Church Values

Two pieces came together this week to have me thinking about church values.  First, I listened to an interview with the pastor of a megachurch in the south who talked about the core values of his congregation.  While the wording might get under my skin a bit, I found myself more or less agreeing with the values he stated.  The part that hooked me was the clarity with which they were spoken.  The church has five very clear, short (the longest is 5 words) statements that give shape to their ministry.  The second piece is a blog post written by my daughter, "What are you doing?"  In it she raises the question of whether or not one's actions are furthering their primary path or taking them down rabbit holes. 

So I was thinking about the churches I've been a part of... I've been blessed to have been part of great churches doing significant ministry in their various settings.  While the values of those congregations have often been implied by their actions, none of them have been nearly so clear as to have 5 short clear statements which could be recited by anyone in the congregation or used as yardsticks to evaluate the direction of their ministries.  Of course, articulating values doesn't mean a specific church really holds them.  Nor does a list necessarily include all or even the most deeply held values of any given church.  For example, few churches would say they value the status quo above all else but many clearly do.  And while many churches might put evangelism as a core value - perhaps even their top one - few really live as if that is the case.  Still, at least trying to articulate them can only be a good thing.

So what are the values of Cambridge Drive Community Church where I currently serve? To what degree are they reflected in the shape of our ministries and our life together?  Are our resources allocated to support the things we value most or are institutional needs draining them more than the values would indicate?  We haven't clarified those issues as well as we could and should.  For example, I would say that one of our core values is that our buildings and land should serve the community.   In a typical month we have between 500 and 1000 individual people who use our property who are not directly affiliated with the church via concerts, recitals, 12 step programs, educational programs, and just enjoying the grounds.  Many of them are on the property multiple times in a month, some more often than even our most committed members.  While we charge for many of the uses, none are market rate and for many the church is essentially subsidizing the use.   We often wrestle with those costs and struggle with the difficulties of other folk using our "stuff."  If we had more clarity around those uses as a core value, the questions may be easier to address...

All of that gives me and us something to work on...

Musical blessings

It has been a wild and woolly couple of weeks for me - being on vacation and then two conferences.

The second conference was the regional Folk Alliance conference called FARWest.   FARWest is essentially a trade conference for acoustic musicians and bookers.    There are workshops aimed at helping touring musicians and venues to do what they do better and lots and lots and lots of music.  The performances begin in mid afternoon and run until 2:30 in the morning... followed by an open jam session for those who still don't want to go to bed.  Add getting to spend time with old friends and make some new ones.

I have no idea how many performers there were but between the official showcases and coffeehouse and the guerrilla showcases that take place in hotel rooms, I think I saw at least 40-50 different acts.  Some literally knocked my socks off and I hope to book them for Cambridge Drive Concerts.   Some were really great but didn't seem as if they would be the right acts for Cambridge Drive.  Others... didn't click for me... which is not a swipe at the quality of the performer's art, only a statement that it wasn't my cup of tea for a variety of reasons.  Depending on how I was feeling at any given point it was either musical nirvana or musical overload. 

Then, I got home and began working on music for a gig I have this Friday (10/23) with Robin Howe and the Darin Lee Project.  They've got a full band for this gig with Grace Feldman on drums, Eric Brittain on guitar, and me on bass.  It is some very nicely crafted pop music and I' looking forward to the gig.  At the same time, it has been a long time since I've played with a full fledged rocking band... and I forgot my earplugs for rehearsal.   I'll not do that again.  If you're in greater Santa Barbara this weekend, we're at The Brewhouse at 8:30.  Stop by for some really great music.

On Sunday, I am back playing bass with our excellent church band.  We do a very wide variety of musical styles and (if I do say so myself) are one of the better church bands that I've heard, especially when you realize that our players are mostly volunteers while the big churches mostly have paid players.  IMHO we hold our own or better any of the bands I've heard.  Still, church music is not about performance.  It is about experiencing the presence of God.  I can only speak for myself there, but I certainly feel God's presence in the music this band makes.

Back to Cambridge Drive Concerts... more wonderful music.  We present on the first Friday of each month and have a great show coming up in a bit more than two weeks from this writing with Dulcie Taylor as our headline act and banjo gal, Donna Lynn Caskey opening.

All in all... I am blessed with the opportunity to hear and play some wonderful music.

unsolicited advice re: musicians' websites

OK... nobody asked for my opinion but that has never stopped me before.  I'm speaking here as one who books a venue (Cambridge Drive Concerts), not a fan looking at musicians' websites.  Some of the needs are very different so take that into account. 

As a booker, when I go to an artist's website, there are a number of things I look for and I want to be able to find them relatively easily. 

First, I want to be able to hear the artist's music.  It is better yet if I can actually hear their live sound rather than a CD they're selling (which tells me next to nothing about what they sound like live) and even better yet if I can watch a quality video of a live performance. 

Next I want a good, useable bio.  If it includes recommendations or reviews, they are worth more to me if they are related to live performances than to a CD.  And if you have quotes from venues that are similar to mine, even better yet.  Te whole thing doesn't need to be press ready, but if it is, I appreciate that.  One performer sent me a press kit with three different length bios... I loved it.  I didn't end up using any of them verbatim but took pieces from two and put together something that fit our requirements and seemed to reflect the performer's personality.

I want to know where the musician is based.  I hear lots of music on the web, have a feeling the person would be a good match for our venue, make a contact, only to discover they're based in Maine and never travel outside of New England.  You wouldn't believe how many websites don't even give a clue as to where the musician is based.  It would have been so much easier if somewhere the website might have said, "New England based" or "I spend 50% of my time driving cross country and perform everywhere."  Maybe even a "I'm currently putting together a west coast tour for next fall..." 

Last, I want to be able to find a good high rez photo to use for my press materials.  I can't tell you how many artist's websites have zero useable photos for press releases.  Yes, I can send an e-mail and ask for one and wait for it to be sent, but it is soooo much easier when I can just go to the website and download it.  And of course, there are those times when I forget to ask until a day before the press release needs to go out and there just isn't time and I end up using something inadequate that I pulled off the web somewhere.  As likely as not, that photo doesn't get included in the announcements in the media and maybe we lose a few audience members.

Once I've booked an act, I need a few other pieces.  What do you need from me for sound, ie how many microphones, inputs, DI's?  Do you have any food allergies or requirements?  We like to feed folk.  Any pet allergies if we're putting you up?  Where are you coming from and going to?  That helps with our plans.  Send me a CD a few months before your date.  It isn't just for me (although I've gotten a few of my favorite CD's from performers).  I'll play it at shows as people arrive and during intermission and inform the audience... "You're listening to John Doe who is performing here next month."  The high rez photo becomes more important here.  I need one, one way or another and I have to have it more than a month out as press releases go out before the 1st of the prior month.  And most important, give me your cell phone number and get mine as soon as we solidify a date.  It isn't likely we'll need to call one another, but if you're stuck on the 101 outside of Ventura because of a mud slide an hour before our scheduled soundcheck, I need to know.

One more piece of advice.  I love to get e-mails from performers looking for someplace to play and have connected with some wonderful folk that way.  More often than not though,  the sender has done no research and they are not the right artist for us.  I get e-mails from hip hop artists, alternative rock bands, you name it... and it is a waste of time and bandwidth.   Find out who we are and what we do before you make a contact.  FWIW, I usually book about 6 months out and do the fall in a block and then the winter/spring in a block.  We present once a month on the first Friday.

One of these days I'll give some more unsolicited advice about performing.

solo gig

Last night I played a solo gig for the first time in a lonnnggggg time.  Years ago, I did the solo thing a lot but every since I began to perform with my daughter Alexis about 15 years ago, I've found myself playing the role of backing up a singer.  Being a side player is a very different experience.  It truly is a supportive role.  You listen to the singer and wrestle with a song that is the singer's choice, trying to enhance his or her performance.  It is a unique discipline to give your talents and skills for another's art.  The upside is that you are responsible primarily to the singer rather than the audience.  If a mistake is made or there was something lacking in the choice of material, that falls back on the singer.  At the same time, to some degree you lose the joy of making your own choices.  When backing up a singer, I clearly play my style, but there is always the possibility of the singer vetoing something that I feel works well.

As a solo performer, you are responsible for everything - the choice of material, the pater between songs, and all of the aspects of the performance.  There is nobody else to blame for anything that doesn't work.  All of that adds up to serious nerves for me.

In the two years plus of producing the Cambridge Drive Concert Series I have paid serious attention to which acts seemed to connect the most deeply with the audience.  While depth of songwriting, skill of playing their instrument, and quality of a voice all count for something, that was only part of the picture.  The best musicians and the best songwriters did not necessarily make for the best performances.  There is an intangible connection that characterizes some performances that really makes a special time.  The audience has an experience that enriches their lives.  The best performers consistently enable that kind of experience.

You'll have to ask someone who was in the audience whether I was able to create that kind of experience.  I do have to say that I felt that my guitar playing has been better when playing behind someone else.  Still, I felt very good about what happened.  I'll keep at it and try to do some more solo gigs.

Here's to Singer/Songwriters

I get to rub shoulders with lot of great singer/songwriters at the Cambridge Drive Concert Series.  They amaze me.  I've never been a good songwriter.  It requires skills that I just don't have.  Think of it for a second...  a good songwriter has to be able to write a memorable melody, surround it with chords that make sense and aren't too predictable, and has to be able to condense human experience into three or four verses with a chorus and bridge that fit rhythmically and likely have some sort of rhyme scheme.  Then, they have to be able to play and sing all of that in front of an audience.  More often than not, they do their own booking, web site management, and maintain their relationships with their fans.  And they have to have at least a passing knowledge of how to use the gear they need and what gear is available to do whatever they need.  It is just a very broad and diverse set of skills that not any people have.

I'm a reasonably good guitar player with a good ear, a good sense of melody, a good sense of how an acoustic guitar (vs. an electric guitar or some other instrument) works in a song, and reasonable knowledge of theory (both in my head and in my hands)...  I'm not good at writing lyrics.  I'm much too prosaic.  And I'm not particularly good at performing by myself.  I forget lyrics.  When I'm singing, I tend to get nervous about the whole package and it impacts my guitar playing in a not good way.   Then there are the other non-musical pieces... some I'm quite good at and others not so.    I marvel at the singer/songwriters who do all of that while making incredible music.

So, here's to the singer/songwriters who do all of that AND make our lives richer with songs that touch our hearts and delight our ears!

Christmas Carols #1

Of all of the sub genres of church music, I find Christmas carols the most interesting for a whole bunch of reasons.

First, the gospel is all about contextualization, but many theologians and many churches try to ignore that.  They'll talk about trying to recapture the shape, style, and government of the Early Church, forgetting that there never was one early church and neglecting that the cultural differences would make it unworkable even if there had been.  Incarnation is all about context.  Jesus was born a boy in a very specific time and place with a very specific cultural setting, politics, and economics.  His ministry becomes universal only because it is so contextual.  The same continues to be true now.  We see this most clearly in Christmas music.

Europeans moved the holiday to the middle of winter both to coincide with the shortest and bleakest time of the year and with pagan holidays that happened at the same time.  One of my favorite carols is In the Bleak Midwinter.  Now, how much more European can you get than that?  "Snow had fallen, snow on snow..."  "Water like a stone..."  Jesus was born in a place where the weather just doesn't look that way.  Still, the image works both for the setting of the singers, northern Europe and North America,  and as metaphor.   Here's a video of me playing this song in Santa Barbara at the Cambridge Drive Concerts Songs on a Midwinter's Night (sorry for the lighting and for the clam in the first verse) -  another place where the weather doesn't fit at all, but the metaphor still works.



My favorite Christmas carol is Some Children See Him, one of the Alfred Burt carols with lyrics by Wihla Hutson from 1951.  I blogged about the way this song reflects contextualism back in '06.  Here are the lyrics.

Some children see Him lily white,the baby Jesus born this night.Some children see Him lily white,with tresses soft and fair.Some children see Him bronzed and brown,The Lord of heav'n to earth come down.Some children see Him bronzed and brown,with dark and heavy hair. 

Some children see Him almond-eyed,this Savior whom we kneel beside.some children see Him almond-eyed,with skin of yellow hue.Some children see Him dark as they,sweet Mary's Son to whom we pray.Some children see him dark as they,and, ah! they love Him, too!

The children in each different placewill see the baby Jesus' facelike theirs, but bright with heavenly grace,and filled with holy light.O lay aside each earthly thingand with thy heart as offering,come worship now the infant King.'Tis love that's born tonight!

Those words reflect my understanding of incarnation more deeply than any song I can think of... and in that reflect the gospel in the deepest of ways.  More than once, it has brought me to tears.  Some Children has been recorded by a number of people but my favorite recording by far is by Stacy Sullivan.  She changes the rhythm a bit and moves the melody some but I don't think does any violence to the song and makes it a bit more accessible for most folk.  Unfortunately I can't find a video of her but you can purchase the MP3 at Amazon here.  It is a gorgeous rendition of the song.

In a few days, I'll be back with some thoughts about Christmas music and gender.

putting it out there

Last week we had a wonderful show in the Cambridge Drive Concert series with Terry Holder.  At some point during the day, I was talking with Jerry, Terry's husband and guitar player.  He wondered out loud why it was that guys in the audience assume that every female performer "is available to them" and told stories about guys who tried to pick Terry up.  One fun story involved a guy who had purchased 3 CD's from her merchandise table and then learned that Jerry was her husband.  He returned the three CD's and walked away without even asking for his money back.

I was thinking about the discussion this morning as I was walking to work and listening to some music.  I love "If I Were a Boy" by Beyonce and, despite the controversy over the rights to the song, I think she just kills that song.  Every time I hear it, I believe her.  I feel the pain at being taken for granted by some guy and her yearning for "a better man,"  and I figured it out.  A great performance involves putting it all out there.

As a culture, we're just immature about emotions.  When a performer opens his or her soul and puts their emotions out there, it feels intimate.  Indeed, it is intimate... but that doesn't mean we really have an intimate relationship with the performer.  All those guys to whom Jerry was referring were just unable to experience emotional intimacy of any kind without assuming it came with sex.  They really need to be "better men"  who can experience powerful emotions without making assumptions.

So, here's my question... how do we raise a crop of better men who really do understand the emotions of other people?  Who are emotionally mature, caring, and giving, and who understand where the lines are?

Here's a live performance of "If I Were a Boy..."

Cambridge Drive Concerts Video

well... not actually a video of a concert, but a promo video...


CD concerts
by: roy_d


it is my first fledgling attempt to use xtranormal.  The next one will be better but I feel OK abut this first one

gonna party like it's my birfday. it's my birfday!

It's my birthday.  That pulls together a bunch of different threads for me.  On the one hand, it is a day like any other day.  'nough said...  but it is good to set time aside to be aware of the passage of time, of people and places and experiences that are important to us and to celebrate and commemorate.  It doesn't have to be expensive or elaborate.  It just needs to be.

So we're celebrating.  And it won't be expensive or elaborate.  We blew way more money than we could afford on our recent trip to Kauai so it can't be either.  I'll be thankful for family and friends, for technology that kept me alive way beyond most of the men in my family, and for blessings too numerous to even remember let alone list.

Cheryl and I started last night by stopping by a wine bar in Lompoc called D'vine.  It was our first time there.  We'll be sure to go back.  We had some nice local wine and heard some great music by Owen Plant (who we have coming back to the Cambridge Drive Concert Series in January).  We weren't planning to eat anything but they had this desert that wouldn't let us not try it.  It was a dark chocolate chili tart with candied apple smoked bacon.  It was soooo good and was just perfect with red wine.

Today... I'm beginning by trying to put off finishing my sermon.  It is not an easy passage (Matthew 21:33-46) and I've never preached on it before so I can't even cheat and pull out an old sermon.  So, I blog first and then I'll get back to it.

For dinner, like many folk, the birthday person gets to pick either a favorite restaurant or a favorite meal.  Cheryl is an amazing cook.  She can do sophisticated and fancy and she can also do peasant food.  I like both.  We can get sophisticated pretty easily in Santa Barbara and some kinds of peasant food, especially Mexican, but other peasant foods are just not available.  Good pizza is very difficult to get on the west coast period and the people's Italian food is almost as difficult to find.  Back in Philly and Pittsburgh, every few blocks there was a knock you off the bar stool neighborhood Italian restaurant.  Here... there just aren't.  Cheryl makes a red sauce, called gravy in Philly, that is as good as any I've ever had anywhere  and a killer meatball.  So that is what I requested.  We'll have a nice super Tuscan, the Tocata Riserva from Mandolina and some store bought deserts.  Cheryl also makes some amazing deserts but if she made an entire flour less chocolate torte I'd eat it.  So we bought deserts from a local bakery.  They won't be as good as hers, but I'll be finished with it this evening and won't have all of those evil calories calling me.

Now... back to the sermon.  Thanks for the diversion.

a great song

Last night we presented Jill Knight at the Cambridge Drive Concert Series. Jackie Morris opened for Jill. It was a wonderful, wonderful show. Jill is a great songwriter, a great guitar player, and an engaging performer (if you ever have the opportunity to see her perform, don;'t miss it!).

Jill's most recent CD, Rare October is stripped down to just voice and guitar. It is perfectly recorded and perfectly performed. The songs are strong enough to stand with nothing other than a voice and a guitar, albeit a wonderful, soulful voice and stellar guitar work. That CD is in heavy rotation for me right now.

Last night, Jill performed many of the songs from that CD in a slightly different format. She brought along monster bass player, Bobby Santa Cruz. There were numerous jokes through the evening that guitar players can throw out some clams but there is no room for mistakes for a bass player. Well, Bobby provided this wonderful bottom end that grooved and added just enough and never too much. The songs still shown through. Jill even invited me to sit in on a few songs. I was thrilled to be able to play with her and enjoyed those few moments of thinking about adding a little icing to those great songs.

Bottom line of all of this is that a great song doesn't need whiz bang production, 14 highly paid studio musicians, or lasers and lights. All it needs is a competent, heartfelt performance.

Here's a video of "Carolina" with Bobby Santa Cruz on bass and me trying to add a little icing.

family stuff - Alexis d

Tuesday evening, Alexis and I played a short set at Songwriters at Play in SLO and had a wonderful time. It was so much fun to dust off some material we haven't played in a long time, to relearn some tunings (we did one song in DGDGCD), and just to share that experience with my daughter. We have two more gigs coming up that I'm also looking forward to - we open for John Batdorf at the Cambridge Drive Concert Series tomorrow (June 3), and then on Sat, June 4 are participating in a fund raiser for Robert Postel.

Also, this week, I finally got an old VHS tape of Alexis and I playing on a local television show in Albany, NY from about '99 transferred to a digital format. I'm hoping to put a few of the performances up on youtube... I'll let you all know when that happens.

I love playing with Jamie Green and I love playing with the church band and sitting in with other folk but I have to say there is something really special about performing with my daughter... If you're in the Santa Barbara area, come by and check us out.

doing the thing I don't want to do

I began this blog as a place to write about topics slightly outside the scope of my normal public presentations - i.e. sermons. Certainly a sermon is a place where I raise the concerns that the culture is impressing on me and my hopes and dreams for the congregation in response to the witness of scripture... but... and it is a big but... sermons walk the fine line of speaking what I see and feel while respecting the views and experiences of the congregation. There are times when I must push this over the line, but I have to be careful there. For example, as I understand the words of Jesus, a Christian must be a pacifist. Members of my congregation have come to different conclusions than I have. So, I can preach about peace without requiring people to become total pacifists and allow them to struggle with what that means when their theology allows for war/violence under some circumstances. So, I envisioned the blog as a place where I could let loose without those constraints. I envisioned most of my topics as being theological or related to my therapy - music and guitars.

It feels as if I write most often about politics. I don't like that. I know that politics, as the way that groups of people make collective decisions, is by definition theological. How we live together says something about what we believe and what we believe says something about the ways we live together. So my understanding of God's yearnings for us is always reflected in my political acts and writings... and that is rarely material that makes it into my sermons because there is considerable diversity even in my little congregation with regards to any of these questions. So, I know where it is coming from... I write it here because I don't feel it is appropriate to say there... And it often comes across as more hard line than I really see myself.

So I'd like to write a bit about something less contentious... and this week I will. In two days I go to NAMM, the biggest trade show for the music industry. I go as a guest of Lowden Guitars, get to see George and some of the other folk from Lowden, connect with my friend Thomas Leeb, get to check out all of the newest doodads available for musicians to purchase, and see some of the bizarreness that is the LA commercial music scene. This year things will be a bit more serious for me as I'll be thinking about equipment etc. for use at the Cambridge Drive Concert Series but it will still be a fun couple of days. And I am soooo looking forward to not thinking about or writing about Sarah Palin, Sharon Angle, or any of the rest of that bunch. Instead, I'll get to think about things that are important to me - strings, pickups, guitar builders, microphones, etc. - but which make little difference in the grand scheme of things.

Christian Music?

The other day I was talking with someone about the Cambridge Drive Concert Series and the person asked me whether or not we presented Christian music.

It is a curious question, isn't it? I answered, "no," but now I wonder whether that was the right answer. I'm not entirely sure what the question means. In my theology, to be "Christian" involves a commitment to try to follow Jesus. How could a song do that? You might argue that lyrical content could define a piece of music as either "Christian" or not, but you'd need to be very careful there. What about instrumental music? There have been times when cultural definitions have come into play and certain intervals, rhythms, or even specific instruments have been declared anti-Christian... In some traditions, having instruments at all is still considered idolatrous. It wasn't that long ago that Larry Norman asked, "why should the Devil have all of the good music?" Now you wouldn't find many churches in SoCal that don't have a band with bass and drums. As times and cultures change so have those definitions of sinful music. And what about a song with lyrics that never mentions God? Can it be "Christian?" The Song of Songs in the Bible is interesting in that it never mentions God and includes material that according to many definitions might be labeled as pornography, especially if the euphemisms where translated into modern language. So context and interpretation become important. So what does the question mean. What is "Christian" music?

After thinking about it, I'd push the question in a different way and ask myself, "what is the role of music (or art) in the yearnings of God?

I have a clear answer to that question. We do art or music because we are created in the image of God, at least part of which means that we are by nature, creative. When God created, God pronounced what had been made as "good." We can continue to add to the beauty, the goodness of creation by what we create. In creating, we show forth our nature as human beings. In creating, we present new ways of experiencing and knowing the creation and of experiencing and knowing God.

So... I'd have a hard time finding much art that isn't "Christian." Sure there are some things out there that are just gratuitous and even some that just make the world uglier, without inspiring us to see with new eyes or hear with new ears... but sometimes even those works tell us about the pains and frustrations of being human and illuminate the work yet to be done.

Next time I think I'll answer "yes... Christian, but not necessarily religious" and let the questioner figure out what that means.

FAR-West

In earlier posts - here and here, I've talked about the Cambridge Drive Concert Series. We have our second show coming up next week, Novemeber 5, with a wonderful performer named Anna Coogan for our headliner and Christina Grimm opening. More about that in a post to come...

Last week I was able to attend most of FAR-West, the western regional convention of the Folk Alliance International. The Folk Alliance is a professional organization dedicated to improving the ecology of folk music, building stronger artists, presenters, and audiences. How that plays out at the conventions is that there are workshops aimed at helping artists and presenters do what they do better and lots and lots and lots of performances.

I went as a presenter and so was there to learn things that would help us improve our concert series and to hear some acts for possible bookings. Both things happened.

The biggest learning for me was one which had to do with which artists I should book. Some of the more experienced presenters said that it is clear that the best concerts happen when the presenter truly likes the performer but that the audience should be the primary consideration. The performer must fit with the audience the venue has cultivated. So... a performer who fits the audience and whom the presenter likes is the best case scenario. Second comes a performer who fits the audience but isn't a favorite of the presenter. Last is an act that is a fav of the presenter but doesn't fit the audience. Given this, the mantra for presenters is, "know your audience."

We aren't there yet at the Cambridge Drive Concerts. We haven't yet developed our audience. Still, I need to be careful and book performers who I think will fit... and as I make these early booking decisions, I will likely shape the audience we will have in the future.

To the performers, the lesson here was that when a presenter does or does not book you, you know little about whether they like your music. It may be that you are their favorite among everything they've heard, but for some reason you don't work for their audience. Or - and this piece was a surprise to me - they may love you but just don't have a slot for you. Most of the presenters were booked at least a year out and some were booked multiple years out. One festival presenter said he sometimes is thinking 3 or 4 years down the road. That is astounding to me. I can't wrap my head around planning that far in advance. Who knows what wonderful new performers will appear between now and then... or whether some favorite will decide to give up the life of a traveling musician... My gut tells me not to book any more than a year out - ever - but I wonder whether that will preclude me from booking some acts that I would really like to present. Time will tell. For what it's worth, right now we're booked about 5 months out for the headliners and I'm waiting to hear back from one or two others so within a few days I could have my headline acts booked through May of 2011.

The performances are mind boggling. There are official "Premier Showcases," each giving half hour slots to 7 performers on Friday and 6 on Saturday in three rooms, chosen by a panel... so 21 Premiere Showcase performances took place on Friday and 18 on Saturday. Then there were two "Featured Performers" who also performed at the same time in two different rooms on Friday evening and one on Saturday. So, you listen for a song or two and then off to the next room to hear another performer for a song or two... Beside this, there is serious craziness - Guerrilla Showcases. A performer rents a hotel room, pushes the beds up against the wall and adds a few chairs and maybe some mood lighting and snacks and then books performers, usually in half hour slots, sometimes from late afternoon but certainly after the Premiere showcases ave ended at 10:00 until the wee hours of the morning. There were 25 Guerrilla Showcase rooms all on one floor of the hotel. Imagine the cacophony... and the difficulty when an acapella Celtic singer is performing in a room across the hall from a bluegrass band. Still, it was a great way to get little tastes of a LOT of music in a short time. The currency of the conference are 3X5 cards with a photo of the performer and name on one side and their schedule of Guerrilla Showcases on the other side.

I heard some wonderful music that I am working to book... and some wonderful music that may not work for our series. We've already booked James Hurley for January and Cindy Kalmenson for March and I'm talking with a number of other possibilities.

More on the Cambridge Drive Concert Series

I'm a lousy interview. I've long known that. Part of it is hubris. I think quickly and can be pretty charming in most settings so, I go into an interview situation without having thought it through as carefully as I should have figuring I can wing it. Part of it is just cluelessness. Enough said. When I was president of the local clergy association, I got interviewed a lot. And when we lived in Albany, NY I found myself on the news or in the paper a few times so I should know better, but too often I don't.

Two days ago, a reporter from the Montecito Journal called to interview me about the up coming Cambridge Drive Concert Series. He asked me the most obvious question of all... "Why are you starting a new concert series?" It was the most obvious question and yet, I wasn't really prepared to answer it. There are a couple of other series that happen in greater Santa Barbara including two that I am aware of that happen in churches, so why another? I'm pretty sure my answer was lame. It did start me thinking though... why another concert series?

I should be honest and say that I've not attended many of the local series. Those in the big venues are frankly too expensive for me. I just can't justify spending $30 or $50 or more times two to see a musical act more than once every few years. The two church based series fly under my radar and I just never know who is performing or when. There have been a few series featuring local acts, mostly in coffee houses, and I try to visit them when I can. All too often life gets in the way and I suffer that loss.

So, here are the niches I think we're filling and I think we're unique in the mix at least. We're trying to bring in very talented regional and national acts who are fulltime musicians. In part, I want to support the musicians. It can be a difficult life and keeping the wolf away is a huge job. I'm hoping that we can provide one more possible venue as they travel around the country sharing their art. We have decided to always have a local opening act. There are some wonderful local performers and too few venues that allow them to play to an appreciative listening audience. Some are as good as any touring artist out there but are constrained for any number of reasons to stay local. Others are just honing their craft. In both cases they deserve to truly be heard and to have the opportunity to share a stage with other wonderful musicians.

Music can build community. I'm hoping that opening our doors to these wonderful musicians and to an audience will break down some of the walls that divide us and build some new relationships. At least for the present, the concerts are not seen as fundraisers for the church although we are also unable to subsidize them beyond opening doors, providing space and staff time, and being as hospitable as we can be.

We are substance free. I have talked to some folk who are a bit put off that there will be no alcohol available. They want a glass of wine while they listen. I understand that... but beyond being against the church by-laws, there are communities of folk who are excluded from venues with alcohol - young folk below the drinking age and folk with addiction issues. So we are substance free... except for caffeine maybe.

And here's the big piece... God's creation is filled with extravagant beauty. The other morning I happened to look out the window as I was spraying my orchid plant and saw a breath-taking sky - pink clouds and robin's egg blue sky. Then the light shifted and the colors faded. How many days have I missed an equally beautiful moment? A few weeks ago, for just a few moments, the light was perfect as I drove through the Gaviota Pass. Had I been 5 minutes later, the view would have been less amazing, or at least completely different. The songs of birds, the majesty of the mountains, the power of the ocean, the laughter of children, the intricate beauty of a tiny flower... God is a performance artist in the most sublime sense of the word. Part of what it means to be created in the image of God is to consciously contribute to this proliferation of beauty. And we will be doing just that at the Cambridge Drive Concert Series on the first Friday of every month. Frankly, there cannot be too much beauty.

I hope that if you are anywhere near Santa Barbara, you will come to the concert tomorrow and/or any subsequent ones. Bev Barnett & Greg Newlon and Rebecca Troon will be making the world a more beautiful place and when the performance is over, it will be gone except in the memories and lives of those who shared those moments...