There's a handful. . .

. . . of selfless gentlemen in and around the Frederick, MD area who sacrifice healthy portions of their free time to organize, promote, facilitate and execute, among other events, the Monday Night Songwriters Showcase at Brewer's Alley. Rod Deacey, Ron Goad, Todd Walker and Tomy Wright shall not remain nameless here. The show takes place every Monday evening, with the exception of the month of December when the venue (owners of which must also be commended for their generosity in lending it for the purpose at 'reasonable' terms) is utilized for holiday events.

As Rod puts it: "Monday Night Songwriters' Showcase (now in its seventh year!) is held every Monday evening upstairs at Brewer's Alley, 124 N. Market St., in beautiful downtown Frederick, MD. The program starts at 7:30 pm with a piano prelude, followed by three or four songwriters doing three songs each (so you can't get bored). The featured songwriter for the evening goes on around 9 pm for 45 minutes, followed by three more three-song performers. Somewhere in the mix we throw in some poetry from our resident poet, John Holly. Our MCs are Ron Goad, Todd C. Walker and Tomy Wright, frequently interrupted by Rod Deacey on sound. Most of you know all this.... Our shows are FREE -- we collect tips for the featured songwriter, but there is no door charge, so come and support LIVE MUSIC!

Our featured songwriters are a mix of national and regional touring performers, with many award winners from all genres. If you would like a calendar for the next six months of 2011, please e-mail me back and I'll send you one. For information about playing a three-song spot, contact Ron Goad: MisterGoad@aol.com. For info on featuring, contact me, Rod Deacey: roddc@xecu.net

Brewer's Alley Songwriters' Showcases, along with Songwriters Songfests and Open Mikes at Frederick Coffee Company and Beans in The Belfry come under the umbrella of a new non-profit organization --
Frederick Acoustic Music Enterprise (F.A.M.E.)
Information and membership forms are available at these events."

Monday Night Songwriters Showcase at Brewer's Alley Restaurant & Brewery (take the elevator on the right to the 2nd floor) 124 North Market Street, Frederick, MD 21701, tel: 301-631-0089, Fax: 301-631-1874
www.brewers-alley.com

Ray Jozwiak - Gonzo Piano opens the show this week, May 23rd with 30 minutes of solo, Gonzo, Fractured Jazz and Improvisational Terror Tactics at the Piano.


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I Have No Limits. . .

. . . said Jay Graboski, my long-time musical collaborator and friend (many years ago- possibly more than even he remembers) when debating with a potential employer about our musical 'combo', trying to convince the man that we could provide whatever kind, type or genre of music the man was seeking for his desired, whether real or imagined, clientele.

And I say this ( i.e. I have no limits, meaning in my musical interests, tastes and avenues to which I am willing to devote or otherwise apply my energies) in jest, of course, but only as an introduction to a wonderful piece of music by another, newer musical associate and friend, Garth Baxter.

Garth is a member (now of the 'executive' or 'steering' committee of the the Baltimore Composers Forum, an association with whom I became involved late in 2009) of the Baltimore Composers Forum and a composer and educator par excellence!

I hope he doesn't mind my posting an aria from his new opera, "Lily", to which he treated me recently, here for all to enjoy.

The delightful performers are vocalists Lydia Beasley and Jason Buckwalter, with Andrew Stewart, pianist.




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Cowboy Justice. . .

. . . is something that we really need. Twice as effective as mercy now for which they plead. If I can't get you to see things the way I do, something happens. I start the process. See it through. Its what I've been taught to do. And I'll teach you.

No one tells me just what I can or cannot do. My advisors, some say, are keepers of a zoo. I don't mind if you think that what they say is real. I'm in charge here, at least that's how they make me feel. That's a part of the deal and it came true.

Gotta see it my way. I'm giving people what I want. It's a price I must pay. We cowboys know how to be gallant.

There's no question of right or wrong here to debate. Disagree though, you'll be subjected to the hate that's influcted on member of the team like you. 'Cause we cowboys will never worry if we're few. Our justice is true. Make no mistake.

COWBOY JUSTICE
©2006 Raymond M. Jozwiak

An instrumental rendition of COWBOY JUSTICE
appears on the CD PUT A FINGER ON IT
©2008 Raymond M. Jozwiak
COWBOY JUSTICE sample




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That polarizing musical instrument. . .

. . . the accordion.

I did become exposed to a gamut of music during my accordion education playing Polish folk music (but of course), American folk and pop music, tin pan alley standards, classical, English drinking songs and even rock and roll- envision that on the accordion. When you began accordion lessons at the Maryland Accordion Institute, you were issued a twelve bass piano accordion. What that is, is a small accordion with a 25-key piano keyboard on the right (from the performer's perspective) and twelve buttons on the left. The piano accordion is designed to be a complete musical ensemble. The right hand plays melody while the left plays bass notes and complete major chords on the first and second row of buttons respectively. Of course the bellows are between the two halves

After completing the basic course, I don't recall if that was measured in weeks or an instruction book, you were encouraged to purchase a full-size accordion which was casually called a "hundred and twenty bass" accordion, appropriately named for the one hundred and twenty buttons on the left side. The buttons are arranged in diagonal rows consisting of, in order from left to right, a 'counter bass' note (the third of the root bass note which is next to the right, major chord, minor chord, seventh chord and last, diminished chord. The keyboard on the right being larger, of course, has 41 keys.

So you see it is a complex instrument, mastery of which equips one very well with a fair amount of music theory knowledge. And you can see how the 120 bass instrument provides the player much more versatility and range in what can be played.





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Academically speaking. . .

. . .Why is WHATSHERNAME songwriting at it's best?

Hard to believe, but this song is over forty (count em, 40) years old! I remember when I first heard it. Not where I was, what I was doing. But really HEARING the song, and (even in my innocent youth- I was about 12) being very moved. And to be moved by such an 'adult' experience, I, even in my youthful innocence, had sincere appreciation for the skillfully conceived and constructed piece of music/lyrics that I had just experienced.

WHATSHERNAME (see my post of May 9th) embodies so much of what I strive to achieve in my songwriting. It captures a real human sentiment accurately and without preachiness, posturing or pretense. (Guess I should call that the three Ps???) A complex life situation is encapsulated in simplicity of presentation, something that on the surface seems (and sounds) easy, but which is, in fact, very difficult to accomplish. Thus is the ART.

The easy, swinging, lounge-type, yet very conversational rhythm belies the doubt and uncertainty that the speaking character is soon to reveal as the two old friends meet, presumably in a bar. Our leading man is very polite, inquiring about his friend's family, possibly mutual friends, and revealingly tells him, "Who me? Oh I'm great." And then under the guise of inquiring ". . . for a friend", our hero gets to the point. "Do you remember. . . a girl that I brought here, before I got married a couple of times at the end. . . " The same relative chord pattern, this too complex while sounding 'easy', accompanies the verse as the tempo decreases and the drama increases leading into the chorus.

The irony in the chorus is brilliantly expressed.
"Whatshername? She hardly knew me;
Now her name means something to me.
I wonder if she ever got over me?"
He can't remember her name (or CAN he?) but he's inquiring of her "for a friend" and he's wondering if SHE ever got over HIM!
(See what I mean by brilliance?)

Then, the crux of the story, our hero says,
"Anyway I should be flattered
For yesterday at least I mattered
Where did it go?"
'For yesterday, at least I MATTERED'

A 'mid-life' crisis probably. A universal sentiment, or doubt at least.

A little rationalization, '. . . all things considered, I've done fairly well. . . ' He confirms his love for his wife and then, during the second chorus indulges in his fantasy once more and concludes.

One gets the feeling that he's not gonna jump off a bridge, he probably won't get drunk that night and continue reminiscing. He'll stay with Ruth and the kids, probably retire to Florida eventually. But one does get the feeling that the memories of his old 'love' will return on a regular basis, as sometimes those memories do.

Such is life.
Wish I could write a song like that!
Cheers Paul! (Noel)

WHATSHERNAME
Stookey/Dixon/Kniss- Neworld Media Music Publishers ASCAP
(from Album 1700 by Peter, Paul and Mary)


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Neat and Clean. . .

. . . we vowed to make our separation. Never mean or condescending recitation. I fought so long and so hard with these feelings inside of me. And you were the last one that I thought again I would ever see. My fortress, strong and tall, has taken its first hit and its beginning to fall. Now the walls come tumbling down; the pieces crashing to the ground; just like the pieces of my broken heart. Now the walls come tumbling down and when they do they make one deafening sound. Just like your footsteps on the floor. Just like the slamming of the door behind you.

Peachy keen was not the color of the picture. Love just seemed to slip away, no more the fixture. Coming to grips with reality wasn't an easy affair. And seeing your face once again made me wonder if you still care. This barricade of mine is crumbling from the front and just as well from behind. And the walls come tumbling down; the pieces crashing to the ground; just like the pieces of my broken heart. Now the walls come tumbling down and when they do they make one deafening sound. Just like your footsteps on the floor. Just like the slamming of the door behind you.

Just like your footsteps on the floor. Just like the slamming of the door behind you.

©1994 Raymond M. Jozwiak
TUMBLING DOWN




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What???...

. . . would. . .

In the 1990s the phrase “What would Jesus do?” became a fad among evangelical Christians. There were WWJD bracelets, t-shirts, and posters, and a host of mocking pop culture imitations such as "What would Scooby do?". The phrase “What would Jesus do?” originated in a novel titled In His Steps: What Would Jesus Do?, published in 1897 by Charles M. Sheldon. Sheldon was a Congregational minister in Topeka, Kansas, and a Progressive concerned with Christianity’s relationship to the social politics of his day.Now maybe you have seen it, but I, only yesterday, saw for the first time the "What would Sun Ra do?" bumper sticker and quite frankly, it sparked in me some serious thought.

First, of course, I thought, "WHAT would Sun Ra do about WHAT?" Then I thought that he most certainly would have something to say about the retirement of the space shuttle. He might have two cents to add about which museums in which cities the retired vessels would be displayed. He might have something to say about terrorism, shallow politics, greed and global warming. He always did exhibit concern for injustice.

Then I realized that I was probably barking up the wrong tree. Of course I, and any other fan of Sun Ra (with or without an Arkestra) should know without a doubt, exactly what Sun Ra would do. He would, obviously, PLAY. . . . .







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