Chiel (bass), Herbert (keyboards) and Hans (percussion) formed the core of jazz group OAAO (now O.BA.O). Warm, kind fellows who'd built a soundproof music studio up on the top floor of a converted 19th century school building in the heart of Old Amsterdam on a one block street call Molenpad (Mill Path). Also on that top floor was a converted classroom 32'X32' with a 20' high ceiling and tall windows facing south and a smooth, blue floor. With a small apartment right across the hall, also blessed with a lot of natural light. In '77 I got the opportunity to rent the studio and apartment and jumped at the chance.
My beautiful Molenpad studio was the setting for Pamela and me to create two of our original shows. It was also where I taught, first the fellows of OAAO, then the singers from a capella group extraordinaire, The Oom Maw Maw. And this work led to workshops with a number of other musicians and vocal groups. So what kind of work was I doing with them?
Using physical and vocal games, tailor-made to draw out each musician's and singer's expressiveness AND receptiveness, their confidence with one another increased and their stage presence improved. While I was at times helping them come up with effective staging and then getting them to practice (always important!), the basis of my work was always primarily exercising each performer's senses and ability to cut loose in true improvisation while keeping contact with the others and their audience. Our workshops together sometimes went on for hours or days. I'm sure I learned at least as much as I taught. Music is boundless.
While some performers seem to be born with star qualities, all who are willing to take some risks and try new approaches to their creative work can, I believe, be taught both individual and collective charisma. And what, pray tell, is charisma? I see it as a shimmering balance of Yin and Yang in motion. Harmony, counterpoint, dynamics, shining out and drawing close. Breathing and heartbeat responsive to the flow. Peaceful and outrageous. Bold and sensitive.
Dear reader, I wish you a jazzy day and a swinging night.
Cancion de Buenos Aires
Buenos Aires, cuando lejos me vi
sólo hallaba consuelo
en las notas de un tango dulzón
que lloraba el bandoneón.
Buenos Aires, suspirando por ti
bajo el sol de otro cielo,
cuando lloró mi corazón
escuchando tu nostálgica canción.
Canción maleva, canción de Buenos Aires,
hay algo en tus entrañas que vive y que perdura,
canción maleva, lamento de amargura,
sonrisa de esperanza, sollozo de pasión.
Este es el tango, canción de Buenos Aires,
nacido en el suburbio, que hoy reina en todo el mundo;
este es el tango que llevo muy profundo,
clavado en lo más hondo del criollo corazón.
Buenos Aires, donde el tango nació,
tierra mía querida,
yo quisiera poderte ofrendar
toda el alma en mi cantar.
Y le pido a mi destino el favor
de que al fin de mi vida
oiga el llorar del bandoneón,
entonando tu nostálgica canción.
The song of Buenos Aires Tango 1933
Music: Orestes Cúfaro / Azucena Maizani
Lyric: Manuel Romero
Sing a song of long ago
When things were green and movin' slow
And people stopped to say hello
Or they'd say hi to you
Would you like to come over for tea
With the missus and me?
It's a real nice way to spend the day in Dayton, Ohio
On a lazy Sunday afternoon in 1903
Sing a song of long ago when things could grow
And days flowed quietly
The air was clean and you could see
And folks were nice to you
Would you like to come over for tea
With the missus and me?
It's a real nice way to spend the day in Dayton, Ohio
On a lazy Sunday afternoon in 1903
The Oom Maw Maw:
- Gabriël Oostvogel,
- Winanda van Vliet,
- Tobias Oudejans,
- Liesbeth Harting
These dear, oh so talented musicians created their own arrangements. They are all Dutch and all are polyglots. Although I've not seen them in many a year, I hold them close to my heart. It was a privilege to spend time with them and watch them bloom.