybe it is the fact of just how hard I had to work to get every single body in the seat. And, let me tell you it is just like a politician getting every single vote. An audience is voting that you have something entertaining to offer by showing up and a couple of hours. This is not something I take for granted. The venue didn’t confirm with me until two weeks before the gig and even then there was a miscommunication on rates etc. I hadn’t experienced so much stress in a very long time and still feel it. The stress was trying to rely on other people to keep their word and do their jobs; nothing new but probably a carry over from prior local gigs. I won’t go into all the details of just how much work it was in the midst of a CD release and tour because I don’t want anyone to think I’m feeling sorry for myself or complaining too much. I’ve always wanted to be honest about this musician’s life because it is something only I have insight into. CD sales were good but even then I noticed people were holding back a bit and women were holding their purses a little closer to their bodies. This economy has people very cautious and many people I know have lost half their investments or retirement money. I don’t have those kinds of worries because I make my income from gig to gig and CD sales literally. I know every time I go to the store that prices are more on just about everything. Shipping CD’s, promo packets, posters, photos, promotion, music contest entry fees etc. all seem to be more than last year and I get nervous when I don’t have gigs lined up that I know will pay.

I think it is my responsibility as an artist to be as authentic and close to the truth of my being as possible and give give give so much that we can all transcend for just that time it takes a song to take shape and change the molecules, the very atmosphere of the room. No small order, but one I am so committed to that I dig as deep as possible that I sometimes don’t have the energy to load my equipment afterwards. That’s okay. I do what I do because I feel compelled to do it and love that exchange and honor each individual there.

I did a two-hour set that involved Native American flute music, stories about the flute and its legends, songs on my guitar and vocals, several Hang drum songs, a HAPI drum demonstration, a demonstration on an ancient Mayan clay artifact replica flute shaped like a leg and a great version of “Oasis Bound” with Wayne Crawford the poet I just released the CD with. There was lots of laughter and tears especially when I did a song on guitar called “Hello Daddy” a song about growing up in southeastern New Mexico. The venue was really comfortable with nice sound and lighting. I did one encore and there were calls for more but I was so exhausted and had to be out of the venue by 10 or lose my deposit. I so enjoy being able to pace and work up a set and introduce songs. It gives the audience insights into my music and my writing. It is a privilege and a real luxury as opposed to the 30-minute sets you get at showcases or most festivals. I allowed people to take photos so hope some of them come back. I couldn’t find anyone to video tape the concert for me so left my video cam running the whole show and hope to post some of the vids soon. Overall I have to focus on the good that took place and move forward. There was much good and I feel I made some people happy. I had an amazing time and even printed up a set list and bio that each audience member received. That way I had to keep to a set and they could hopefully make notes of which songs they like and which CD it was from. Did it work? I don’t know but people were all smiles afterwards and I so appreciate how many people took a chance on me.
Thank you Las Cruces.
Randy

HAPI Drum Demo Improv