Love who (and what) you love…

Love who (and what) you love…

I just returned from thirteen days of heaven on earth a.k.a. camping at North of Highland Campground in North Truro, MA (near the tip of Cape Cod).

One of the things I most love about camping is the lack of interruptions and distractions.

Life is distilled down to basics — and things like TV and America’s Got Talent and Netflix and Orange Is the New Black simply disappear from one’s awareness.

I did not speak with anyone via the telephone.

There was no internet tempting me to visit Facebook or Linked In.

I had no emails reminding me each day about a deeply discouraging array of horrible things happening all over planet earth which I could possibly help by signing a petition and/or donating money.

I listened to no radio.

I read very few magazines (mostly back issues of The New Yorker).

I received no snail mail full of solicitations from environmental defense organizations and prograssive lobbying groups and hard-working political candidates.

Instead I savored the rain and the sun.

And birds.

And wind in the pine trees overhead.

And random sounds of fellow campers in the distance — sometimes the beep of a car with keys left in the ignition, sometimes the cry of a small child having an emotional melt down.

And BLUEBERRIES.

Blueberries1

This year we arrived at the peak of blueberry abundance.

Little scrubby bushes which in past summers might have offered a few berries were now covered with them.

Each morning before the sun became too hot, I picked a mug-full to eat — first with oatmeal and then as an anti-oxidant treat throughout the rest of the day.

Some bushes had small berries, and others were loaded with whoppers.

On the morning of our departure, I picked one final mug’s worth to bring home to Arlington, and I am eating the last of them as I type this entry.

Yum for summer!

Blueberries2

At first I was concerned that I might be depriving the local wild life of much-needed sustenance.

One morning I watched a small red squirrel pick blueberries, climb up on a small tree stump to eat them, climb down to pick more, climb back up to eat more until she or he apparently had eaten their fill and frisked off into the trees.

But that was the only animal consumption I witnessed.

And I saw many wrinkled, older berries on the ground under the bushes — so plenty of them were ripening and falling to the ground untouched by anyone.

I decided it was OK to revel in this unexpected, beautiful, delicious gift from mother earth.

And there were many berries I did not manage to pick and eat when we left our camp site…

Maybe the two wild turkeys we saw as we were packing up camp would return to savor them?

This morning I was given a link to a slide show that a father had put together to play at the memorial service for his four-year-old son, who had died as a result of complications after an unsuccessful heart transplant operation. 

This radiant little being was a student of a fellow Music Together (MT) teacher, and she had reached out via Facebook to a bunch of MT teachers when he was about to go into surgery so that we might pray for him and his family and his caregivers.

Despite the massive amounts of time Aiden had spent in hospitals during his short, sweet life, he was able to stomp in rain puddles and play at the beach  and attend Music Together classes with his parents.

Apparently he loved singing and dancing — and his parents included several MT songs as part of his slide show and memorial service.

From the slide show I could see how loved he was by his extended family.

And as a result of watching it, I brought an aching awareness of love and loss with me to my Music Together class this morning — and did my best to welcome and celebrate each being who came though the door.

The song at the beginning of this post was written by Lynn Ahrens and Stephen Flaherty for a musical called A Man Of No Importance.

I recorded it with Doug Hammer playing piano and Mike Callahan playing horn several years ago as part of my “Will Loves Steve” show — which featured songs written or co-written by people named Steve or Stephen or Stevie.

For me it captures some of the poignance of being a loving human here on planet earth.

Thank you for reading and listening!

Blueberries from Truro

Does July Need A Sky Of Blue?

fluffy-white-cloud-on-deep-blue-sky-725x544

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.

Who Could Ask For Anything More?

 

Today I sit on our back porch, savoring a gentle breeze and warm, spring-like weather.

Ahhh….

A careful reader might notice that I haven’t posted anything since December.

We had a long, snowy winter here in the Boston area — and at the end of February I managed to fracture the bottom surface of my left humerus (upper arm bone) by tripping over a very enthusiastic 18-month-old student who got behind me (without my realizing it) during one of my Music Together classes.

Six titanium screws later, my left elbow is mostly functional — and a few more months of painful therapy may, in frustratingly small increments, restore full functionality.

We shall see…

One of the blessings of my recent encounter with the world of Western medicine is that I found a great surgeon — the head of orthopedic medicine at Tufts Medical Center! — who was willing to screw the various chunks of my humerus back together again. He is also a terrific listener who makes unwavering eye contact during conversation.

Image by Naturelady from Pixabay

And the anesthesiologists who took care of me during my surgery were also willing to listen to my request that they NOT intubate me. Instead they used an alternative device which didn’t poke through my larynx, bless them.

So I experienced no inadvertent bumps or scratches on my vocal cords while I was under anesthesia.

Now a very patient and sweet-tempered occupational therapist is helping me persist in my quest for a fully functional left elbow.

Through this entire process I have been blessed with music — healing tracks by Libana, Bobby McFerrin, Annie Bethancourt, and Bill Glassco (to name a few) — as well as a very soothing guided meditation by Peggy Huddleston to help prepare for and recover from surgery.

Although my left arm aches 24/7 — especially after I have done my stretching exercises — listening to music, practicing music, learning new songs, performing music, jotting down new musical ideas, and leading my Music Together classes all, thankfully, distract me from the sensations in my arm.

I have included a fun version of the Gershwin Brothers’ song “I Got Rhythm” (originally debuted by a very young Ethel Merman in her star-making performance as part of the Gershwin Brothers’ musical Girl Crazy) at the beginning of this blog post.

I recorded it with Doug Hammer on piano at his studio on the North Shore. You can hear him laughing at the end of the take because he didn’t know I was going to hold a particular note as long as I did in a spontaneous homage to Ms. Merman…

It sums up my outlook during this recovery period, and it certainly fits the mood of today, as birds swoop through our back yard, and bees of all sizes diligently gather pollen from the flowers blooming around town.

Thank you to the photographers at Pixabay.

Thank you to Doug Hammer for his marvelous piano playing AND engineering skills.

Thank you for my excellent medical care.

And thank YOU for reading another one of my blog posts!

Deep breath in.

And deep breath out.

Let Me Be Strong

 

I was riding my bike home in the rain this week and remembered a song written by a New England author and songwriter named Barbara Baig.

“Rain beats at the window as I stare into the night…”

I recorded it a while ago with Doug Hammer playing piano — and, I think, Chris Rathbun on upright bass and Gene Roma on drums — at Doug’s Dreamworld Studios on the North Shore.

That was when I was hosting a performance series in Harvard Square called “Will & Company.”

Each show featured a local songwriter and a local singer about whom I was excited.

I recently learned that one of the songwriters, Ernie Lijoi, has written lyrics for two songs in a musical called It Shoulda Been You which is opening on Broadway at the Brooks Atkinson Theater in April of 2015 starring Tyne Daly and directed by David Hyde Pierce.

Go, Ernie!

“Let me be strong and moving through fear….”

One of our friends, Peter Watson, has used “Let Me Be Strong” in the Opening the Heart workshops he co-leads.

Although a lot — a blessed lot — of stuff is going well in my life these days (a devoted life partner, robust Music Together classes, more performances at retirement communities and libraries, basic health, no debt, a functional bike, a wonderful web of family and friends for whom I am very grateful, and the list goes on and on), I also find myself standing from time to time in deep puddles of fear.

And I berate myself for feeling scared — aware that billions of beings on planet earth are not as fortunate as I am.

What do I have to feel scared about?

Yet I am also aware — without reading the paper, listening to the radio, watching the news, or tapping into various social media — that our human population continues to climb, that more and more species of animals and plants are becoming extinct, that our economic models are based on an advertising-created desire to possess more and more things, etc. etc. etc.

Thinking about these global challenges leaves me feeling scared, or sad, or angry — or all of the above.

How do we not become mired in fear?

How do we keep our hearts open?

How do we change our lives to respect and honor and nurture the amazing web of life currently unraveling on planet earth?

And how does music fit into any/all of the above?

Love Is Real

 

Love IS real.

It may not always be easy to feel, but it’s always there somewhere — or perhaps everywhere? — waiting to be tapped into.

In the two years since I was laid off from my day job, I have come to understand that music is one of our most accessible — and brilliant — technologies for re-connecting with love.

I experienced another love-filled gig with pianist Joe Reid last Saturday at a retirement community to the south of Boston.

It was the first time we had been there; so I didn’t know what to expect.

I was also feeling a bit concerned that our choice of “Make Someone Happy: The Songs of Jule Styne” — rather than a program of songs by the more familiar Cole Porter or Gershwin Brothers — might have been too risky for a first visit.

But we were warmly welcomed, ushered to a lovely performance space (not too big, not too small — a “just right” Goldilocks fit) with a small grand piano, a good PA system, and an audience of American Popular Songbook aficionados.

The size of the room — and the lighting in the room — made it possible for me to make eye contact with everyone.

Many audience members knew the words to the songs we were performing — and I, inspired by my Music Together classroom experiences, exhorted everyone to hum, tap, snap, or even dance if the spirit moved them.

There is something about the structure of a well-written song that allows — even encourages — one to put one’s heart into the singing of it.

And knowing that a song has a beginning, a middle, and an end somehow makes it safe for me as a singer to experience a wide range of feelings while I am singing it.

I think I have written in previous blog posts about how amazing subtext can be — how simply changing what or whom one is thinking about as one is singing can completely alter one’s interpretation of a particular song.

I have even begun to wonder — as I sing and make eye contact during performances with as many different audience members as are willing to connect in that surprisingly intimate way — whether I start connecting on an unconscious level with some of THEIR subtext, THEIR history, and THEIR associations with a particular song.

Whatever is transpiring energetically, it certainly opens MY heart — and re-connects me to feelings of joy and heart-ache and love and fear and desire and hope and pain.

Afterwards Joe and I listened to the stories that these songs evoked in the residents — tales of huge summer parties near Westport, CT in the 30s and 40s, or of seeing Barbra Streisand in the original production of Funny Girl, or of listening to these songs on the radio with loved ones in the living rooms of their past.

One woman said something like, “We have to have you and Joe back again right away — your singing reached inside and touched my soul.”

This is what I live for.

This is what music can do.

Two strangers can, in a safe and well-boundaried way, touch each other’s souls.

John Lennon knew that.

He wrote the song “Love Is Real” — which I recorded several years ago with Doug Hammer at his Dreamworld Studio. Then I monkeyed with those tracks using Garageband to create the version at the top of this page.

Thirty four years ago John Lennon was killed as he got out of his car and headed into his apartment in NYC.

According to Wikipedia, he had chosen to get out on 72nd Street (rather than the driving into the courtyard of his building) so that he could chat with any fans who might be waiting to say “hi” and ask for an autograph.

In fact, earlier in the day he had autographed a copy of Double Fantasy — the life-affirming album he had recently released with Yoko Ono — for the man who later shot and killed him.

After I heard the horrible news of John’s death, I remember walking along Massachusetts Avenue in Harvard Square, feeling very sad and upset that this could ever have happened.

One loss often awakens previous losses — like a metal chime rippling and echoing through the layers of one’s emotional body and memory.

So, with hindsight, it is very likely that I was also grieving other deaths, other losses, other assassinations — as I grieve tonight…listening to John’s music and reflecting on his inspiring life.

You can click here for a link to a comforting essay I found online which offers perspective about why so many of us continue to be so deeply moved by John’s murder.

I loved John Lennon.

I continue to love his music — as well as the music of all The Beatles.

And his songs live on.

Love IS real.

Something Good

 

Bob Jolly

Skimming over some of my previous posts, I see that I rarely mention anything about feeling frustrated, unhappy, anxious, or any other “negative” emotional state.

I would like to clearly state that I feel disappointed, scared, envious, disheartened, disgusted, vengeful, upset, discouraged, and cranky on a regular basis.

But I strive — when feeling out of sorts — to remind myself of any number of things in my life that I can be grateful for.

A wonderful life partner.  Health.  Plenty of food.  Lots of family.  Lots of friends.  A functional bicycle.  Employment.  A safe place to live.  Clean water.  No tanks patrolling my neighborhood.  Music.  Electricity.  The children and grown-ups in my Music Together classes. Warm clothing.  Two lap top computers.  Access to the internet.  Great collaborators.  Our local network of public libraries.  The retirement communities which invite me and my pianist friends back to perform again and again.

Once one gets started, the list can go on and on and on…

The week before Doug Hammer and I performed Songs About Parents & Children at the Third Life Studio in Somerville, MA, I found out that I had been awarded a grant from the newly-created Bob Jolly Charitable Trust to help pay for rehearsals and marketing outreach.

Bob Jolly, who died in 2013, was a beloved actor in the Boston community for 28 years.

Bob Jolly

The Bob Jolly Charitable Trust — established by his will — supports local actors, performers, composers, and theater companies with modest yet very meaningful financial support.

I am very grateful for this grant as well as Bob’s vision to nurture Boston’s creative community for years to come.

His generosity is indeed something good!

The song in the player at the beginning of this blog post was created by Richard Rodgers for the movie version of The Sound Of Music.

To my ears, many of the songs from The Sound of Music are tinged with a bittersweet quality.

This may be because they remind me of my own childhood, and seeing the movie version of  The Sound Of Music on a huge screen at a theater in Times Square, NYC.

This may also be because I know now that Oscar Hammerstein was dying from stomach cancer while they were working on this — their last — show.

This knowledge makes songs like “My Favorite Things,” So Long, Farewell,” “Climb Every Mountain,” “Edelwiess,” and “The Sound Of Music” seem especially poignant and intimate — a final gift of wisdom to all of us from Oscar as he approached his own death.

Bob Jolly

Richard Rodgers wrote both the music AND the lyrics for couple of songs which were added to the movie version: “I Have Confidence” and “Something Good.”

He wrote both the music and the lyrics because Oscar died before the movie was made.

Learning more about Mr. Rodgers life — including his challenging relationship with Larry Hart, his own (much more covert) alcoholism, his relationships with various female cast members in his shows — many more layers of complexity to “Something Good,” which Doug and I performed as our final encore at the end of Songs About Parents & Children.

Deep breath in.

Deep breath out.

PS: In the years since I published this blog post, I have released “Something Good” to various streaming platforms.

On some it has proven to be surprisingly popular (9375 plays on Pandora, for example) while on others much less so.

I guess this is the result of the mysterious algorithms which affect how much one’s recordings are shared with other potential new listeners…

You can click here for a link to many different streaming platforms if you are curious.

Thank you to Bob Jolly for his generosity — which extends well beyond the boundaries of his life here on planet earth.

Thank you to Richard Rodgers and Oscar Hammerstein, II for the legacy of their songs and shows.

Thank you to Doug Hammer for being such a swell collaborator over several decades.

Thank you to Stephen C. Fischer for his photography and graphic design skills.

And thank YOU for reading and listening to another one of my blog posts.

One more deep breath in.

And deep breath out.

What Is This Thing Called Love?

This past Sunday pianist Joe Reid and I performed an hour of songs with music by Harold Arlen at an independent living center in Quincy, MA.

The residents who showed up were very friendly — and a few of them knew the words to almost every song!

Even if they weren’t singing, I could see that everyone was moving some part of their body — fingers, toes, head, torso — in rhythm with the music.

It was a delightful way to spend an hour of my life.

Afterwards one woman — whose eyes had been closed for much of the time — explained that when these songs had been popular, she and her husband had not had a lot of money, but that they HAD been able to listen to music on the radio.

So even though it may have appeared she was dozing off,  she had in fact been remembering that time in her life and imagining that her husband was still sitting next to her.

Deep sigh.

What is this thing called love?

What Is This Thing Called Love?

The previous day pianist Doug Hammer and I had performed a 40 minute chunk of my show, “The Kid Inside,” at a benefit for a new organization called OUT MetroWest.

OUT MetroWest has been providing supportive space for LGBTQ teenagers to meet for many years, and this benefit was a big step to expand their services beyond the Unitarian Universalist church in Wellesley where they began.

I originally created “The Kid Inside”  to perform for the 10th grade class at my high school. It’s a recollection, using stories and songs, of my high school years — including how conflicted and confused I felt about my sexuality.

At one point I tell a story about when — lacking a gay-straight alliance on campus or even any “out” faculty members to whom I might speak — I sneaked from my dorm one night and knocked on the front door of an apartment belonging to one of the young, unmarried male teachers who lived on campus,

When he answered the door, I was unable to say anything and just stood there — feeling stuck and ashamed and humiliated.

I follow this story by singing the Cole Porter song “What Is This Thing Called Love?” — which is in the player at the top of this post with Doug Hammer on piano, Mark Carlson on bass, and Kenny Wenzel on trombone.

I am happy to know that there are now safe spaces at many high schools to talk about the amazing and powerful and at times perplexing topics of sexuality and identity and relationships — as well as organizations like OUT Metro West.

And I am amazed at how songs can re-connect us with people and places from our past.

Love is a mystery.

How music taps into our memories and opens our hearts is a mystery.

Today I embrace those mysteries and remain grateful for all the music in my life on a daily basis.

Thank you for reading…and listening.

The Ebb and Flow

Image by günter from Pixabay

Autumn is arriving here in Boston, MA.

Summer is ebbing, and cooler air is flowing into our neighborhood.

In the morning I sit on our back porch, wearing a hoodie until the sun warms everything up.

I listen for sounds from the natural world — today, a blue jay — competing with the sound of cars and buses and trucks and motorcycles nearby.

And I happily remember my time last month camping in North Truro on the Cape and next to Cayuga Lake in upstate New York.

I find camping to be a terrific reminder of many important things.

For example, how little water one needs to wash dishes.

Image by 国明 李 from Pixabay

Or wash one’s hands.

Or take a shower.

The campground has communal cabins with sinks and toilets and showers, but the sinks have taps which automatically shut off after about three seconds — a simple and very effective reminder to use water more mindfully — and the showers are activated by quarters (25 cents for three minutes of hot water).

And in upstate New York I simply jumped — except for the times when my feisty nephew Ryder pushed me — into the lake each morning and then scrubbed with Dr. Bronner’s soap and a washcloth.

We had no radio, no TV, and no internet.

Image by Mickey Estes from Pixabay

We awoke early — due to birds singing their morning calls — and went to bed early, too.

Sometimes we all sang together after dinner — songs written by the Beatles being the most popular…

I wrote new songs for most of each day — happily holed up on the boathouse or in a tent with my ukulele and laptop computer and rhyming dictionary — and then joined other family members for a swim in the late afternoon.

One of the most powerful part of camping for me is being reminded of the ebb and flow of life.

We see it at the beach.

The waves flow in and out at the water’s edge.

Image by marco bubbio from Pixabay

The tide rises and falls, sweeping the ocean shore clean of footprints twice a day — while revealing (and later concealing) sand bars, rocks, shells, crabs, sea weed, drift wood, and tiny jumping sand fleas.

Back at our campground, we see neighboring tent sites fill with new arrivals and then empty out at the end of each week.

What was once a colorful array of tents and campers and cars and coolers and towels and bikes returns to being a community of pine trees, squirrels, golden finches, blueberry bushes and open air.

I find it a very poignant reminder of mortality — my own as well as the mortality of all the people and places and animals and plants I love here on planet earth.

Image by Peggychoucair from Pixabay

This feeling of mortality seeped into a song I wrote, “Under My Umbrella,” which is embedded at the top of the page.

It seems to fit with the days getting shorter as we approach the autumnal equinox.

Deep breath in.

Deep breathe out.

Thanks for reading…and listening.

Everybody Says Don’t…

Image by laurenta_photography from Pixabay

One of my favorite Stephen Sondheim songs — “Everybody Says Don’t” (on the player embedded above) — is from his first official flop, Anyone Can Whistle, which starred Angela Lansbury, Harry Guardino, and Lee Remick on Broadway in 1964 and ran for nine performances.

Among other topics, the plot explored the classic question of who is saner — the folks in a mental hospital or those who are not.

“Everybody Says Don’t” invites us to consider how we make choices.

Many of us make choices based on what other people say or think.

Sometimes this demonstrates a healthy respect for our shared values as human beings — and helps to keep our societies more, rather than less, civil.

Sometimes it’s a way to avoid saying or doing something important — something which might be utterly, uniquely, and profoundly why we are alive here and now on planet earth.

I might have stayed in my non-musical day job as a PR/development/events professional for another 16 years if I hadn’t been laid off.

The job offered me teamwork, camaraderie, shared purpose, a paycheck, respect from my peers, and daily surprises/challenges.

Will McMillan by Stephen C. Fischer

But it was not tapping very deeply into my musical soul.

Now I am devoted to making music for a living — as a performer, a songwriter, and a Music Together teacher.

The sentiment of “Everybody Says Don’t” reminds me of one of the guiding principles of Music Together — that anything a child chooses to do during class is fine and needs to be respected as part of their learning process/style.

A child’s caregiver may want them to sit still and “play” a drum — or a shaker egg, or a triangle, or a set of wooden sticks — in a particular manner.

But their way of soaking up the music in class may involve moving their bodies around the room, sitting in a corner (seemingly disconnected from everything happening in class), or bouncing up and down in someone’s lap.

As long as the child is not endangering themselves or hurting someone else in class, s/he is free to respond to the music in her/his own fashion — which may change from song to song and class to class.

I sometimes imagine the adult caregivers (moms, dads, nannies, grand mothers, grand fathers, au pairs, uncles, aunts and more) as younger versions of themselves — who may have been told somewhere along the line: “don’t sing so loudly,” or “don’t sing out of tune,” or worst of all, “don’t sing — just move your lips.”

Image by Joe McDonagh from Pixabay

One never knows what musical wounds people may be bringing into our classrooms…

As one teacher remarked at the end of a three day Music Together seminar, “90% of our job is showing up with a compassionate heart.”

I guess that could be true about a lot of our interactions here on planet earth…

Deep breath in.

Deep breath out.

Thank you for reading and listening to this blog post.

I welcome any comments you might be inspired to share below.

The Lord Of The Dance

Joseph Campbell

Once upon a time, Bill Moyers interviewed Joseph Campbell for a wonderful series, The Power Of Myth, which aired on PBS.

I remember being very stirred up by many of Mr. Campbell’s observations.

One of them was the idea that plants grow back — sometimes more vibrantly — after being pruned/cut down and how this biological event might relate to the idea of a g-d such as Jesus, who was killed yet rose from the dead.

I think this concept stuck with me because of a song, “The Lord of the Dance,” which I first learned from a friend of my older sister when we were singing in my grandmother’s kitchen.

I had always assumed that “The Lord Of The Dance” was a traditional folk song, but a fellow blogger recently told me that the words were written by an English songwriter, Sydney Carter.

According to Wikipedia, Mr. Carter was inspired partly by Jesus, but also partly by a statue of the Hindu God Shiva as Nataraja which sat on his desk.

Pruning… (Image by Ray_Shrewsberry from Pixabay)

He later stated, “I did not think the churches would like [“The Lord Of The Dance”] at all. I thought many people would find it pretty far flown, probably heretical and anyway dubiously Christian. But in fact people did sing it and, unknown to me, it touched a chord … Anyway, it’s the sort of Christianity I believe in.”

Many years ago I recorded a version of “The Lord Of The Dance + Simple Gifts” with help from Jere Faison (producer), Patty Barkas (back up vocals), Jonathan Keezing (guitar), and Robert M. (bass).

With Easter on the horizon, I thought this might be an appropriate time to share it.

Just click the player at the beginning of this post.

May we all be able to rise up again after we have been knocked down by one of life’s many challenges.

Another deep breath in.

Sydney Carter

And deep breath out.

I will close with more thoughts from Sydney Carter (and you can click here to read a simple obituary if you are curious to learn more about his life…)

“I see Christ as the incarnation of the piper who is calling us. He dances that shape and pattern which is at the heart of our reality. By Christ I mean not only Jesus; in other times and places, other planets, there may be other Lords of the Dance. But Jesus is the one I know of first and best. I sing of the dancing pattern in the life and words of Jesus.

Whether Jesus ever leaped in Galilee to the rhythm of a pipe or drum I do not know. We are told that David danced (and as an act of worship too), so it is not impossible. The fact that many Christians have regarded dancing as a bit ungodly (in a church, at any rate) does not mean that Jesus did.

The Shakers didn’t. This sect flourished in the United States in the nineteenth century, but the first Shakers came from Manchester in England, where they were sometimes called the “Shaking Quakers.”

They hived off to America in 1774, under the leadership of Mother Anne and established celibate communities – men at one end, women at the other; though they met for work and worship.

Image by Fernando Albert from Pixabay

Dancing, for them, was a spiritual activity. They also made furniture of a functional, lyrical simplicity. Even the cloaks and bonnets that the women wore were distinctly stylish, in a sober and forbidding way.

Their hymns were odd, but sometimes of great beauty: from one of these (Simple Gifts) I adapted this melody. Sometimes, for a change I sing the whole song in the present tense. ‘I dance in the morning when the world is begun…’. It’s worth a try.”

One more deep breath in.

And deep breath out.