Last night I did something I have never done before. I played a live show at RW’s BBQ in Brookfield, CT and streamed live video from the show into Second Life. I’m no video star for sure, and I’m always self-conscious about being filmed, but I guess people thought it was okay. I was worried about the technology coming together, but we managed to figure it out. Since we don’t own a laptop, we actually brought in my desktop computer so we could stream into Second Life as well as on ustream. I thought it would be more of a bother to set up and break down, but it was easy.

Seven of my friends came to hear me play and for the yummy BBQ.  Having them there made the atmosphere so much more relaxed, and I enjoyed that. About a dozen people from all over the world showed up at Nitida Ridge, the venue in Second Life.  They made comments and requested songs. Rich manned the keyboard and kept me informed so I could thank them and honor their requests. It is very hard to explain the scope of Second Life without people actually seeing what goes on.  The real life audience was fascinated with Second Life–the avatars danced, made requests and commented on the music, which brought the two audiences together. My two-hour set passed by rather quickly, I thought. All too soon, it was time to pack up and go home. Streaming live video into Second Life was a lot of fun. I know I will do it again sometime in the near future. Thanks so much to everyone who made it possible!

My next live show is January 13, 2012 at SoNo Caffeine in South Norwalk, CT.

Hideaway Cafe’s open mic is hosted by Michel Rae, a singer/songwriter from Brookfield. Most of the musicians playing that night were regulars, except for my friend James and me. I started my 3-song set with Anyway. When I play40 Years On, I always scan the crowd to see if there is anyone old enough to be a Vietnam veteran, and if there isn’t, I send it out to all veterans. There did happen to be a Vietnam vet in the audience, as well as a veteran from a more current war. At the end of that song, he stood up and applauded. I thought he was standing for my song, but he was playing next, so that’s probably why he got up.  He did thank me for writing the song when he opened his set. It really means a lot to me that my songs reach people. I cannot explain what that feels like — to be able to make that kind of connection with people through my words and music — there’s nothing like it. I closed my set with Angel From Montgomery, a John Prine cover.  The audience was great. It’s so nice to play for people who are there for the music.

In between sets, Michel announced that a band had canceled for Saturday night if anyone was interested in playing for tips. Jeff Smith and I both raised our hands, so we decided to split the bill and share the night. I immediately made announcements all over Facebook and the Twitterverse to  get the word out to bring in an audience. It’s so hard to build a fan base. I have a global audience through my shows in Second Life, but procuring a local one is more difficult.

On Saturday, Jeff opened the show, playing an array of originals on guitar and ukulele with a few covers sprinkled in.  He did a great job. I enjoyed his set very much. He called me up to sing harmony on Damien Rice’s Delicate but I just couldn’t find it. I was a bit embarrassed, but oh well. I opened my set with Emotional Vampire. Having broken the cardinal rule of singing by having a grilled cheese sandwich just before I sang, I was worried that my voice would be affected.  Thank goodness my voice was okay. The crowd was sparse at the beginning of the night, but people started to trickle in. I recognized several people who had been there on Thursday night, so maybe I’m starting to get some local fans…I played an hour and a half or so of originals and covers, including There’s A Light That Never Goes Out by The Smiths, that I think sounds better in theory than when I actually play it, but it was fun to play. All in all, it was a good night. I really enjoyed myself and hoped the crowd did too. I sold one CD, and there was money in the tip jar too. Jeff and I were invited to come back and play whenever we want.

That’s what I call a successful open mic. Great crowd, networking opportunities, CD sales and a gig. They certainly all aren’t that way, but you never know who’s in that audience. Could be a new fan, a venue owner, a fellow musician or a new friend.

Thursday evening I played an open mic night (Hootenany) at the Guthrie Center in Great Barrington, Massachusetts. Nestled in the Berkshires, Great Barrington is a beautiful town two hours north of here. We met up with friends from Second Life, including Alex Whitmore, (Capos Calderwood in SL) and had dinner at Gypsy Joynt Cafe, a family owned restaurant and live music venue with a colorful hippie vibe.  It was great to finally get a chance to eat there after hearing about it a year ago when I was playing FODfest. Jordan Weller, who also played FODfest last year, books the musical talent. I really wanted to go introduce myself to him, but shyness got the better of me. I am really lousy sometimes at speaking up about myself.

Signup for open mic started at 7pm, but we had heard the list fills up amazingly quickly, so we finished up our dinner and headed over to the Guthrie Center. Housed in the Old Trinity Church (the place where Alice lived in the movie Alice’s Restaurant), the Guthrie Center serves those in need in the community and offers educational, spiritual and cultural programs.  We were lucky enough to arrive just before 7, and even though they weren’t officially open, we were invited in. Alex and I signed up for the fourth and third spots, getting our names on the list before anyone else did.

While we were inside, a storm was brewing outside. Flashes of lightning and echoes of thunder created the backdrop for our show inside the church. Open mics bring a range of talent, and the spectrum was covered that night.  My own voice was weak due to a sore throat I just couldn’t kick. As a result, my three songs didn’t have the strength and energy they usually do, so I was disappointed in my performance, but the crowd was appreciative.  Alex played three songs after I did and the crowd really enjoyed them.  After we listened to a few more musicians, it was time to go. We were worried about the weather and how treacherous that might make the long drive home, but we were graced with  some beautiful lightning illuminating the sky and a few sprinkles of rain. By the time we finally pulled into our driveway, it was midnight.

Friday dawned, bringing with it the task of a three-hour drive to Bethlehem, Pennsylvania for my sister-in-law’s surprise birthday party. The sun was shining and it was hot and humid, but it was clear, which made it perfect for driving. I left the house just before 1pm, hoping not to get stuck in any traffic. My wish was not granted, however. There were pockets of traffic all along the way. Nevertheless, I arrived three hours later. The weather forecast for the next several hours was not good. I had seen some nasty looking clouds gathering on my way in.  The thunder, wind and rain came as we were outside setting up for the party. Luckily, it only lasted an hour, and then the sky brightened. It was a nice party. My sister-in-law was truly surprised and everyone had fun. I had brought my guitar and was supposed to sing, but the moment for it never happened.  The party had a good groove going and sometimes it’s hard to introduce something like that without breaking the rhythm. I’m not sure my voice was all that good anyway–it was still recovering from the sore throat/cold thing.  By the time the party ended and all the guests had gone home, it was 2am. So much for a good night’s sleep. Saturday came too quickly, and I woke up anticipating the day’s three-hour drive home.

At around 10am I made my way back home, making good time till I got to Connecticut. The turnpike was backed up much of the way, and I was running out of time. I needed to be at the Milford Oyster Festival at 3pm for my two-hour volunteer shift scooping kettle corn for the Perry House, and I was  in desperate need of a shower. I managed to get home about 1:30, and arrived at the kettle corn booth at 3:15.  By 5:10, my shift was finished and I was dead on my feet.  I received a large bag of kettle corn for my efforts. Afterwards, we went out for dinner with friends and I got home in time to get ready for my only Second Life show of the day.  I was truly exhausted right before my show, but somehow the crowd kept me going. What a great way to close out the day. Needless to say, I’ve got nothing on my schedule for the next few days…

Back in 2009, at the first Montreal Jam, I was the poster child for the stolen guitar…the cautionary tale of how not to lose your instrument, and it was a minor underlying theme this year, with choruses of “Where’s your guitar?” heard throughout the weekend. I did manage to come home with my guitar this time, although I had a momentary scare on Saturday night. Rich and I were getting ready to go and I went to the restroom and then to pack up my guitar, only to find it not there. Where’s my guitar?” I said to Bree, and she said, “Oh no, not again.”  I turned around and there was Rich with my guitar — he had packed up my gear for me, loyal and dedicated roadie that he is.

The music started at the Friday night mixer, held at Dundee’s, a bar and restaurant in the heart of Sainte-Anne-de-Bellevue. The impromptu jam featured many of the musicians on a rotating basis and was a great way to get a sense of each musician’s style. There was a pajama party planned for back at the dorm, but everyone elected to stay at Dundee’s and keep playing till midnight.

In 2009, at the first Montreal Jam, I was not that comfortable about asking people to join in my set — I had only been playing in Second Life just under a year, and was very shy. What if they said no? After having been to both Montreal in 2009 and Hartford in 2010, I realized that a bit of preplanning helps to make things go smoother, even though the off-the-cuff stuff totally rocked!  The musicians were so top-notch, it felt like we had been playing together for years. I was pleased and honored to be asked to sing and play in the sets of Montrealer Moody, Katydid Something, Maurice Mistwallow and JellyJellyJelly Benelli.  The structure was such that anyone could jump in at any time, but it was nice to be included specifically.

It’s always wonderful to play when there is a great sound system available. I think it makes a major difference, and it sure did here. I know Rich enjoyed running the sound board and he did an excellent job. (Yes, I might be a little biased, but as a musician, I know the sound was great.)

I ended up playing a mix of originals and covers in my set.  My story of the stolen guitar, Lost in Montreal opened the set. The covers I played were God’s Promise, You Ain’t Goin Nowhere, Black Star, Angel From Montgomery, America, Wayfaring Stranger, Paradise, Kathy’s Song, Different Drum. 40 Years On, Emotional Vampire and Anyway were the originals. That was my set, to the best of my knowledge. I did play in a couple of other sets, so my memory might overlap.  The crowd in-world in Second Life was amazing. The screen was shown behind us on a curtain attached to the stage.  I turned around from time to time to see if I could see anyone I knew, and to check the time. It was neat to get a request from someone in-world too. My only regret for my set was that I didn’t specifically ask for singers to come up, and I should have. There were some awesome vocalists there. I guess I thought that it was implied that they were all welcome. Next time I will make that clear.

I am sure I missed out on a lot of fun by not staying at the dorms. From the stories I heard, everyone was up till all hours playing and singing and enjoying each other’s company. We stayed at a lovely B&B, Gite Angell,  just over the bridge. It was right on the lake and so relaxing. The breakfasts were out of this world…stuffed french toast and sausage, fresh fruit and yogurt, toast and cheeses for Saturday breakfast, and a bagel topped with pesto, tomatoes and cheese, roasted grapefruit with fresh fruit and candied ginger on top, cheese and toast for Sunday’s breakfast.

We left on Sunday in the afternoon, so I missed the closing. Wish we could have stayed, but as often is the case, RL called. The woman at the border crossing didn’t understand why we would travel to meet people that we met on the Internet. We didn’t have time to explain with any depth what it all meant to us.

Sincere thanks to Montian, Bree and all who helped make this jam the great one it was. It’s always wonderful to meet new people, make new friends and share our love of music together.

In my early days of songwriting, the songs would come a heck of a lot faster. If I couldn’t finish the song in one sitting, I would trash the remnants. I’m not so quick to do that now.  This is the first song I’ve written since 40 Years On was finished back in November of 2009. EmmyLou Harris talked about her fear of songwriting in a recent interview. I can surely relate to that. I am lucky that many seem to connect to my songs — that is such an amazing feeling. I want to make that connection EVERY time, so that puts pressure on me to create a song that people can understand and believe in.

I have been playing the new song, in its fragmented and experimental state, to my Second Life audiences for the past week or two now. I’m not sure whether it’s helped or not, in regards to feedback or whatever. In the past, I used to play the song over the phone to a friend when I was finished, just to get someone’s opinion. Playing an unfinished song is uncharted territory for me–drawing the listeners into the songwriting process and allowing them to see the song evolve.

This song is moving SO slowly. I’m not sure what’s keeping the words and music from flowing, but I truly hope to finish it by the end of this week. The working title is Lost in Montreal, so be on the lookout for it, and let me know what you think.

I am not a fan of myself on video or in pictures, so I’m not sure whether I want to see it or not, but of course I will watch it. It was an interesting evening, and even though it was long, I really enjoyed it. By the time I left the studio it was just after midnight. Thankfully, I didn’t get lost on the way home.

Thanks to David Vignola, owner of Vision Recording Studios and half of Mojo Magnus, for giving me the opportunity to play at this event. The mix of musicians and styles are diverse, but each is very talented and I’m honored to be among them.

The video podcast should be out sometime next week, I believe…

On February 19th, 2011, I was part of Frank and Friends Saturday Night Special at the Huntington Street Cafe, in Shelton, CT. Frank Pergola, our host, kicked off the show with a couple of songs. John Hoyt, a banjo player from Indiana, played next, and then it was my turn. I played a 35-40 minute set of mostly originals to a very appreciative crowd. One woman in the front row was crying during my song  40 Years On. I’d like to believe it was the song that moved her to tears, but I’ll never know for sure. I closed out my set with John Prine’s Angel From Montgomery and Bob Dylan’s You Ain’t Going Nowhere so I could call Frank up on stage to add some guitar and vocals to the mix. The whole audience sang along on the last song, which was a great way to finish my set. The Zuzazz String Orkestra ended the night with a lively and eclectic set of classic tunes.  Here’s a bit of video from the show:

Greenwich Village was the locale for an hour set I played on the Window Box Stage at Manhattan Theatre Source on Saturday, February 26th. Amelia Blake, a fellow Second Life musician was in town from Louisiana, and we had made plans to get together that day. She mentioned the Window Box Stage, and I thought I would see if I could get a gig there on Saturday, since I was going to be in the city already.  I figured it would be a long shot, but lo and behold, the spot was open. As we had plans to roam around the Village all day, I had to find someplace secure to stash my guitar. A good friend of mine offered to let me keep my guitar at her place for the day. The caveat: she lives on the upper west side. Needless to say, we spent a good amount of time riding the subway in and out of the Village. We had plans to have lunch at Katz’s Deli, but when we got there the line was too long, so we found Pulino’s, a gourmet pizza place which was unexpectedly delightful.

Arriving in Greenwich Village 50 some-odd years late for the folk movement and culture that thrived in those days, I still felt a little like I was perpetuating history–just me and my guitar, singing my folk songs on MacDougal Street, steps away from Washington Square Park. The room was fairly empty when I began, save for the few familiar faces of friends, who came out to hear me and give support.  I was the opening act for the Manhattan Theatre Source production of Oscarpalooza, a show of film parodies. As the crowd of actors and audience trickled in, they found seats where they could and started paying attention. I did see people intently listening as I scanned the room. My last song was Joni Mitchell’s Big Yellow Taxi and I’m told that folks sang along, but I didn’t hear them.  After the show, we grabbed dinner with Amelia and JW at a nearby diner and talked till we had to catch the train home.

I’m very happy to have had an engaged crowd for both shows. I know that doesn’t happen at every gig, but it gives me hope that my music is somehow reaching people.

To say I was devastated doesn’t even begin to scratch the surface. My Guild F-30 was my first big name guitar. I bought it when I was 20 for $600, which was a lot of money for me back then. It had a sunburst finish and a dark tone that lent itself well to my sad songs. For 24 years that guitar and I were inseparable. It was a little beat-up and certainly showed its age. The bridge had been replaced and moved, and there was an imprint of a piece of music on the back. The guitar had been such a part of my life, I felt like I had lost my best friend. The thought of it in someone else’s hands made me sick.

I was in Montreal for a musical gathering of Second Life musicians. Luckily, there was no shortage of guitars for me to play. Someone I met there offered me the use of his vintage Martins, and that was the beginning of my quest for a new guitar. I had a Taylor all but picked out but the call of the Martin was too strong. I had revered Martins from a young age, and a trip to the Martin Guitar Factory cemented that affection. A tip from the woman behind the desk at the Martin factory tour led us to the Nazareth Music Center.  A few hours later, I had purchased a Martin 000-28H, which was sent to the factory to have a preamp installed. The next two weeks went by so slowly, but the guitar was definitely worth the wait.  What a fabulous guitar.

My musical journey moves onward, without my faithful sidekick–the one who saw me through every emotion imaginable and absorbed my blood, sweat and tears for so many years. Several months after the theft, I found a mention of it online, posted the day it was stolen. Whoever had it then was trying to figure out how much it was worth and posted the serial number in his inquiry. I contacted the Montreal police, who said they would put an investigator on it. Yeah, I’m sure they got right on that. I do hope my guitar and I are reunited someday. It does happen. I have heard stories of people finding their stolen guitars many years later. I have hope.

So, what kind of song do I write to capture all of this? Early iterations of this song had an angry ring to them. I was out for blood. I’m not sure where I stand now. While circumstances have given me a superior instrument with which I am creating new memories and experiences, it still makes me sad to think about the loss I endured to get here. Ah…well…as they say, I’ll get a song out of it.

I met Jimmy427 Alter (his Second Life name — I never really knew his real name) at a Memorial Day show in Second Life that took place at his veterans memorial and museum. I was so happy to get a chance to sing there — veterans, especially Vietnam veterans, have always held a special place in my heart. I have worn a POW-MIA bracelet for many years in tribute to those who were lost. Not long after that, Jimmy asked me if I might write a song about his experience as a Marine in Vietnam. I was truly honored that he entrusted me with the telling of his story, but not sure I was able to meet the challenge.

He sent me a note that detailed his story, some of it harrowing and heartbreaking. To take those facts and feelings and somehow distill them into a cohesive song that made sense proved daunting. I wrote a verse or two in June or July of 2009 and did not pick it up again until November of that year.  I wanted to capture the spirit and the story, without giving all the painful facts away. When I was finished, I recorded a demo version and sent it to Jimmy. I waited what seemed a lifetime to hear his thoughts, wondering if I had gotten it right.  He loved it. Jimmy was in and out of the hospital over the next few months, and had told me he played it for the nurses while he was there. Sadly, he won’t get to hear the final version…he passed away on Febrary 19, 2010.

The song has amazed me in its reach. More people than I ever thought are responding and relating to it, and that means so much to me. The final version has a haunting violin melody by Beth Brown that drives home the poignancy and the grit of the story in such a lyrical way.

40 Years On is a tribute to Jimmy427 Alter, but also belongs to all those who serve — soldiers and veterans in peace time and war time, on the front lines and behind the front desk, as well as those who have died so we can live the lives we choose.