Sorry the posting is still so sporadic. Some updates:
- East Kingdom 50 Year was lovely–what I got to experience of it. As it happens, 30 minutes after I finished my Friday concert with Donal Artur and Bird (which was a blast), I was rushed to the ER for pain that turned out to be a kidney stone. By the next morning, it was clear that managing my discomfort was going to be difficult at the event, so we packed up and left early. I hated to miss the rest of it. (And yes, the stone passed a couple of days ago.)
- Efenwealt Wystle has put the bardic sampler CD together for this Pennsic, and I’m excited to have my music and Juliana’s on it. Some major names on this thing, I feel very privileged.
- I’ve put together Facebook events for my concert and my classes for this war. I will be posting my two new songs when I get back.
- Rehearsals for The Mystery of Edwin Drood are eating up my evenings, as expected, but a promise is a promise, and I’m having a ton of fun.
Checking in. After last K&Q Bardic, I made my traditional long in-depth post, and at the end, I made a number of pledges about actions I planned to take. I wanted to share that I have made progress on several of these: Continue reading
Today was delightful, as I worked with Bird (that’s Juliana Bird with a Spanish J), recording tracks for “Tir Righ Rise” by Juliana la Badele (with an English J).
Bird is (unsurprisingly if you know her) my new go-to recording musician for brass, woodwinds, and harmonies. She is right: French horn is best horn.
Producing is so much fun, I don’t know how it’s legal.
Working day as producer/sound engineer for my friend Juliana la Badele’s (aka Jazzy McIntosh) recording. Need to get things in order so that we can record Bird the Bard’s horns and pipes against Juliana’s vocals, uke and harp. (Guitar, drums, and backing vocals forthcoming.)
Very psyched. Stay tuned for more details.
It’s Saturday morning, and Rosalind and I are up to no good. #luteselfie
So…I went rather quiet for the past month. (Had to find a new day job, couldn’t be helped. Happily, it didn’t take long, but it required some focus.) Now it’s time to get ready for Pennsic, and as Jessa and I race to do that, I wanted to take a moment and reflect on Sing for the East in a little more depth.
My Laurel, Mistress Zsof, has invited me to do more in-depth blogs about what I am learning as I continue to explore bardic. I realize that the sorts of entries she is talking about are usually more A&S focused (meaning, on period and period-inspired works, like “I asked of thee a boon”). At the moment, though, my most recent project was an album, and my entry on that collection was an original kingdom anthem. I learned a great deal putting the track for “We Are the East” together, and applied a number of lessons I learned about music recording and production from my solo album Hidden Gold.
Yesterday, I had eight performers at my secret basement lair, Studio Oranwood, to record vocal tracks for Sing for the East. (From left: Mistress Dorigen of the Grey Gate, Drake, Mistress Judith Fitzhenry the Uncertain, Master Arden of Icomb, Mistress Linette de Gallardon, Lord Jayme Hume of Berwyk, Lord Martyn de Halliwell, Cedar-San Barefoot, and Mistress Sabine de Kerbriant.)