This is, literally, my musical diary–notes fresh from my pen and recorded in a few hours. You can find my finished works elsewhere; here, it's all about capturing the moment!
Yes, on July 3, 2022, I sat down at the piano and banged out this jazz tune. I really can’t remember the details. Maybe I was writing a tune for one of my Euro Bistro gigs? In any case, I know I completed the song quickly because I only put a specific date on music if it goes from idea to completion in one day. On the other hand, the file is named “a_third_of_july-1.1,” so I must have returned to it at some point to make revisions.
Wow. This is turning out to be a boring blog post!
I guess all you need to know is that Paul Langford transformed this from leadsheet to demo with style and class. He really captured the without-a-care-in-the-world lightness that I intended for the song.
This tune has been a long time in the making. It began its life in May of 2022 as a bass line reminiscent of Herbie Hancock’s “Chameleon.” (Though the actual bass line went missing somewhere along the way.) Then it was an AABA head that was too complicated. Then it became an AAB head that was just right. Then the recording of the just-right version had technical problems that kept it from playing here on the blog.
Now, three years later, Paul Langford has stepped in to save the day, recording this bang-up demo of the song. Paul brings out its slinky smoothness, with an underbelly of funk. What do think? Would it sit nicely between tracks by Yellowjackets and Spyro Gyra?
Another collaboration with Paul Langford creating the demo, I named this song “Lightness” because it feels like it doesn’t have a care in the world. I know, I know, I lose all rock-and-roll street cred with a song so nice, but even the most fraught musician has to have moments of ease, right?
And frankly, happy music is hard to write. It’s so easy to fall into cliché and sentimentality. While “Lightness” certainly has a lot of sweetness to it, there are also some harmonic twists that, in my opinion, keep it from being mundane or cloying.
Hey, wait a minute… Why am I apologizing for writing a pleasant song?!
Last year, at Christmas time, I was working on a slightly off-kilter, upbeat blues tune. About the same time, Outside Pocket was playing an event in Lansing called “Silver Bells in the City.” The two things merged to become “Silver Bell Blues.”
The sad news is that I didn’t get a good recording of the song from that event. Further sad news is that I can play a fast blues on bass, but am hopeless on piano, guitar, or any other instrument that would lead to a listenable demo.
The good news is that my old friend Paul Langford possesses those talents in spades. Here is a demo of “Silver Bell Blues” with Paul playing everything. I love how it turned out. Look for more collaborations with Paul in the future!
Here’s a little gem left over from 2023’s recording session with Steve Talaga. You might remember that Steve and I pounded out demos of over a dozen songs in an afternoon. I tell you that to make sure your expectations are sufficiently low.
In this particular case, we recorded Mr. McJudgypants live on piano and electric bass, and then I went back later and added drums and electric guitars. So, if in some spots, you wonder what has happened to Steve’s impeccable timing and groove, I can assure you it is no fault of his. He was playing to a rhythm section that didn’t yet exist!
Now, a more pressing question: Who is Mr. McJudgypants? The sheet music says that he is the son of Mr. Green Genes. Hmm… Though his true identity remains shrouded in mystery, I will say he reminds me a lot of my younger son, Theo, who has a knack for asking rhetorical questions in a way that lets you know you’re on the wrong side of right.
I continue to work my way through Michael Morgan’s Psalms, while also building toward a future jazz/gospel Psalm album. Those two things came together in this new song, a warm jazz ballad of Psalm 75.
One of the things I love about Michael Morgan’s Psalms is that he doesn’t shy away from difficult sections like, “In the hand of the Lord is a cup full of foaming wine mixed with spices; he pours it out, and all the wicked of the earth drink it down to its very dregs,” but he somehow finds a way to place it in the context of a tender, loving God who wants the best for us.
Interesting composition story*: I often write a few completely different versions of a song. I write them quickly, without much editing. That allows me some subjectivity and gives me options to choose from as I move forward. In this case, I began by identifying the basic rhythm I heard in the text: 3 unstressed syllables leading to a stressed syllable. (O God, your DEEDS are un-sur-PASSED, etc.)
That led to a first draft in a modal style. It had its charms, but also had some range issues. The second attempt was a pentatonic melody that was lovely, but reminded me of some things I’ve written before. Today I sat down at the piano and this jazz melody poured out almost as fast as I could write it. It combines some of the better features of the earlier tunes, but has a more interesting harmonic structure and satisfying form. Voila! I fired up my musical robots (Band-in-a-Box) and produced this quick demo by the end of the day. Very satisfying.
O God, your deeds are unsurpassed; no richer grace can earth impart. Your Name is near; you hold us fast. Your love enfolds each yearning heart, your love enfolds each yearning heart.
1. Remove our pride lest we must taste the judgment cup of bitter gall. Let not our bold ambitions take the praise from you, who gives us all. Refrain
2. In truth, all judgment comes from you, whatever earthly courts decree; the evil by your justice fall; the righteous through your grace are free. Refrain
3. Help us to know humility, to follow you in all your ways. From self-conceit, Lord, set us free, to know ourselves and sing your praise. Refrain
*Let’s be honest: there has never been an interesting composition story.
I haven’t posted to my blog in a month, but that doesn’t mean I’ve been slacking off. No, indeed! I’ve been working on some big commissioned projects and soon-to-be-released albums. But here’s a recent arrangement I can share with you.
St. Athanasius
My good friend Carlos Colón wrote a beautiful song based on St. Athanasius’ On the Incarnation, called “Prince of Peace.” He asked me to write strings to go with the choral anthem and then he recorded it with a group of exceptional musicians.
Most of the time, I follow my own artistic impulses, but it is really satisfying to help someone else achieve their musical vision–especially when it turns out so beautifully!
I wanted to feel like I had accomplished something last week, so Friday afternoon I recorded a quick demo of a new Psalm setting. (And then promptly didn’t have time to post it…)
The lyrics are the work of Michael Morgan and were written for the Timeless Psalter to the tune of TOULON. While that tune’s rugged beauty portrays the regal aspects of Psalm 89:1-8 well, I thought there was room for a more gentle interpretation of the Psalm and Michael’s metrical version of it.
Working in a jazz ballad style allowed the tenderness I was hoping for and also gave me lots of room to move harmonically. I love how the key of C quickly turns into a winding path that eventually leads to a chorus in E. No F#. Wait…Bb? And then back to C. And yet for all the twists and turns, it remains quite singable.
1. For all your loving acts, O Lord, I sing; my mouth will shout your faithfulness and care; and heaven’s grateful host will honor bring to you, who wondrous gifts so freely share.
2. What other god of earth and sky can boast the great and awesome blessings you afford? What other mighty one among the host deserves such praise that we should call him “Lord?”
The sky belongs to you, the earth, and all that fill its fertile lands from shore to shore. Your arm with strength will lift us when we fall, and righteousness endure for evermore.
3. Send down true justice from your lofty throne, and all-infusive light shine on our ways, for only by your will such joy we own, and for your gracious favor give you praise!
I collaborated with Michael Morgan many times before his death in 2022. Not long before he died, he sent me a collection of new Psalm settings he had written after the publication of his collection of all 150 Psalms, Psalter for Christian Worship. I have received permission from his estate to continue to write music for his Psalm settings; I like the idea of keeping his memory and work alive after his death.
In this latest collaboration, I used a setting of Psalm 87 that he wrote for Emily Brink. That made my work even more special, as Emily is a long-time friend.
Psalm 87 is a beautiful and surprising prophecy of how God will draw all nations to the holy city of Zion. Long-time enemies like Babylon and Philistia will miraculously be welcomed into God’s family. Psalm 87 goes so far as to say that God loves these outsiders enough to fudge the royal registry: “This one was born in Zion.” This is a lovely reminder that God’s understanding of insiders and outsiders has always been more gracious than ours. Michael Morgan captures this as “generations to be numbered, sons and daughters yet unborn” are “future heirs of Israel.” Beautiful.
I matched these hopeful, expansive lyrics with a buoyant melody in 3/4 whose tempo marking is “bright and regal.” It can be sung as a four-part hymn (Michael was an organist) or as a folk-ish praise song (I’m a guitarist). In the demo above, I’ve combined both of these, creating a style that has a bit of a Celtic or even Medieval flair.
1. Zion, fair and glorious city, sanctuary, grand and sure, where God’s chosen dwell in splendor, ever sheltered and secure.
Glorious things of you are spoken; Jacob’s halls no more excel. On your holy mount are cherished future heirs of Israel.
2. Generations to be numbered, sons and daughters yet unborn rise to greet their God in wonder, looking to the sunlit morn. Chorus
3. Singers raise their songs of gladness; dancers leap with joy anew; Through the seasons everchanging all our springs are found in you! Chorus
Not more than a few weeks after I completed a song based upon Psalm 32, my long-time lyrical collaborator, Doug Gay, sent me a beautiful rendering of the same Psalm. “Well,” I thought, “you can never get enough of Psalm 32.”
Whereas “Blessed Is the One” has an almost Middle Eastern groove, “When I Kept Silent” is an understated Celtic ballad.
Give a listen to both versions and let me know what you think. Is there one you like better as a listener? One you’d be more likely to use in your congregation? Do you hear different nuances of Psalm 32’s message in the two songs?
1. Happy are all those whose sins are removed. Blessed are all souls at home in God’s love. Happy are all folk whose conscience is clear. Blessed are all those whose hearts are sincere.
When I kept silent I wasted away, burdened by guilt every night, every day. When I acknowledged my sin to the Lord, I was forgiven, I was restored.
2. Come then, you faithful, and pray now to God when trouble rises all round like a flood. God is your shelter and your hiding place. God will surround you with strength and with grace.
3. God says, “I’ll teach you the ways you should choose.” God says, “I’ll show you the paths you should use. Walk in my wisdom, my joy will be yours. Trust me and follow, my mercy is sure.”
