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!
“Slowly” (the song) has slowly (the adverb) been making its way into Outside Pocket gigs. I thought it was time I made a clean recording of it–though this is by no means anything fancy.
This is a love song, but a cautious one. We all know the hesitancy to jump back into a relationship after being hurt by a previous one.
Some things I like about this song musically: The bold leaps down a 6th are striking and give the song a unique musical fingerprint. Those leaps are answered by quick runs that, I can say firsthand, are quite difficult to sing. Finally, the shift back and forth between the Ebmaj7 (sweet) and Abm/maj7 (spicy) sets up a nice tension that keeps things from getting too syrupy.
“Mode Blue” was one of a few songs in which I played with the minor blues form. A minor jazz blues tune invariably moves from the minor i chord to the minor iv chord, i.e. Am to Dm. (Read more here.) I started to wonder, “Would it still feel like a minor blues if it moved from Am to Gm?” I know, I’m a pretty interesting guy with a riveting thought life.
Before 2023 ends, I wanted to return to the recordings I made with Steve Talaga. As you may remember, these were a dozen or so jazz tunes that he and I recorded one afternoon in September. Nothing fancy, just playing through the tunes and recording them in one or two takes.
Americana was written in a hotel room in Detroit, where I played bass during the day while my wife trained for a new job. I thought it would be fun to have a song intended specifically for the bass. True, there are iconic bass lines like “So What” and “All Blues,” but I was thinking something that allowed the bass to come to the foreground.
What I came up with is “Americana.” It is a simple tune that uses the open strings of the bass to create a sweeping melody. It has overtones of pentatonic melodies like “Shenandoah,” hence the title, “Americana.”
I have been a member of the Rascals, Rogues, and Rapscallions since its inception in 1989, though less active in recent years. In those early years, I designed the Rascal flag, created a documentary about Burgettstown, PA, and have even been known to smoke a ceremonial Rascal cigar.
One of my other roles was that of “maestro,” leading the singing of “My Last Cigar,” assembling male quartets and brass bands for various occasions, and most notably, composing the fraternal order’s theme song.
Greg, back when he had hair and smoked cigars.
“Interesting Thing” captures in song the group’s quest for knowledge, love of adventure, and fascination with the obscure, mundane, and offbeat. I was recently asked to record the song for posterity. The chorus is a rousing march that can be sung again and again with gusto. The verses…not so much. I originally envisioned writing a new verse for each meeting’s presentation. For example, one of the verses in this recording commemorates Dennis Looney’s presentation on the persistence of Dante in popular culture.
This December, I wrote four string arrangements of Christmas carols for Wendell Kimbrough and Church of the Incarnation in Dallas. I was simultaneously planning a service of carols for Rosewood Church in Jenison, so I decided to get double duty out of one of the arrangements. This version of “Hark the Herald Angels Sing” has a funky backbeat that gives a fresh new twist on the classic.
You can hear it at 13:27 in the video below.
If you’re interested in the music for these four Wendellified arrangements, you can find them here:
A few years ago, I helped write a song called “Refugee King (Away from the Manger).” This year, I used it in a service accompanied by The All Saints Orchestra (St. Sinner’s holier half), so I decided to write a string arrangement for the ensemble. It’s very difficult to avoid gilding the lily on a song like this, but I think this arrangement strikes a good balance of background “string halo” and foreground string writing. I was especially pleased with the “running” figure in the instrumental verse.
Enjoy the dulcet tones of Lindsey Burkey singing with the All Saints Orchestra at Rosewood Church, Jension, MI.
Edit: I cannot for the life of me figure out how to make the video play from a particular spot, so if you’re interested in hearing “Refugee King,” go to 30:30 in the video below.
As the year ends, I’m going to try to catch up on blogging 2023 compositions. Posting them in 2024 will seem…stale.
This arrangement of the classic Christmas carol, “Once in Royal David’s City” is a collaboration between me and my old friend Carlos Colón. (That is not to say he’s elderly–we’ve just been friends for a long time.)
The arrangement began its life as a violin and piano duet written for Sarah York. Carlos used it in one of his Christmas services at Baylor University. Since he also had a cellist available, he had the cello double the bass line of the piano part. It worked splendidly. This Christmas he turned it into a full-fledged arrangement for strings and flute. Bravo!
I have a certain ambivalence about Christmas music. On the one hand, I like a bit of schmalz as much as the next guy. On the other hand, do we really need to listen to Mariah Carey from the day after Halloween until shortly before the new year?!
Having said that, I was playing around at the piano the other day, and out popped an idea just begging to be a Christmas song. At first, I was thinking it would be a miss-you-at-Christmas song, a la “Blue Christmas.” But then I thought of how beautiful Michigan is in the winter and what a lovely place it is for family to gather on the holidays. So I wrote an ode to our fair state from the perspective of someone hoping to bring far-flung loved ones back for Christmas.
1. Arizona sounds great on a winter day, but I’d miss all the magic of a snowflake.
Warm and sunny every day has its charms, I guess, but I still love the way the seasons change.
2. As the fire of autumn leaves begins to freeze and the sun shines so bright upon the city’s streets;
Oh, the air may be brisk– I don’t mind a bit when I think of the warm home waiting for me.
Don’t you miss it in the Mitten? You know your home will always be here.
Don’t you miss it in the Mitten? Come back for Christmas in Michigan.
We started this “Music Unites Us” series with an overview video introducing the project. We’ll end with this documentary that goes behind the scenes, interviewing the performers and me about the creative process. I usually hate watching videos of myself, but this video is interesting enough that I watched it all the way through!
Lương Chí Cường moved to America a few years ago after a successful singing career in his home country of Vietnam, even winning Vietnamese Idol. The song we chose for his collaboration with the Holland Symphony Orchestra was a rousing song of national pride, Dòng máu Lạc Hồng (The Children of Lac Hong).
This song has the feel of a score from a Hollywood blockbuster, with strings soaring into their upper register and brass punching through with regal fanfares. Still, the full orchestra is no match for Cuong’s powerhouse voice, spectacular wardrobe, and performance style. When he left the stage and sauntered into the crowd (3:26) I thought the crowd would lose its collective mind!
Besides the overall pedal-to-the-metal orchestration throughout, here are a few moments I particularly like:
2:31 I discovered a while back that using a clothespin as a violin mute imitated the nasal tone of the Chinese Erhu or Vietnamese Dàn Gáo. The first time the orchestra rehearsed this section, everyone looked around to see what exotic new instrument this might be.
4:01 The percussion-heavy arrangement culminates in an extended percussion section in which two sets of tom-toms spar over a foundational beat from the drum set.
4:46 At the final return of the chorus, I wanted to ramp up the energy even more, so I used an unprepared modulation to increase the intensity, switched the flutes to piccolos, and gave all the woodwinds Philip Glass-style arpeggios that really cut through the wall of sound coming from the rest of the orchestra.
