For as long as I can remember, I've said that I enjoy accompanying, and if forced to choose only one expression, it would be that (over playing solo, or with a group). At this point in my career, and especially in recent years, as I have allowed things to develop more organically (without a pre-determined agenda) this has shaped my path, and the opportunities presented on it. Over a decade ago, I began working as Musical Director for the annual Women Helping Women concert in Chestertown (sharing the responsibilities at first, eventually assuming them solely). This unique show has me accompanying/supporting a stage full of stylistically diverse performers, one at a time (around 20 or so) over the course of an evening. And being in this position aligns with my strengths. Or my strength. And now I'm in the position to move not just from performer to performer within a show, but with Mainstay Mondays, from show to show to find and live in the unique moment and connection at hand. Though it is true that if I'd ever have to choose between solo piano performance and accompanying, it would be no contest, I wouldn't want to have to make that choice. But allowing things to evolve as they will (or to allow providence to unfold) without getting in the way will place things where they are supposed to be. And wherever that place is will likely not be where it would (or could) have been imagined. No way, say, a decade ago, could I have predicted where my career would be at this point. One step taken, or one possibility embraced at a time will eventually (or sometimes quickly) take you beyond what can currently be seen or understood. Ultimately, everything is connected with itself as we move through time, so while at any given point, we may make sense of where we find ourselves. And as for what will the landscape look like a year or two from now? The more I trust the path and the bigger picture (Providence), the less it matters. 

This little blog entry has the potential of being a bit wonky, and I'll try to avoid that. It also will shine a bit of light on a long felt and nagging insecurity of mine that has the potential of getting in my way at any time, as a performer, especially when sharing the stage with more "modern" jazz musicians.
Jazz, to many contemporary practitioners, is defined by/as the acquisition of a particular 
"vocabulary'' (harmonic and melodic), much of which was codified after the Great American Songbook/swing era of jazz (the unique time when jazz and popular music overlapped). During this era, jazz was less a product of academic study and acquisition, and more an absorption of and conversation with the existing environment of music and musicians. When describing the process by which this absorption takes place, at least in a very general way, I'll point our that people learn, at the basic level, not through formal study, but by being around others who are already doing whatever it is. A young toddler learns to express spoken language simply through being around others who use it. The early jazz musician, much the same.
Something came clear to me recently; that my struggle to connect with some of the existing "modern jazz" vocabulary may less about the vocabulary and more about the process. This began to come into focus some years ago, when (what I observed to be) Keith Jarrett's music expression/process "clicked' with me. There are some "modern" (post swing/Great American songbook era) players who will describe their music making process as, essentially, decision making (Chick Corea comes to mind), and some as expressing their emotions, or feelings (Bill Evans comes to mind here, who makes a point of separating the necessary mental acquisition of vocabulary and skills from the expression of playing, which draws on that which is acquired, but originates from another place). Of course I have to be careful here. I am not making comment on the abilities of any great musician (whose skills are far above mine), but in that which resonates with me. Expression. For myself, as I'm come to embrace, this is what music making is all about (Charlie Brown). And is connected, ultimately, to why I've struggled with the current world of jazz, and in particular the more "modern" academically codified approaches. And boy, did I just potentially step in a rabbit hole. Perhaps I'll just take a seat here for awhile.

In 1994, I made the 36 mile drive from Elkton, Md, where I lived, to Chestertown for the first time, having picked up a music therapy contract with Heron Point, the area's continuing care retirement community. It was the beginning of the journey that would eventually lead to official certification as a music therapist (I was recruited for music therapy contracts prior to being certified and didn't solicit them until afterward) and eventually, ongoing relationships/contracts with around 30 senior communities. It was also the beginning of a 25 year association with Heron Point, and many long term relationships, even some with residents who have been there as long as I.
Gone are the days when I maintain active contracts with dozens of senior communities.
The page has pretty much turned on that, with the exception of Heron Point. At this point, anything you can imagine a pianist doing at a retirement community, I am (some of the residents have a standing line that I should already have my own room there). One of the very meaningful things I get to do is play the majority of the funeral/memorial services. Without exception, each one is an inspiration, as the resident's life is recounted, remembered and revered. These experiences fall into the category of off the radar screen (or the stage) things I do that are among the most meaningful. Music makes connections, and these connections are beautiful. I am a blessed guy.