A Son of Leelanau

“Mama, Mama many worlds I’ve come since I first left home.” – Hunter/Garcia

Fare Thee Well

A few weeks ago, I heard from my friend Dave, one of our own from our Leelanau Family had passed away.  The first thing I did was play some music for him, as he was one of the drummers in our music group.  I sung “Sing Me Back Home,” an old Merle Haggard song we had heard the Grateful Dead cover in our infinite encounters with the Dead as a tribe of firebrands in Leelanau County.  As I sang the song, I knew I had to go to his funeral.  A few days later, I received a call from my brother that our departed friend’s family wanted us to sing a song for him.  I asked him what song.  He replied, “Sing Me Back Home.” 

On My Hands and My Knees

I chose to head up north for the visitation and funeral service the day before, as my brother was flying in from Florida the next morning.  While I drove north, I was not particularly reflecting on where I was going and who I might see, just feeling in every fiber of my being I needed to be there.  When I arrived, I visited a little with my parents, then had a video chat with a dear friend of mine from Leelanau County.  She asked me how I was being there, probably knowing way more of what would transpire than I did at the time.  Soon after, I went to bed, having woken up that day at a quarter to four in the morning, unable to sleep due to the coming weekend. 

In My Time

The next morning, I headed to the Traverse City Airport to pick up my brother.  On the way, I scanned through the radio dial to find a Grateful Dead channel out of Petosky, Michigan.  It would become the soundtrack of our weekend.  My brother was a bit stressed when I saw him due to the rough landing of his plane, as he felt it could have resulted in a crash.  We headed to our parent’s house and visited, then sang the song we were to sing at the funeral.  We went to Good Harbor beach along Lake Michigan and reminisced about our friend, his family and the current events of our home County.

Sing Me Sweet and Sleepy

Both my brother and I shifted into a reflective silence as we approached Suttons Bay, where the visitation and funeral were to occur.  These moments were the most we had spent together in many years.  We crossed the threshold of the funeral home, greeted by several friends from our youth, many we had not seen for 20 or 30 years.  We visited in the company of the open casket, sharing our cherished memories.  As the visitation ended, my brother and I joined our friend Dave and our sister Rah for dinner down the street.  An animated history of epic hijinks and hilarity filled the bar with laughter for hours until we bid our farewells. 

“Going home…going home, by the water side I will rest my bones.” – Hunter/Garcia

A Far-Gone Lullaby

On the morning of the funeral, we sang through the song a few times.  It had been almost 30 years since we sung in front of anyone together.  Time flew by, and we were once again headed toward Suttons Bay, turning north on a corner where our departed friend used to live.  I was moved to sing a song for him on our way.  We once again crossed the threshold of the funeral home into the embrace of many more from our Leelanau circle of friends.  For the half hour before the service, it was a flurry of reminiscent reunion.  Soon, my brother and I sat with our friend Dave in the pew as the Funeral Director began the proceedings.

River Going to Take Me

The funeral home was packed with family and friends.  Our friend Dudley took the podium for the eulogy, offering his heartfelt tribute.  When he was finished, he called up my brother and I.  Mark expressed his sentiments, and we both gave hugs in condolence to our departed friend’s brother Shawn, his wife and their children.  As I walked to where we would sing, I felt Shawn’s tears on my cheek.  For all the times we practiced the song, it would not prepare me for the emotion in the room and singing in front of our circle of friends for the first time in decades.  When we finished, we returned to our seats to the warm applause of our family and friends. 

Going to Plant a Weeping Willow

While we were visiting after the service, our friend Dudley rushed up to ask my brother and I to be pall bearers.  We gathered around the casket and lined up together on one side.  Dudley in the front, me in the middle and Mark in the back.  It was a powerful bonding of brotherhood.  Mark and I followed the procession to the gravesite, a family cemetery on a country road a mile from Lake Michigan.  The early spring sun was beginning to set, and we joined the gathering of people around the grave to bid our farewells.  As we laid our flowers on the casket, the Funeral Director declared, “Today, we bury a Son of Leelanau.”

I Love You More Than Words Can Tell

Mark and I headed to the Town Hall in Cedar to share in fellowship with our family of friends.  We jumped back in the car, racing to see the sunset at the one place both of us had yet to visit during the weekend, Leland…home.  We walked onto Van’s Beach as though the decades of absence had never existed.  The sun was setting between the Manitou Islands in a cradle of distant clouds.  We reunited with our circle of friends in a celebration of homecoming against the backdrop of Lake Michigan.  As the stars began to shine, we returned to the car.  The Grateful Dead channel played, “Loose Lucy,” as Mark and I sang, “thank you, for a real, good time.

Going to Leave this Brokedown Palace

The next morning, I said my farewells to my Mom, my Step Father and my brother and headed south.  As I left Traverse City, I was listening to the Dead’s “Brokedown Palace.”  I could feel the strong pull of Leelanau County as I had decades before, singing through my tears, “Mama, Mama many worlds I’ve come since I first left home.”  All the memories with our departed friend emerged from the shadows of our history.  I could not recall the person I was just days before, as I was reuniting with the person I had been and the one I would soon become.  I was simply left with the understanding; I am and will always be a Son of Leelanau County.   

“Listen to the river sing sweet songs, to rock my soul.” – Hunter/Garcia

“Empower Yourself” Interview with Lorenzo Malowane of The New Agora

Interview with Lorenzo Malowane of The New Agora from May 27th, 2021 discussing the necessity of balance and empowerment.

“Whenever there are global events that shake up reality, it is an opportunity for us to take the initiative to create something extraordinary.  A vital element of this shift is defining and establishing a “new balance” within ourselves in alignment not just with the current dynamic of society, yet also with the universe.  This balance begins with acknowledging and sustaining the masculine and feminine natures each of us embody.   Opening ourselves to the possibilities both qualities provide allows us to transcend their duality and embrace our universality.  These are the cornerstones of our being, what we manifest and who we become.  It is in the present we are able to empower ourselves progressively and ultimately the world.” – Iam

Link to Iam’s Music Page:

Official Iam Music Home Page (iamsmusic.com)

Please visit The New Agora: The New Agora – Truth Is Our Currency – Elect To Govern Yourself

“Empower Yourself” Interview with Lorenzo Malowane of The New Agora

Lakshmi

“Wake from reality. Wake from your dream.

Wake from the fear, that is tearing at the seams of the world.”

 – (From the song, “Wake.”)

http://www.iamsmusic.com/

The Essence of Lakshmi:

On Friday, November 11th, 2016, I will be releasing my most recent album entitled, “Lakshmi.”  It is twelve original musical pieces I composed and arranged.  The album features fifteen different genres including Funk, Latin, Ragtime, Country Swing, Reggae, Progressive Jazz, Classical Tone Poem, Jazz Instrumental, Native American Folk Anthem, Spiritual Mantra, Motown Soul, Traditional Bluegrass and Folk Ballad.  There are seventeen different instruments, fifteen of which I performed for this recording including Acoustic Guitar, Acoustic Bass, Grand Piano, Drum Kit, Congas, Bongos, Shakers, Cajon (box drum), Lakota Drum, Timbale, Clave, Maracas, Washboard, Hand Jive, Vibra-Slap and Whistle.  The Saxophone was performed by Michael Teager.  The Pedal Steel Guitar was performed by David Feeny.

Music in 444 Hertz:     

The “Lakshmi” album was recorded in 444-hertz frequency.  The tuning for most contemporary music is 440-hertz.  In the 20th century, the standard tuning was altered from 432 to 440-hertz during the World War Era.  This alteration manipulated the sound quality to a frequency that incites chaos, dis-ease, fear and mania.  444-hertz is less than a half-a-step sharper than 440-hertz in tonality.  It has a naturally bright, etheric, multi-tonal, organic and resonant sound quality.  In my experience, there are more under and overtones of the existing notes present using the 444-hertz tuning.  It is a frequency that is very easy to listen to and inspires creativity, empowerment and imagination.

Source:

All the songs on the “Lakshmi” album where inspired by and created through the practice of Mantra Meditation.  Mantra is a style of meditation in the Jain tradition using an ancient word or words that are associated with one of the seven chakras.  This practice allowed me to be present to the infinite possibilities of creativity during the composition, development, arrangement, performance, recording and production of the “Lakshmi” album.  In some of my experiences during meditation I intuitively heard parts and/or all the songs and their unique arrangements like I was listening to an internal radio.  Meditation also helped me to hear the many diverse instruments, their melodies and harmonies and how they were meant to be recorded and mixed. Meditation helped me learn to play most of the instruments in a matter of weeks!

Dedication:

During the renaissance era, it was customary for composers to be funded by nobility and royalty for the sustenance of their creative expression.  Many composers dedicated their pieces to those who sponsored their creative endeavors.  The “Lakshmi” album was funded by my wife Laura and I.  In honor of Laura’s commitment, support and the fact that she was the inspiration for many of the songs, the album is named “Lakshmi.” “Lakshmi” is the Spiritual Name given to her by Gurudev Shree Chitrubanuji.  “Lakshmi” is the Hindu Goddess of wealth, love, fortune, prosperity (both material and spiritual) and the embodiment of beauty.

The Music:

Wake:

“Wake” is a progressive Funk Latin piece.  It’s lyrical subject matter is about awakening to what is going on in our world.  It is about seeing it for what it is and not for how we would like it to be.  “Wake” is about claiming our personal power and making a difference.  It is the realization that we are the creators of our reality.  We are all divine.

Break the Spell:    

“Break the Spell” is a Ragtime Delta Stomp.  It is about freeing ourselves from the spell of reality that we have been conditioned to accept.  “Break the Spell” poses important questions as to where we are and where we are going.  The heart of its message is releasing all that we have grown accustomed to in our life and embracing all that truly empowers and inspires us.

The Heart of Town:

“The Heart of Town” is a Country Swing Memorial.  It was inspired by and written in honor of my Grandfather, Howard Saums.  The lyrics of the piece were taken from an interview he did with our family prior to his passing.  It is a family snapshot that immortalizes his life in one of his favorite musical genres.  “The Heart of Town” is a grandson’s testimony of his grandfather’s authenticity, charity, integrity and love.

Truth:

“Truth” is a Reggae song with Urban undertones.  “Truth” powerfully expresses an acknowledgement of the inequalities and injustices in the world.  It shines the spotlight on those who would choose to commit them as a warning that the “Truth” will find them in their time.  The chorus pleads for our trust in “Truth” and each other.

Lakshmi Part I: The Rhythm of Light:

“Lakshmi Part I: The Rhythm of Light” is a Progressive Vocal Jazz piece.  It is very eclectic in nature with contrary melodies and rhythms and tribal percussion.  It is the opening movement of the “Lakshmi Suite.”  The lyrical story line is the first encounter between the man and the woman.  It is the man’s courtship of his soul mate through his creative expression.

Lakshmi Part II: The Breath of Life:

“Lakshmi Part II: The Breath of Life” is a Classical Vocal arrangement.  The lone percussion is the unified heartbeat of the man and the woman and its melodies and harmonies swell as the ebb and flow of a tide.  It is the second movement of the “Lakshmi Suite.”  The lyrical story line is their intimate stroll in the moonlight and their declaration of love for each other.

Lakshmi Part III: Mandala:

“Lakshmi Part III: Mandala” is a Progressive Jazz Instrumental.  It begins soft and subtle on the heels of the preceding movement, “The Breath of Life,” and gradually develops into an upbeat and exuberant dance of union between the man and woman.  It is the final movement of the “Lakshmi Suite” and it symbolizes their shared journey through life experience.

Medicine Wheel:              

“Medicine Wheel” is a Native American inspired Folk Anthem.  The drums and rattles signify the heartbeat of Mother Earth.  The lyrical subject matter is honoring and respecting the Earth which provides all of what we as human beings need to thrive.  It is a call to action that inspires us to stand together to preserve and protect the planet we all call home.

All That I Am:

“All That I Am” is a Spiritual Vocal Mantra.  The smooth vocal arrangement and complimentary percussion gives it an authentic and endearing quality.  It is an autobiographical account of the strengths and weaknesses each one of us express in our lives.  The progressive vocal weaves a delicate tapestry of harmony that builds until the final voice captures the importance of the present moment.

Fly On Me:

“Fly On Me” is a Motown Soul song.  It is the tender plea of a man attempting to encourage a woman to stay.  The music expresses his emotional desire and clarifies the dynamics of his love for her.  The Saxophone is the embodiment of the possibility of his loneliness without her.  Yet, the lyrics symbolize a desperate confidence she will stay.

Nature’s Way:

“Nature’s Way” is a Traditional Bluegrass song fresh from the Appalachian Mountains and the green hills of Ireland.  With a driving, acoustic guitar rhythm and acoustic bass paired with foot stomp, hand jive and washboard, it is one person’s journey to the mountaintop of their spiritual experience.  It is an important and stirring lyrical expose on the state of our society.

Afterglow:

“Afterglow” is a Folk Groove Ballad about the completion of relationships.  It’s signature drum beat and pendulum style guitar and piano symbolizes the ebbs and flows of our life experiences.  The song is a moving and revealing testimony of heartbreak and possibility in the wake of separation.  It calls for us to prove the love we are to each other.

http://www.iamsmusic.com/