Bob

Oh man, I want to thank you for your very generous comments about How Do I, and really much more beyond that, for ‘getting’ what I have always tried to do with my music. Because of your blog, I have been reconnected with many old friends and artists, as well as making quite a few new ones. This is such a valuable gift, I will never be able to repay you in kind.
But if there’s anything I can ever do, let me know!

You have referred, so sweetly, several times over the years about my ‘disappearance’ from your radar–and I always smile when you mention, with some small amazement, my continuing enthusiasm for music and work.  I’ve been thinking about this quite a lot, and wanted to give you my perspective on it. Guess I’m a little long winded but I’ve wanted to say this for some time.

To me, it’s all in how one defines the word ARTIST.

The definition often promoted in biographical commentary about artists from my generation goes something like this: an artist is someone who recorded for a major record label, who toured, competed in the world of radio, concerts, print, advertising, record and radio promotion, charts and record sales, backed by the mighty dollars of the company. Some of these artists became major or even moderate public figures, some fell by the wayside. However, all but the most public of these folks are considered ‘among the disappeared,’ if they failed to continue to swim in the waters of the major record company world or made enough impact to be played as an oldie. If you look at these standards as your measuring stick, indeed many artists (including me) from that era have disappeared.

HOWEVER if you recognize the major label experience as an interesting chapter in the history of popular music starting probably in the 40s, and petering out around the late 90s, and compare this particular chapter to the ongoing histories of far more working musicians than the labels ever signed, you find a very different story indeed. We only need to look at the profoundly brilliant jazz musicians like McCoy Tyner (the absolute greatest living jazz musician IM not so humble O) or the fine contemporary (and traditional) classical, Americana, world, jazz and studio musicians who have worked their entire lives without having that level of acclaim. They don’t consider themselves disappeared, nor do their fans, nor will history.

Removing that yard stick, in my case, was one of the best things I ever did in my life. I have been an independent artist for far more years than I ever spent as a major label artist. My last ‘major’ deal was in 87, Cypress/Polygram, which album I toured extensively and expensively opening with my own band for Dan Fogelberg in all the sheds–great fun, a total blast, a great experience. After that, when Cypress folded, I couldn’t find another label deal, and at the same time, I got into the old Jerry Brown-ism ‘lower your expectations and broaden your horizons.’

I’ve had, and continue to have, a roller coaster journey as a working musician, songwriter (with the occasional ‘hit’ and a huge uncut catalog) performing artist, collaborator, band member, teacher, singer, musical traveler, student, film composer, who helped found one of the early and best writers’ nights in LA when I came back from Nashville–and lots of other weird and wonderful things I can’t even remember. I’ve been so lucky to work with many of the greatest studio musicians of my time from LA, Nashville, New York, and even in Europe–these guys taught me so much. I wrote hit songs for other folks, I broke barriers as a chick record producer :):):), I got the blessed opportunity to work with my 2 dream bands: Bryndle, (RIP) 3 albums and extensive touriing) and the Refugees, (2 albums and a new one ready to mix) with a shitload of touring. I worked in gospel music, rock, folk, film, Jewish music, Christian music (!) jazz, alternative–you name it. And have done a hell of a lot of performing as well, surprise! Along the way, there was good money and there have also been some truly horrible financial years.

I released, beside the 25+ albums I produced for various other folks in the last 30 years, my own archival collections starting with Seeds and Orphans 1 and 2, where you and I met (!) and then the Back By Fall compilation which covered material that was not included on the Warner Brothers repackage. Plus I released my first studio cd in decades in 2007, with another one on the way this year. I’ve hosted filming at my studio, edited video, and played a buttload of house concerts. I learned in the years after Cypress, first Studio Vision as a recording platform, then Digital Performer, and finally Protools, with the incredibly generous help of several marvelous producer/engineers, notably Rob Hoffman, Mark Nubar, Mike Sawitzke, Andrzej Wazocha and others–these patient dudes have guided me and put up with my dumb questions, silly mistakes and madness for years now, to my great joy.

The other thing is that I’ve worked far more for free than I have for money, to the point that I’ve taken a lot of shit from friends and family. If I could tell you how many amazing contacts and friends I’ve made, wonderful musicians I’ve met because of my propensity to work free or offer my studio–it’s too much to describe but it’s quite an eye opener.

So, yeah, my life as a recording artist for major labels was extremely fortunate and wonderful – the fact that critics liked my work on balance a bit more than they hated it–this stood me in such stead that I’ve been able to work my ass off for the last 30 years literally around the world, and take on some really scary new challenges a few times. It’s been a busy 30 years and I sure hope for more because I’m just getting the hang of some things.

The thing is that this is the most FUN SHIT I could ever imagine doing with my life. Part of that musical journey was being on a major, but it was by NO means the highlight of my life as an artist. I’m doing the best work of my life now, and have made a handful of albums that I would be proud to have on my epitaph–among them, New Grass Revival, Bryndle, Mietek Szczesniak, the Refugees,  –and who knows what’s coming. I’m in school to learn some skills I overlooked while I was busy being a musician (my father is having the last laugh in heaven for sure) and it’s kicking my ass, by the way……and I write/record most days of the week. There are some interesting projects coming out of here in the next year and in fact, I’m about to embark on creating a bigger studio with space for filming.

I am by birth and by trade a working musician, and therefore, I define myself not by the first definition, but the second–an artist is someone who can’t help but commit his or her life to making art, enduring whatever the hell is going to come, because that person knows there is no choice and no greater joy. In this life, many many failures and disappointments are bound to happen, especially to those of us upon whom the narrow crown of record company/radio stardom was not bestowed. What did the Eagles say–I don’t know why fortune smiles on some and lets the rest go free –or was it Henley… Anyhow, an artist is totally separate from the major label experience that we have had briefly in this period of time. Most of my heroes are still remembered and their music played, and they worked long before there was a major label with a record promoter and a guy deciding who got the button and who didn’t

The possibility to keep learning new skills, and to find new ways to apply one’s art, and the lifelong marvelous friends and fans one encounters just doing one’s everyday  job–this is gold, man. Hey, had I not done the little independent archival cd you stumbled across, we wouldn’t be friends today!

thanks for listening. really wanted to say this stuff. Also very glad you took the chance to listen to one of the new songs, and I totally get why that would not be a lightly taken decision, having been there myself.

my love, best wishes to your family, Felice and you. and take care of yourself!!!!!!!!!!!!!  did I say take care of yourself?

much love and thanks again.

XXWW