My Northwest Mini-Tour

This evening I embark on a musical mini-tour of Portland and points North. Three very different gigs in three very different venues over the next three nights. I hope you’ll come out and say “Hey, Mike!”

Wednesday 7/28 9pm – 1am
Mama Maria’s, 5234 SE Powell, Portland
Shirley Sanders jam, featuring Ken Brewer (guitar) Toby Worthington (bass) and my man Jimi Hardin on drums. Looking forward to reuniting the powerhouse percussion assault.

Thursday 7/29 7:30pm-10:00pm
Corner of NE Alberta and 30th, Portland
Mystic Canyon returns to Last Thursday on Alberta. We promise to craft a set of music that will be the perfect complement to sunset, handcrafted jewelry and a slice from Bella Faccia!

Friday 7/30 6pm – 10pm
Old Town Battle Grounds, 316 E Main Street, Battle Ground, Washington
The Harmless Eccentrics return to Ed’s neighborhood with special guest Keith Picone adding to the rhythmic stew. We’ve planned three sets of our increasingly schizophrenic blend of acoustic harmony and groove, including new originals and covers from all over the last 50 years.

The adventures continue next week as the Harmless Eccentrics make their debut at the Local Lounge, 3536 NE MLK in Portland on Wednesday, August 4th.

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Birth of a Song, Part 3: Bringing it all together

I started with a few verses, then decided that the song should end with a chorus I wrote 3 years earlier. The first part is an A-minor reggae groove, while the Rejoice! chorus in D-Major has a more West African feel – same tempo, but straighter eighth-notes. Since the song was inspired by memorable jam sessions, I have always envisioned Our Own Holiday as a jam vehicle. So I wanted the middle section to be an instrumental improv with a little bit of structure, ideally in A-Major. I may eventually write something for that part, but for the sake of getting to work rehearsing what I’ve got so far, I asked my good friend Scott if I could borrow a tune he wasn’t using.

Signs of Life is a jangly instrumental jam in A-Major, built on an Allman Brothers-style bass riff, set to a tribal sort of beat that would flow nicely into Rejoice (A>D.) Scott wrote the song a few years ago, right about at the time that Mystic Canyon went full-time acoustic, so it never found a home in the stage repertoire, but we’ve revisited it in casual jams a few times. Scott agreed that it would be a good fit.

One final touch was a brief turnaround in F-Major, to transition from the A-minor verse to the A-Major Signs of Life section. I put together a chord and lyric sheet and headed over to Keith’s house for Jersey Rhythm Mafia rehearsal.

We worked on a bunch of other stuff earlier in the evening, and in retrospect, we would have had a better first read if we had done the new tune earlier. It was a good reading that kind of ran out of steam, as we never quite worked out the ending. But I felt I was able to communicate what I was looking for. With a few more tries we’ll smooth the transitions and lock in the rhythms. A recording was made of the final run-through but I have not heard it yet. I’m hoping to see Keith before he skips town for a week so I can listen to what we’ve got so far.

I’ll continue this series in a few weeks when we’ve got a few more rehearsals under our belts and hopefully a recording worth sharing.

Birth of a Song, Part 2: Rejoice!

In July 2005, Mystic Canyon played at the Bend Summer Festival, still the farthest we have ever traveled to play. We did the right thing and rented a cabin so we could sleep well and jam throughout the weekend. At the time, Matt Kuerbis was moving beyond “new guy” status and starting to show us some songs he was working on. We also discussed collaborative writing, something the band had never really tried. He even suggested a lyric idea from a store marquee in his neighborhood, an optimistic twist on the familiar incantation of doomsday street prophets:

“Rejoice! The Beginning is Near.”

This line repeated in my head for most of the afternoon while driving around Bend and setting up my percussion gear. I thought about other ways to spin a potentially fearful situation into a message of hope.  The weather took an unusual turn that day as storm clouds blew in and drenched our audience. But the rare summer storm also provided the perfect metaphor I was looking for:

“The rain will wash away fear.
The storm will be chased by the dawn.
We will be one! We will be one!”

The last line was inspired by the sense of tribal unity that I felt all weekend, especially later that evening at the cabin, when I taught the rest of the band my new melody and Scott helped me figure out the chord progression in D. We made a joyful sound that night, working out the three-part harmonies I had been hearing in my head all day.

Upon returning to Portland, I was eager to add some verses to this new chorus, but I was never satisfied with the results. I tried to come up with stories of people perservering through dark times, et.al. but every attempt sounded forced, not at all as natural and inspired as the chorus had come to me. Eventually I accepted that it was a great but incomplete idea and kept it filed away until I could find some use for it.

As I alluded to in Part 1, I have now found a home for this chorus as the ending of Our Own Holiday. The message of hope in the lyrics, which I had originally conceived on a more global scale, fits well as an addendum to the first verses about overcoming social discomfort through music. The beginning of a beautiful union is near, if we are not afraid to let it happen.

In Part 3, I try to tie it all together with an instrumental jam section in the middle. I’ll also report on how the first rehearsal goes tonight.

Birth of a Song, Part 1: Inspiration

Being in a band with four very talented songwriters, it is hard not to be inspired to write music of my own. I have never considered myself a composer, but I have often had musical ideas pop into my head that capture my imagination. Most of these ideas go no further than that inital spark, as my attempts to develop them usually end in forced lyrics and incomplete chord progressions. But I have tried to keep these song fragments in mind in case I am ever compelled to complete them. Recently, inspiration has taken hold and I am finally ready to share a creation of my own with my musical brethren.

This will be the first in a series of posts documenting the Birth of a Song. Since songwriting is new to me, I thought I would share my process here for the sake of discussion and facilitation of future compositional endeavors. The song is called Our Own Holiday, an upbeat jam tune with multicultural influences. I am sharing writing credits with my Mystic Canyon bandmates Scott Hewitt and Matt Kuerbis, but since the song does not really fit the MCB repertoire, I will be introducing it via my side project with Scott, the Jersey Rhythm Mafia.  

The first part of the song, an A-minor reggae groove, came to me in July 2008 after a particularly fun jam at Horning’s Hideout. I was invited there by some friends for a birthday party, although I did not know the hosts or the guest of honor. When all of the scheduled bands had finished, there was plenty of time left before the sound curfew, so I joined up with Chris and Ken from Jersey Rhythm Mafia, Dave from Jerry Rig and Josh from High Ceiling for an impromptu open stage jam. Afterwards, the campfire jams continued well into the morning hours.

The next morning I was filled with wonder at the ability of music to bring people together. There were a lot of people at Horning’s who I could not pick out of a lineup today, but that night we were one musical family. Drawing from that feeling, I sketched out some lyrics – essentially an invitation from one musician to another to let music be the bridge across their fleeting acquaintance. One line is even borrowed from an actual party invitation I had sent a few months prior: “No gift but your presence, no presents but your gift for music and conversation.” This line in particular suggested that the song would work best in a reggae style.

After writing two verses and a B section, I hit a snag. I wanted an instrumental jam section in the middle, followed by a return to the verse and chorus, but I didn’t want to repeat myself or force some lyrics to fit the form of the first part of the song. It then dawned on me that the jam section should be followed by a distinct third part, and a long-abandoned melody jumped immediately from the back to the front of my mind. In Part 2, I’ll flash back to the Summer of 2005 to revisit the creation of  a chorus that waited a long time for the right verse to come along.