In Studio Summer, A Photo Album

I’m thrilled about this summer – one of the most gorgeous I recall in Seattle. Now that it’s over, I’m looking back at the studio work I did.

Earlier in the summer, I recorded for Ahamefule Oluo’s “Now I’m Fine” comedic/musical/monologue show (which is coming up in December at On The Boards) over at Sam Anderson’s studio (of Hey Marsailles) as well as a recent exciting invitation to lay down harp tracks for the next Mackelmore & Ryan Lewis album!

I’ve also been in the studio recording for my own album of original songs, practicing with a bunch with lovely women with gorgeous harmonies (with my little girl running around between us). Its been a pretty amazing time.

Here’s a photo album.

He's got some 'splainin' to do
He's got some 'splainin' to do
Sam & Me
Sam & Me
Harp Chart
Harp Chart
In-Studio Selfie at Macklemore & Ryan Lewis'
In-Studio Selfie at Macklemore & Ryan Lewis'

“In the Shadows (of Enchantment)” on Ball of Wax Quarterly

Julie Baldridge and I recorded a handful of song last spring on my birthday this year. She’s a violinist friend I’ve been playing with for a decade, but she recently moved to San Francisco. We hadn’t played together for quite a while, but all in a short span of time, she was in town, we made plans to play, and on that day I said, “Hey, would you like to record this?”

Most of what we came up with was improvised, like this song – “For Elsie”

We also recorded a song I had previously written, “In the Shadows (of Enchantment)”. I was so pleased. Julie followed the harp so well, but of course she would – just moments before I pressed record she said to me, “half of music is listening.”

You can now hear “In the Shadows (of Enchantment)” on Ball of Wax Quarterly. It appears on BoW 36 and it also got a little review here.

I’m also playing on July 19 for the Ball of Wax Children’s Concert at Fremont Abbey at noon. It should be a hoot.

The Enchantments
The Enchantments

Three Short Poems

Inspired by the recent host of the AWP in Seattle, I’m revisiting some poems. These two poems were published last summer in RASP Anthology

A Blessing (Sunflower)

May you continue to give graces
And bloom again next year.
The bride will want to see you
Growing tall in the golden field
May your head be high
And small creatures
Lift you up with their sweetness
Though they may crawl through life
We are all born with wings

Brown County, 1909

Trouble in the kitchen
With the skillet
Paul dug the outhouse
Too shallow this time
Got a full coop of
Chickens and children
Sure could use a whiskey
But I’m pregnant again

This poem I found while going through some writing circa 2006. It sort of resonates with the narrative brevity of the other two:

(Untitled)

A Hopi woman’s life
is now a radio story, her people
belong to the air
like her loom shaft, that she presses down
to even out the wool
she hopes the truth
will be straight.

There’s a Racer Inside Me

Sometimes, I write fan mail. Yes, I do! Who doesn’t like positive vibrations? Last year I wrote to Regina Specktor. No response. Of course, I don’t really expect to hear back from these busy full-time artists that don’t know me. That’s why I was so pleasantly surprised this week when I heard back from someone I reached out to!

I wrote to Claudia Schmidt, seasoned singer/songwriter and prolific folk and jazz recording artist from the Midwest. Here’s my email to her below and her thoughtful response:

January 6, 2014

Dear Claudia,

I came upon your music by pleasant surprise. To me, it was magic really. If you don’t mind indulging me here, I’d like to share the story with you.

It was this last October. I was in the car in the middle of the night. I had just dropped my husband off at Sea-Tac airport so he could fly to New England and move his mother into assisted living. It was an emotionally heavy departure and a surreal feeling to be awake and functioning at 4:30 in the morning. Our 2 ½ year old daughter was in the back seat, barely awake, piecing together the family tree aloud with her little baby voice. It was still pitch black as we drove north to our Seattle home. Then, around the curve of 1-5 the lights of the city appeared. I was listening to KEXP and your song “Persephone’s Song” came on. That song was exactly the journey of that drive for me. Persephone and Demeter, the mother and daughter. The black departure into the unknown underworld.

As a harpist, hearing the harp played always catches my ear. I turned up the music. I wasn’t sure if you were singing and playing? Who is this harpist? What is this song? I was hypnotized. We girls were quiet in the darkness as we listened to you sing “I need my rainy days.” We were on the edge of our own rainy days, the ones that make Seattle iconic, as the onset of another Pacific Northwest winter would soon begin.

Since that wee morning, your album “Bend in the River” gets plenty of play in my house. My daughter fondly, and simply, calls you Claudia, as if she knows you personally. Your voice is a familiar friend, kid friendly, and inspiring to this mama. Thank you. I love how my little child runs around the house singing “there’s a racer inside me, I can’t slow her down!”

If I may ask, I would be very pleased to purchase any arrangement you have of “Persephone’s Song” – it would be a great gift in fact.

Blessings this new year,

Monica Schley
Seattle, Washington

mother & daughter
mother & daughter

… and the response…

January 7, 2014

Dear Monica,

Thank you so much for the lovely letter. You really took me into the scenario!  My friend Andrea Stern, a Mpls. musician, played on that.  I will ask if she has a chart that I could make a copy of and send you.  I’m glad you found the song.  I still sing it often.

As it happens, I will be in Seattle on Sunday April 6 at the Royal Room. It’s a bit later show than usual, they had an event already. So I won’t start till 8:30pm, a late start for my peeps these days!  …. And I hope you can come (I promise I will do Persephone for you). I am also celebrating the release of a new Red House CD on that trip. Lots going on!  Be well, and I hope to see you soon.

Peace,
Claudia

Claudia Schmidt
Claudia Schmidt

It’s Here! (digitally)

Album Cover design by Luara Moore
Album Cover design by Luara Moore

I am so excited to announce that my first full-length album “Harp Carols” is now complete for this year’s Christmas season. This is an album dedicated to my mother Nancy, who has been asking for something like this from me for over a decade. You can download it for $7 or purchase the disc for $10.

“Harp Carols” is a collection of ancient noels and features clarinetist Rosalyn DeRoos on the last song. All songs are traditional Christmas carols except track 7, an improvisation on Gabriel Faure’s “Pavane,” and track 10, “Journey to the Magi,” an original tune a la Alice Coltrane with influence by the T.S. Eliot poem.

“Harp Carols” CD Coming Soon…

I am so happy to announce that I’ve got a new CD coming out! December 1st is the estimated arrival date for the physical CD to go on sale, digital downloads will be made available the week before.

“Harp Carols” is a collection of ancient noels on solo harp, ten in all. Related to that, there will be a CD release concert, December 21st. Please join me for a special twilight concert on the darkest day of the year.

You are invited:
HARP CAROLS CD RELEASE, 4:30pm (winter solstice twilight)
Harpist, Monica Schley, has recorded a Christmas album of ancient noels on harp including “Greensleeves”, “Carol of the Bells”, “Venite Adoramus” and “O Tannenbaum.” An intimate twilight concert will be held on Saturday, December 21st, the Winter Solstice, at Muse Coffee Co. in Seattle (Queen Anne). 4:30pm. Clarinetist RosalynnDeRoos will special guest. The album will be available for sale at $10, with digital download for $7.

in the Rose Garden, photo: Malcolm Smith
in the Rose Garden, photo: Malcolm Smith


“The Salt-Water Erasures”

I have been asked by Heather Bentley, to read some new poetry coming up on July 8 at the Royal Room. The evening is called Club Shostakovich, which Trio Pardalote will curate.  It is a free evening of chamber music and poetry – sophistication and affordability at their best! Yes. You should come.

csposter1

I’ve been re-working some older poems this spring and summer, I guess mostly because of limited time. I had been toying with the idea about doing some sort poetry experience, when and opportunity to do something in the field (literally, a field!) came my way. I’ll be sharing “The Salt-Water Erasures” first at Club Shostakovich, and then up at Smoke Farm in Arlington, WA for the Lo-Fi Arts Festival. Yes. You should also make a drive to the farm. It is pretty and large and there are few rules to abide by other than to be a decent human being and enjoy yourself. Pretty much the same as any other day, only at a large remote farm with a few hundred artists, so that’s pretty special.

Here’s a little artist statement of where my head is on this subject these past few weeks:

I have been thinking about water of the body – the human body and the Earth body – and how oceans and humans have salt. The equations of salt in most oceans are about 3%, whereas The Dead Sea is a shocking 33%! The Dead Sea has been noted for its unique saline qualities, dating back to the Ancient Greeks who believed in and had stories of Three Muses (or Fates). Sappho, who was Greek, was the first woman poet that we know of and her poems where originally written on papyrus leaves. Over time, the leaves have decomposed and words are missing from the original poems. All translations of her work that we have today are open for interpretation because of this. Like the ocean, time washes away everything we create, yet some things may remain in fragment. Being a new mother, my creative work time has eroded to small bits during the day here and there, rather than large chunks of time. Conversely, I am interested in the sojourn that the creative process takes when revisiting completed work. I plan to revisit the poems I wrote two years ago, when my daughter was in utero (another body of salt water floating in salt water). I will re-write some of the poems and dub them, The Salt-Water Erasures. Erasures are a method of re-writing poetry by literally erasing some of the original words to create something new, almost fragmentary. Some of the poem will have repetition,which will allow for a certain meditative quality to emerge, the way water lapping continuously has for someone sitting at the beach.

Mater Matrix Mother and Medium with Mandy Greer

These are some of the photos (taken by Rodrigo Venezuela) from Mandy Greer’s Mater Matrix Mother and Medium performance at Seattle last month, in May 2012. It was a pretty amazing integration of pre-recorded harp and voice with live music performance on top of that; costumes by Mandy Greer; choreography by Jessica Jobaris.

Dupen Fountain
Dupen Fountain
Muse in the Grotto
Muse in the Grotto
Siren
Siren
Spinning Measuring Cutting
Spinning Measuring Cutting

Figeater

My poem Figeater (for Beth Fleenor) just got published on the WA State poetry site thanks to our Poet Laureate, Kathleen Flenniken. http://kathleenflenniken.com/blog

Figeater
for Beth Fleenor

That fig tree attracts wasps. They get wobbly
in the heady fermented fruit

flying lazily on the summer wind
like some Sinatra party guest after martinis.

Masts clang down the hill in the harbor.
Another siren calls while the dusk wraps its ethered scarf

around the neighborhood and the raccoon,
in his nocturnal wonder, takes one look at the tree

to see his paradise, his destiny, like a moth
sees his paramour flame, he knows

he will reach supreme love
from the bright fig at the crown

now illuminated by the moon. The limbs
are as soft as quartz, scratching easily

as he climbs up & up & up.
Drawn out is this moment of reaching—

the way he scampers on the thin branches for footing,
stretching towards splendor, there it is: a purple sack,

a Lilliputian’s laundry bag. He touches as high
as he can without falling. And then he does

manage to clip the fruit with his paw
joyously dropping into his mouth, the wet

and juicy center. A smile perhaps
and laughter at the bulging size of the fig

which in one second slides down his throat
but gets stuck. And there is our raccoon—

on tip-toes in the moonlight at the height of his happiness
in the tree choking. After that there is a fall,

followed by the brief silence of being airborne
before landing at the crux of two crossed branches

that bounce of the sudden glottal stop. Uh-oh.

Everyone is gone from the house to have heard
the accident, but in the morning they find him

strange fruit hanging from the Mediterranean tree.
And so he is plucked (apprehensively)

his soft furry body like a forgotten gym bag
stuffed with stinky socks. He is processioned in a bizarre majesty

down the street on the shovel used to dig his grave.
Now he rests in the old apple orchard

of the abandoned house (half burned out in decay)
there beneath the one oak tree covered

in ivy vines that in a few years from now
will have a small fig tree in its shadow

that started from the seed
in the raccoon’s belly.

published in The Far Field