alicia bay laurel - music

Music Bio

Wed, 08 Aug 2007 22:27:18 -0700

Marinated from birth in the world music, classical music, jazz and Broadway tunes my parents played on the hi-fi, I succeeded (after two years of begging) in starting piano lessons at age seven, mastered the Bumble Bee Boogie by age twelve, and was levitated into learning guitar and writing songs when I saw Bob Dylan play, shortly before I turned fourteen. A couple of years later, my cousin Jan Lebow married John Fahey, and one day I cornered him when he was bored at a family party and got him to teach me open tunings. That became my sound.

Most of my musician friends played rock and roll, so I was overjoyed when I first visited Hawaii in 1969 and discovered that open-tuned guitar picking was the national music. Between 1969 and 1974 I enjoyed a phenomenal career as a bestselling author, illustrator, book designer and media icon for hipdom and sustainability. My book Living on the Earth was the first paperback book ever on the New York Times Bestseller List, and it’s still in print in English, Japanese and Korean. I wrote, illustrated and designed eight more books, appeared on talk shows, and got written up in lots of magazines.

In 1974, I moved to Maui. There I learned to play slack key guitar and sing Hawaiian songs from some of the most soulful people I’d ever met anywhere. I learned to sing in Hawaiian from recording artist G-girl Keli’iho’omalu’s mother, legendary singer and choreographer Auntie Clara Kalalau Tolentino. I learned slack key guitar from Clara’s son-in-law Jerome Smith in Hana, and from Uncle Sol Kawaihoa in Wailuku. In the early ‘80’s, I began playing in restaurants and bars for the tourists. Over a period of twenty years I studied vocal technique with five teachers, including pop singer/songwriter Pamela Polland. (I STILL take vocal tech lessons!) My lifelong love of jazz (the first LP I bought at age 13 was Local Color by Mose Allison) led me to learn a repertoire of standards and the jazz chords I needed to accompany myself. In the late ‘80’s I started playing at weddings and learned love songs of many genres. From 1988 to 1999 I owned a wedding business that put on 3000 weddings, and I sang at hundreds of them, sometimes accompanying a troop of hula dancers.

In 2000, Random House released the thirtieth anniversary edition of Living on the Earth. I sold the wedding business and went on tour for eight months with an original one-woman show of comedy stories from my life and folk songs I wrote during the time I created the book. I self-produced Music From Living on the Earth, a solo CD of these songs, to sell while on the book tour, and, to my astonishment, it was not only reviewed but selected as an album pick on All Music Guide. Then a psychedelic folk radio show in Belgium started playing it. Then a Japanese record company released it.

When I returned to Hawaii from the tour, I self-produced Living in Hawaii Style, a CD of original and historic Hawaiian songs, mostly slack key guitar and tropical jazz. The CD features Sam Ahia, arguably the best jazz guitarist/vocalist in the islands, and Lei’ohu Ryder, a reknowned spiritualist and chanter with a string of fantastic CDs of her own. This CD got airplay both in Hawaii and on the legendary Ports of Paradise radio show in California, was released in Japan, and, in July 2002, I was the only woman headlining at the Big Island Slack Key Guitar Festival. I toured in Hawaii and California to promote this CD with a new one-woman story and music show.

I’ve spent a lot of time around avant-garde improvisational musicians in my life. I lived with Ramon Sender, one of the founding composers of the San Francisco Tape Music Center in the early ‘60’s, and co-designer of the Buchla Box, the first synthesizer built on the west coast. In the early ‘70’s, we co-authored a book, Being of the Sun, containing information about drones, modes and open tunings. In the late ‘90’s, I began partnering with Joe Gallivan, one of the pillars of the jazz fusion scene in New York and in Europe, who was the first to play a Moog drum in concert, who played in the Gil Evans Orchestra for two years and in a quartet with Larry Young for three years, and about whom an entire section is devoted in the Penguin Guide to Jazz on CD.

These men have been mentors to me, and, while Ramon’s influence is in my first CD, Joe’s influence is most evident in my newest release, What Living’s All About. Good luck in real estate afforded me the luxury of a great LA recording studio with Scott Fraser (audio engineer and producer for the Kronos Quartet) at the controls and a fabulous line-up of session players, notably avant-garde/rock/jazz guitar legend Nels Cline (best known as the guitarist with Wilco, and who I met when his band opened for Joe Gallivan’s band at the Bell Atlantic Jazz Festival in New York City in June 2000), and John B. Williams, bassist for Nancy Wilson, the Manhattan Transfer, the Tonight Show Big Band and the Arsenio Hall Show Band. I co-produced the CD with Ron Grant, an Academy Award winning film composer, who arranged and conducted some of the material, but I also relied heavily upon the improvisational skills of my great players, and they surpassed my expectations.

In Performing Songwriter Magazine’s May 2007 Issue, “What Living’s All About” is one of the Editor’s 12 Top DIY Picks, and in June 2007, the first track, “Floozy Tune,” placed in the Top 20 Finalists in the Jazz Category of the Unisong International Songwriting Contest. Raves reviews of the CD appeared in eJazz News in London (written by John Stevenson, the editor), and in Feminist Review in New York City. The second track, “America The Blues” was a featured download on indieguitarists.com in August 2007.

In the summer of 2006, songs from “What Living’s All About” got airplay in Europe and in the USA, and in October 2006, I did eight concerts in four weeks in Japan. In February 2007 I did three concerts in Phoenix, where the CD has gotten a lot of play on Radio Free Phoenix, and in May and June 2007, I toured Japan again, this time performing 15 concerts, including two festivals, in seven weeks, and appearing as the subject of a TV documentary on Asahi Broadcasting Station. In May 2008 I return to Japan for another tour, including a concert at the opening of a gallery show of my art in Tokyo. I’m currently based in Los Angeles, working on creating an animated children’s television series that features my drawings, stories and music.

Tags: music acidfolk hawaii jazz wlaa nelscline aliciabaylaurel ramonsender johnfahey gospel blues johnbwilliams psychfolk mflote lihs hawaiianmusic slackkeyguitar leiohuryder joegallivan samahia bobdylan moseallison pamelapolland rongrant

My Hawaiian Hanukkah Song

Mon, 18 Dec 2006 03:47:05 -0800

Guitar chart handlettered by Alicia Bay Laurel in 2002.

A couple of days ago I posted my Hawaiian Hanukkah song, Festival of Light, on Pod Safe Music, and already five podcasters have included it in their shows.

Rob Kast Radio from Belgium

The Write Stuff, from a poet in New Hampshire

Loose Ends, a husband/wife team talk and music show from California

X Pat Radio, a British podcaster living in Wisconsin

Kids Cast, a children's show from the UK

I will continue to add to this list as more podcasters play it.

You can listen to Festival of Light here.

Festival of Light is sweet and sincere rather than humorous, a Hawaiian slack-key-guitar-inspired folk song combining Hawaiian elements (aloha, ocean) with Hannukah elements (the eight nights surrounding the new moon preceeding the winter solstice, family gathering, candles of menorah). I performed two vocal tracks and two guitar tracks (one Hawaiian slack key, one in standard tuning).

Story Behind the Song
Rick Asher Keefer, a producer-recording engineer whose Hoku award winning Hawaiian CDs include those by reknowned Hawaiian artists Israel Kamakawiwo'ole, Brother Noland, and Tony Conjugacion, created Old Hawaiian Christmas, a compilation holiday CD, in 2001, and asked me to write and perform (probably the first ever) Hawaiian Hannukah song. The CD (and this song) continues to get airplay in Hawaii every December to this day. Rick engineered and helped me produce my first two CDs at his studio, Seawest, in Pahoa, Hawaii, in 2000 and 2001.

Lyrics to Festival of Light

Verse One
Festival of light on a winter night
Gathering of friends and family
Flickering candles in a row
Shining for a miracle in history

Refrain
All of this on eight starry moonless nights
All of this surrounded by the great blue sea
All in the spirit of aloha
Smiling in the heart of Hawaii

Verse Two
Now is the season for sharing our light
Singing and dancing so joyously
Thanking each other for kindliness
Flowing through our lives so plenteously

Refrain
All of this on eight starry moonless nights
All of this surrounded by the great blue sea
All in the spirit of aloha
Smiling in the heart of Hawaii

Tags: music hawaii slackkeyguitar chanukah aloha hanukkah menorah song

Dead Heads Land

Sat, 07 Oct 2006 07:11:46 -0700

Look for this sign above the door and you know you’re at Yukotopia.

Tonight I visited Yukotopia Dead Heads Land Night Club where its fifteenth anniversary party is in full swing, featuring Sandy Rothman, a masterful multi-instrumental player from Berkeley who had played at the grand opening and the tenth anniversary festivities as well. Sandy played in several bands with Jerry Garcia, and sings with the same kind of friendly, slightly sardonic, laid-back delivery for which the Dead are known. The three other players live in Tokyo. Lots of joy emanated from the stage during their sets and the audience loved them, too.

Meet Roku, the sound engineer, Yuko, the club owner, and Masahiko, the official club photographer.

After Sandy and the Anniversary Band played their acoustic sets, the Warlocks played a couple of electric Grateful Dead sets and the audience danced.

Everyone in the room at least swayed in their seats to the band, but most were full on dancing.

Yuko’s got all kinds of Grateful Dead items for sale—books, DVDs, CDs, Jerry Garcia dolls, tie-dye t-shirts, and posters.

Dead head tie-dye on the ceiling.

Poster for this week’s events.

Yuko and I enjoyed our dinner at a sushi diner just down the street from the club, with this cool, super slow conveyer belt that circled three sushi chefs who constantly replenished it with dishes of sushi. Each dish cost $1. Not everything in Tokyo is expensive, it turns out.

Tags: japan yukotopia gratefuldead tokyo jerrygarcia sandyrothman deadhead

My Romance

Sat, 23 Sep 2006 17:06:19 -0700

Lila Downs at the Barbican, London, April 2006
Photographer: Damian Rafferty

My favorite vocalists of late all sing in romance languages. They are already legends, but if you haven’t heard them yet, get thee to iTunes and check them out. You don’t need to know Spanish, French, Italian or Portuguese, although, if you do, it will no doubt enhance your thrall.

From Brazil, dig Rosa Passos (pronounced Hosa Passos), a soprano whose hip, creative phrasing enhances the cool “beach samba” style of Brazilian pop standards. When I first heard her, I realized I’m more accustomed to hearing this music performed in an alto range, and Rosa’s high, vibrato-less voice gives even 1960’s Jobim chestnuts a fresh youthfulness.

From Peru, Susana Baca gives voice to an African-American community in a country without Caribbean frontage. Rich with complex rhythms and responsive chorus, Susana’s music takes you right to the emotional and spiritual center of her mysterious and earthy world.

From Mexico and Minnesota, Lila Downs combines a degree in opera singing, a bloodline of the majestic women of the ithmus of Tehuantepec, and a cool New Jersey saxophonist boyfriend to create traditional Mexican music with soaring vocals, hip arrangements, and sometimes political rants.

From Mexico, Montreal, and lots of road time in between, Lhasa de Sela grew up traveling with singing parents on a school bus, and began gigging at age 13. In Montreal she partnered with Yves Desrosiers, a monster guitarist and brilliant producer, to create two emotionally urgent yet surreal CDs.

From Asti, near the French border of Italy, comes a dapper, older attorney turned singer/songwriter named Paolo Conte. With a gruff voice, fabulous jazz piano chops and eerily retro band arrangements, Conte creates the most gorgeous, profound and hilarious poetry imaginable. Be sure, when you purchase one of his CDs, to get one with English translations of the lyrics in the liner notes.

Tags: music vocalists liladowns paoloconte lhasadesela susanabaca rosapassos

Klezmer in Paradise

Fri, 25 Aug 2006 18:19:58 -0700

The Blums at their 40th anniversary party. They met in college, honeymooned in the Peace Corps, and are living happily ever after.

When I met Gloria and Barry Blum in the 70’s, they already were performing with a klezmer (Jewish party music) band they had founded called the Golden Gate Gypsy Orchestra of America and California, Otherwise Known as the Traveling Jewish Wedding. When I heard them play at Caffe Trieste in San Francisco, they blew off the roof.

A year before the Blum’s daughter, Katie, left the nest, eventually to get her degree in social work, the Blums moved to Kailua-Kona, on the island of Hawaii, leaving their beloved band behind. Kona Community Hospital was thrilled to have Barry as their only orthopedic surgeon, and the Blums were thrilled to trade their Mill Valley digs for a spacious, airy home on a hillside with a huge view of the ocean. Soon they began looking for band members.

The Kona Traveling Jewish Wedding Band onstage.

This time their band didn’t just play lots of wedding gigs. Gloria and Barry assumed leadership of Congregation Kona Beth Shalom, and they began performing Jewish wedding ceremonies in addition to the music. The band recorded a wonderful CD called Shaloha Oy, the title track being a minor key, up-tempo send-up of Queen Liliuokalani’s timeless Aloha ‘Oe. On the cover is a blurb from me: “Gloria Blum is the Janis Joplin of klezmer.”

Gloria singing with the band.

Kona Beth Shalom became a kick ass congregation, producing Karen Breier's Shaloha cookbook that garnered an article in the New York Times, and adopting a torah (Old Testament scroll in Hebrew) that had belonged to a Czech congregation massacred during the Holocaust. The governor of Hawaii attended Kona Beth Shalom’s recent celebration of the old torah’s expert restoration.

My illustration for the backs of Gloria’s Feeling Good Cards. This image is copyrighted by Gloria Blum.

Gloria’s gift to humankind, a method of teaching appropriate behavior, self-esteem and social skills to mentally disabled teenagers, inspired her to create a resource curriculum guide, Feeling Good About Yourself, and also a communicaton card game, Feeling Good Cards, enjoyable by any group of people. Last year I drew a card back picture exactly to Gloria’s specifications, and re-designed the graphics for the box. That’s Barry playing his bass balalaika, and Gloria beside him, singing with her arms upraised in joy.

Tags: music hawaii selfesteem klezmer kona mentallydisabled

In the Heart of Waimea

Fri, 25 Aug 2006 17:40:46 -0700

Cattle ranching history in a mural by Marcia Ray in the food court of the Parker Ranch Center, Waimea, Hawaii

When people think of Hawaii, they don’t often think of cowboys, but, in some parts of Hawaii, cattle ranching is still a way of life. Mind you, these are cowboys who proudly hula and make feather bands for their hats. These are the people who created slack key guitar.

Pasture and ocean seen from the Old Mamalahoa Highway, from Ahualoa to Waimea

The cattle pastures of Hawaii overlook the ocean and enjoy a perpetually balmy climate. I figure this is where you reincarnate if you were a very good cow last time.

Clouds creep over the crest of Kohala Mountain toward the pastures.

Hawaiian cowboys are called “paniolos,” a Hawaiian-ized word originally meaning Espanolo, or people who speak Spanish. The first cattle were given to Hawaiian chiefs by visiting tall ships, and they roamed the islands destroying everything in their path, until the Hawaiians imported people with cattle controlling skills to put an end to that. The first cowboys came from Argentina, speaking Spanish, and bringing guitars, Spanish open tunings, roping and riding, and the Brazilian tipo, a tiny four-stringed instrument the Hawaiians adopted as the ukulele (jumping flea).

Braddah Smitty, whose beautiful heart resonates in his voice.

Last night I spent three happy hours in Tante’s Bar and Grill in Waimea, Hawaii, the heart of the vast Parker Ranch, listening to the great Braddah Smitty and his band. Braddah Smitty’s very Hawaiian family includes his uncle Gabby Pahinui, the father of modern slack key guitar, and Gabby’s famous guitarist sons Cyril and Bla Pahinui. Braddah Smitty resembles his uncle, and sounds just like him when he sings Gabby’s hits Hi’ilawe and Moonlight Lady, but his talent is unique. His rich baritone soars like an opera star’s, but without the pomp. Braddah Smitty is all about having fun. The whole room has no choice but to join him.

An member of the audience performs a masculine hula to Smitty’s music. Several others, including my friend Lynn, got up and danced when they heard songs to which they knew the choreography. In hula, there is only one correct choreography to each song, so that dancers from disparate locations should all be able to move in unison.

He is also all about heart. He graciously invites in whoever wants to play along. Among those sitting in on this occasion was the ancient and legendary Uncle Martin Purdy, son of the famous cowboy Ikua Purdy, depicted in an enormous bronze riding horseback and roping a cow, that stands in the parking lot outside Tante’s Bar and Grill. His wife, Auntie Doris Purdy, played ukulele and performed a stately hula from her chair. Her daughter played guitar, and a couple of young local guys sat in on guitar and ukulele and sang.

The whole line-up of Smitty’s band and friends picking and singing at Tante’s by the great stone fireplace.

I’d kanikapila’d (jammed) with Braddah Smitty a few years ago at the birthday party of Edie Bikle, best-selling children’s book author and the owner of Taro Patch, a scrumptuous gift store in nearby Honoka’a, and he remembered that I played slack key, so he invited me to play some songs during the break between the sets.

I perform some slack key tunes for the folks at Tante’s.

Edie and her boyfriend Tony, both present and clearly having a wonderful time, egged me on, and so did Lynn Nakkim, novelist, comedienne, former Green Party candidate, Waimea resident with her own horse ranch and my friend for over thirty years, whose idea it was to come to Tante’s in the first place. So, I played two slack key pieces over one hundred years old, and sang and played two original slack key songs, Auntie Clara and Living in Hawaii Style, all of which I recorded in 2001 on a CD of the same name. Edie carries it in her store.

Afterward, I joined the line-up of friends playing along with the band.

At the end of the show, the audience rose as one and joined hands in a circle, something I’ve never seen happen in a bar. We all sang Hawaii Aloha, the unofficial national anthem, swaying and harmonizing together. Then that trickster Braddah Smitty sang the Hokey Pokey, and we all got really silly dancing that. After that, people were hugging and kissing each other Good Night and Aloha, and heading out into the mist.

Tags: music hawaii braddahsmitty slackkeyguitar parkerranch ikuapurdy cowboys

Shamisen and Sushi

Sat, 22 Jul 2006 02:48:45 -0700

Noriko Britton sings with her shamisen trio.

I met Noriko at Mari Kono’s art opening last Sunday. She told me she played shamisen, and I asked when and where I could come hear her play. When I found out it would be the following Friday at Zeque (pronounced zeck-you) Sushi and Grill in the South Lake Mall in Pasadena, I called my friends and happily reserved a table for twelve. We all had a wonderful time.

Michiko, Takako, Hideko and Noriko.

The ensemble was, as follows:

In the lavender kimono, Michiko Yoshino (professional name, Bando Hiro Michiya), a traditional Japanese dancer, who sang some songs with the shamisen trio at the beginning of the set.

In the peach kimono, Takako Osumi (Kineya Yasuyo), shamisen player.

In the yellow kimono, Hideko Kamei (Kineya Kichi Kazu), shamisen player.

In the blue kimono, Noriko Britton (Kineya Roku Kensho), shamisen player.

An instrumental piece with fierce and complex rhythms.

Sometimes the songs were instrumental only and sometimes the women sang while they played. These were not songs for dance performance, but rather just for listening, Noriko explained to us later. Mari told me that Noriko lived across the street from her parents since before her birth, and she had encouraged Mari to learn music. “I was lousy at the koto,” she grinned. Mari’s destiny clearly lay in the visual arts and in a world more bohemian than traditional, although she is beautifully bi-lingual.

Zeque’s appetizer specialty is a sort of giant sushi called a Mount Fuji, with three layers of rice and your choice of any three sushi toppings, two as fillings and one on top. One of these arrived with slices of avocado ornamenting the sides.

Just as we were all leaving, I saw the trio heading for the parking lot with their instruments and ran after them to photograph them one more time. So sweetly did they turn and smile.

Tags: music marikono japanesemusic shamisen losangelesrestaurants

The Preservation Hall Jazz Band

Sun, 09 Jul 2006 04:15:58 -0700

Drummer Joe Lastie

July 8, 2006. The legendary Preservation Hall Jazz Band from New Orleans played a set at Amoeba Music on Sunset Boulevard in Hollywood, and I was in the front row, laughing, dancing, clapping my hands and taking pictures.

Trombonist Frank Demond, clarinetist Ralph Johnson, with trumpeter John Brunious singing, and alto saxophonist Darrel Adams

Hundreds of Hollywood hipsters jammed the aisles of the record store, loving the music.

Each player solo’d beautifully, the shout choruses at the end of each song thrilled us, and three of the players sang as only old jazz musicians can sing.

Bass player Walter Payton sings

During the last song of the set, (“Saints,” of course) the store staff distributed Mardi Gras beads, horns and bells, and the four horn players lead us in a second line, dancing around the store.

Clarinetist Ralph Johnson

After the set, the store held a charity auction to raise money for the New Orleans Musicians Relief Fund, which was originally founded by the Preservation Hall Jazz Society.

Carl Le Blanc plays banjo

I bought one of the band’s CDs. I asked trumpet player/vocalist John Brunious, which was their most recent recording. He said, “This is what you want (pointing to Shake That Thing), but THIS is what you need.” THIS turned out to be Sweet Emma and her Preservation Hall Jazz Band, a two-CD set of a remastered 1964 recording with an earlier line-up of the Preservation Hall Jazz Band, featuring a 66 year old woman pianist/vocalist named Sweet Emma Barrett. Sweet, indeed!

Alicia having fun at Amoeba Music

I gave John a copy of What Living’s All About, and hoped he’d enjoy Floozy Tune, my trad jazz original that opens the CD. He was kind enough to write down the names of the players so I could share them with you on this post.

Front entrance. The store occupies an entire city block.

Amoeba Music’s wild success as an independent record store stems from the party atmosphere, the great concerts, the vast, yet well organized, array of new CDs and DVDs as well as cheap used CDs and videos, their purchasing department, which buys lots of used items, as well as new, but relatively unknown, indie CDs like mine, the amazing decor, and the knowledgable staff. They have only three stores (Berkeley, Haight Ashbury, and Hollywood), all in locations with very large creative communities. They are not shy about their politics, either. On the outside of the Hollywood store hangs a huge yellow banner reading, “Give Peace a Chance.”

Amoeba Music’s mural on Ivar Street.

Tags: music jazz wlaa neworleans preservationhalljazzband tradjazz dixiejazz amoebamusic

My First Two CDs are on iTunes!

Wed, 28 Jun 2006 23:34:13 -0700

Woo hoo! My first two CDs are now fully up on iTunes, meaning that now you can buy just one song if you like, for 99 cents—or the whole CD, minus the packaging, for $9.99. Apple iTunes lets you listen to a minute of each song before you buy.

Music From Living on the Earth page on iTunes

Living in Hawaii Style page on iTunes

However at CD Baby you get TWO minutes of each song—at least on the Music from Living on the Earth page. They have promised they’d get around to posting samples of every song on Living in Hawaii Style eventually. When I first posted the two CDs in 2001, CD Baby was only offering samples of four songs per CD. Now they offer samples of ALL the songs, as you will see on their page for What Living’s All About. On CD Baby, what you buy is the physical CD, with all its glorious artwork and liner notes.

Tags: music jazz wlaa aliciabaylaurel blues cdbaby psychfolk mflote lihs itunes hawaiianmusic

Green Music Festival!

Sat, 24 Jun 2006 01:39:31 -0700

As Thom Yorke, front man of Radiohead exulted, “Now THIS is what we call a music festival!”

Sarah van Schagen of Grist, the online environmental newsletter, reported on Bonnaroo, a 4 day, 24-hour-on music festival enjoyed by 80,000 celebrants at a farm in Tennessee, complete with bio-diesel generators and a solar powered stage, performers arriving in bio-diesel-powered vehicles, two professional recycling groups handling the trash and recycling, environmentally correct campgrounds, locally grown organic food for sale in resusable dishes, lots of sustainability education opportunities, and, by all accounts, lots of peace and love.
It’s the realization of the Vision born at the first Woodstock.

Bonnie Raitt, long an environmental activist, headlined as well. “I’m a musician,” Raitt said, “but I live [on this planet] and breathe this air, and I eat this food, and I don’t wanna contribute in my lifestyle to not making things better.” She named sustainability “the issue of our time,” and offered hope to the large crowd of listeners. “The seeds of change are really already creating a groundswell of movement for protecting the environment and switching to a different way of looking at our place in the world and on our planet,” she said.

Why I Sing

Mon, 19 Jun 2006 01:20:37 -0700

Singing is a combination of playing an instrument and storytelling, two of my other favorite activities.

Singing focusses the mind in a manner similar to archery. If your mind wanders, you miss the mark and go off key or out of rhythm.

Singing conjures feelings and is therefore useful for releasing negative emotions (like singing the blues), as well manifesting courage when I feel fearful or passion when I feel apathetic.

Singing comes in handy to entertain children and sometimes adults.

People who sing together enjoy musical and social harmony.

Singing improves my health.

I can practice my instrument while driving my car or checking my email.

Don’t have to check my instrument with baggage or stow it in the overhead.

I have a very good reason not to smoke or eat stuff that gives me sore throats.

I love a whole bunch of songs, some of which I wrote.

There is no end to the possibilities for development of the voice, and if I forget that, I only have to listen to Bobby McFerrin.

Tags: music meditation singing vocals bobbymcferrin entertaining emotionalrelease

EMDR

Wed, 10 May 2006 23:30:37 -0700

As I was preparing to record my third CD, What Living’s All About, I thought about how, when I was recording my first two, I always got a fever and a sore throat on the day I was to sing the vocal tracks, so that they never sounded quite as good as the way I sound in live performance.

I decided that this time, I would take the opportunity to change that pattern of subconscious self-sabotage. Fortunately, my sister, Jessica Mercure, is a psychotherapist and up on the latest healing techniques. She had used something called EMDR to prepare herself for a much needed, much dreaded surgery, and not only did she go through the surgery without her expected panic, but she healed so quickly that her surgeon was amazed.

EMDR (eye movement desensitization and reprocessing) moves the attention of the traumatized person from the right to left to right to left sides of the body, seemingly from the sympathetic (fight or flight) to the parasympathetic (rest and digest) nervous systems, so that the mind can rapidly process stressful memories and information that may have been “stuck” or undigested, sometimes for decades. Successfully healing combat veterans and rape survivors of post traumatic stress disorder (PTSD) in only a few sessions (rather than years of talking therapy), EMDR works equally well with less intense problems, including my musical performance issues.

Developed by Francine Shapiro, PhD, a clinical psychologist, EMDR holds up to rigorous double blind testing. No one is exactly sure WHY it works, only that, when it is administered correctly by a therapist trained in the technique, it rocks.

I went to the EMDR International Association website, looked for therapists in my geographical area, and found one that specialized in arts issues, Paulette Rochelle-Levy. I had four appointments with her before recording. The first was “intake,” that is, she asked me questions and gathered information about my life and my issue at hand.

On the second appointment, Paulette helped me find the life moments where my fears around singing were catalyzed, and then, as I pictured them, patted first my right hand, then my left, then my right, and so on. My homework was to write a letter to the 12 year old girl I once was, and tell her what is ahead of her in her life, from the perspective of what I have lived to this date.

On the third appointment, Paulette, instead of doing EMDR, lead me in an exercise that I thought, at first, was sort of silly, but it turned out to be just as profound as the EMDR. She asked me to walk, eyes closed, in her living room and say “I am Alicia’s Higher Self” three times, and then to describe myself.

I said, “I am a vortex of swirling energies: elemental nature energies rising from below, inspirational and angelic energies descending from above, genetic, societal, cultural, familial, and past life energies swirling together from all sides. I am the sum of all of these currents of energy coming together.”

Paulette said, “That’s the answer to the question, ‘Who are YOU to be making a CD of your own music.’”

On the fourth appointment we did more EMDR. Two days later I went into the studio, did not have a sore throat, and sang well.

Was I 100% cured? No. On the day I recorded the vocal for Nature Boy, I had a throat issue again, and, as it was an improvised piece (couldn’t re-record it later) with a legendary player who had made some sacrifices to be at the studio for me that day, I had to just do it anyway. To my delight, improvising that song with John B. Williams and Enzo Tedesco turned out to be a peak experience. I like listening to it, too.

Post EMDR, the studio experience was, for me, on the whole, very much more exciting than it was stressful. Good stuff! And my sister will be taking a professional training in EMDR this fall. Meanwhile, she lent me the EMDR book, and I highly recommend it.

Tags: music wlaa performance recording emdr francineshapiro jessicamercure johnbwilliams pauletterochellelevy ptsd psychotherapy

Amana

Thu, 13 Apr 2006 17:53:28 -0700

In January 2001, singer/songwriter/bassist Sachiho Kudomi was vacationing on the Big Island of Hawaii with her rock star husband, Donto, and their two young sons. While they were watching a performance of a hula dedicated to the goddess Pele at Hawaii Volcanoes National Park, Donto suddenly fell over, and was rushed by ambulence to the Hilo Medical Center. The next day he was pronounced dead from a brain anurism at 38 years of age. Sachiho decided that Pele wanted to keep him as her own.

Sachiho returned to Hawaii Island a year later for a memorial service at the largest Buddhist temple in Hilo. Several dozen of Donto’s fans flew over from Japan for the service, which featured a musical performance by Sachiho’s all woman trance music band, Amana.

In between the times I recorded Music from Living on the Earth (January 2000) and Living in Hawaii Style (spring 2001) at Seawest Studio in Pahoa, Hawaii, Sachiho recorded a CD there with a world beat band, saw owner/engineer Rick Keefer’s copy of Music from Living on the Earth and recognized the cover of Living on the Earth. “Oh!” she exclaimed, “Very famous book!” Rick put us in touch by email, and the next thing I knew, I was organizing a Hawaii Island concert tour for Amana to follow the memorial service for Donto in Hilo. I had worked hard on the publicity, and we had large, enthusiastic crowds at every show.

Hiromi, the percussionist, also invited Toshi and Masaha, the members of her other band, Dinkadunk, to play between Amana’s sets. Hiromi learned to drum in Africa (and her daughter is half Zimbabwean).

Yoko Nema sings and plays instruments from India, where she goes often to study Indian music and buy merchandise for Tata Bazaar, her gift store in Naha, Okinawa.

About a dozen of Donto’s fans followed us from venue to venue, attending every concert. A couple of them brought their copies of Living on the Earth (Japanese edition) for me to sign. One night I performed one of my autobiographical story shows, and Toshi, whose interpreting skills are excellent, translated my entire show into Japanese for Donto’s fans as I was telling it.

The three band members all brought along their beautiful, happy, elementary school age children, who never squabbled, screamed demands, complained they were bored, or refused to eat what they were served. For an entire week I observed these amazing children, harmoniously playing together or quietly playing alone, utterly unlike almost every single child I’d ever met in the USA.

The band and their families stayed in a big rental home near the oceanfront volcanic warm ponds in lower Puna. When we traveled to the other side of the island, we camped out with friends of mine who have a botanical garden in Captain Cook. We had as much fun as friends can have together in a week’s time, making music together, laughing, sharing stories and meals.

I am looking forward to traveling with Sachiho and her band again in Japan some day!

Tags: music hawaii pele amana sachihokudomi trancemusic japan

The Gospel Truth

Tue, 04 Apr 2006 17:27:08 -0700

On November 20, 2005, at the recording studio of Scott Fraser in the Mount Washington district of Los Angeles, an amazing collection of musical minds collaborated in recording of my three original gospel style songs, "Doctor Sun and Nurse Water," "Sometimes It Takes a Long Time" and "Love, Understanding and Peace," for my CD, What Living’s All About, due for release in May 2006. Artist/photographer Mari Kono took all of these photos, except the ones of Scott and of Mari, which I took.

First, meet Jessica Williams, red hot rhythm and blues singer and leader of one of the choirs at the Greater Ebenezer Missionary Baptist Church. She hired the other singers, participated in creating the arrangements, and hired the pianist, Reverend Harold Pittman, minister of music at the same church. Her fabulous improvised vocal solos grace both "Doctor Sun and Nurse Water" and "Sometimes It Takes a Long Time," and she delivered a fierce and tender oration on "America the Blues."

Jessica’s choir on my CD includes her daughter, Vetia Richardson, and her friend Irene Cathaway, with whom she sings backup for Connie Stevens. We recorded the singers five times on each song to create the sound of a full choir.

Jessica’s gospel keyboard specialist, Reverend Harold Pittman.

Our bass player, Kevin O’Neal.

Our drummer, David Anderson.

Here I am, wailing with the band.

Ron Grant, my co-producer, works as a film composer. He made all of the music charts for the songs, collaborated on the arrangements and instrumentation, and sometimes conducted the choir. He's got an Oscar and an Emmy on his shelf.

Scott Fraser, recording engineer and live audio engineer for the Kronos Quartet, worked with all of us from a viewpoint both technical and compassionate. Scott was nominated for a Grammy in 2006 for a recording he co-produced.

Our intrepid photographer, Mari Kono, creator of spiritually inspired photocollages and other amazing artworks.

Tags: music wlaa recording gospel blues marikono

Mixing and Mastering

Tue, 28 Feb 2006 00:39:02 -0800

This week Scott Fraser and I finished mixing and mastering my jazz and blues CD, What Living’s All About. This is my third CD, but the first one I’ve participated in mixing. I found it not at all tedious (as I’d often heard), but, rather, really quite fascinating, probably because it’s typical of the intensely focussed, slow, painstaking, detail-oriented actions that are part of creating all kinds of art, even forms that appear spontaneous.

We listened to each instrument and voice separately and in combination, looking for “clams” to fix (not so difficult with today’s Photoshop-like digital recording programs). We adjusted volume between the instruments so that each was easy to hear in its moment to shine and each blended with the others without being hidden when someone else was in the spotlight.

In Scott’s studio, the trap drums get five microphones creating five sound tracks that have to be balanced with each other first, before the drums as a group can be balanced with the other instruments. Bass is next, balancing a track from the pickup on the instrument and a microphone on a stand nearby. The piano gets two microphones, both inside the piano, one pointed somewhat toward the bass end of the keyboard and the other pointed more toward the treble. And so forth, with the lead vocal worked on last.

The mastering process balances the volume levels of the songs, so that none are suddenly much louder or much softer than the rest of the collection. Also we listened for just the right amount of silence between the songs.

Tags: music wlaa digital mixing mastering recording studio