Sep 21, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Tlingit Culture Accentuated, Tools-of-the-Trade |
One of the most up-town covered, outdoor fire pit shelter seats approximately 150 people in a cozy, intimate setting
A little over 10 years ago, when Preston and I had been talking about putting together the first gathering of Northwest Coast Artists to be held during Celebration 2006 in Juneau, Alaska, he had mentioned Islandwood retreat learning center on Bainbridge Island, Washington State as a possible location. He felt that the location of this beautiful retreat in a heavily wooded forest would foster a networking of life-long friendships, kindle collaborations, and create a very tight group of artists where we could truly focus on any art and cultural issues in a very real way. 10 years and 2 Northwest Coast Native artists gatherings later, we finally made it a point to visit IslandWood yesterday; it was obvious to me during this site visit why Preston insisted on IslandWood as the place for conducting next year’s gathering of Tlingit artists – the location of this retreat is astounding!
The purpose of this gathering of Tlingit artists is to establish a loose coalition of mentors to consciously create a mentorship “guide” for our younger generations so we continue to endorse our future artists in whatever field they work.
The warmth of solid oak and maple dining room
There are five, dedicated, professional Tlingit artists who are at the helm of helping to organize this retreat. They include: Sue and Israel Shotridge, Donna Beaver Pizzarelli, Preston Singletary and myself.
At this time, Artstream Alaska and the Evergreen Longhouse are two organizations who will help sponsor this gathering.
We will be re-vamping the Artstream Alaska website where we will have information on the gathering. The goal for website completion is by November this year.
In the meantime, although all of us work together on all aspects of organizing this gathering, we each have organically “fallen into our main roles.” Sue and Israel works on cultural values and the administration, Preston works on fundraising, Donna gathers materials to eventually design and create the website, and during my travels, I have been networking and collecting names of Tlingit artists.
Standing at the entry to Islandwood’s main hall, program coordinators L to R: Clarissa Rizal, Preston Singletary, Swil Kanim, Sue Shotridge (missing: Donna Beaver Pizzarelli)
At first we were going to invite any and all Northwest Coast artists from any background and tribe. Then we got to thinking about the differences in some of the values and we thought the gathering will already be challenging enough with the variety of egos, that we would like to keep it simple. We will be inviting only Tlingit artists for this gathering. We envision other tribes will be inspired to create their own mentorship program for their next generations.
The main lobby before the “Great Hall…”
IslandWood’s Story:
IslandWood is a nationally recognized outdoor learning center located across Puget Sound from Seattle’s urban center. IslandWood’s mission is to provide exceptional learning experiences and to inspire lifelong environmental and community stewardship. Each year, more than 25,000 people participate in IslandWood’s programs on the 225-acre campus and in communities throughout the region. In addition to our school programs, IslandWood offers a graduate program in partnership with the University of Washington, summer camps, and community programs for children and adults. Revenue from conferences and retreats and contributions from the community enable IslandWood to underwrite our outdoor education programs for children from low-income communities.
For more information on IslandWood, you may visit their website at: www.islandwood.org
Islandwood Program Director Christine welcomes the four of us to tour the small portion of the 250-acre landscape
As I mentioned earlier, Artstream Alaska will be our main sponsor for this project. When the re-vamped website is launched by November 1st, we will be inviting selected Tlingit artists to check out all the information to see if they would like to participate. We are inviting Tlingit artists based on their artistic merit, their involvement in the arts and culture and their obvious concern for the health and well-being of our people.
Sue Shotridge and Preston Singletary walk one of the many paths through the woods on the Islandwood Retreat
Currently, the dates for this 3-day Tlingit Mentorship Retreat is set for next year, September 16 through the 18th, 2016. This will be a retreat. We ask that each artist make a clear commitment all 3 days and nights. We encourage artists to book any outside activities (i.e. visit family and friends in the Seattle area, shopping, sightseeing, etc.) before or after the 3 days.
Just outside Islandwood’s “Great Room”
Once the Artstream website is re-vamped and we’ve got our ducks in order (goal is November 1st), we will send out our invites to our Tlingit artists pointing them to read about our mission statement, the confirmed dates and times, the agenda of the mentorship project, the cultural leaders who will be helping to guide this 3-day event, and the list of artists who will be committing to attend this historical event.
Islandwood’s Welcome plaque just before the shed of many hand carts
Our space has a capacity limit of up to 50 artists. The room and board is covered for each artist attending all 3 days. At this time, we are seeking funds to help pay up to $250 (or less) for each artist’s travel expenses. This will be invitation only, though we are open right now to receive names and contact info of anyone who you may know who fits the bill for a Tlingit mentor.
Stay tuned!
Swil Kanim and Preston Singletary discuss the meaning of being a mentor
Mentorship project coordinators L to R: Swil Kanim, Sue Shotridge, Preston Singletary, Clarissa Rizal
Jun 8, 2015 | Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated |
Raven Button robe is a collaboration of designer Preston Singletary and sewer Clarissa Rizal
A couple of years ago, I wanted to make some button robes, but I didn’t feel like designing them. I guess I was just feeling lazy! So I did what I’ve never done before – I asked another artist for designs! I called up my friend Preston Singletary and asked him if he had any designs on hand that were suitable for button robes. He sent me two; one of the robes is now owned by Crystal Rogers Nelson and the other one is this one: Raven. Made with black and red wool melton cloth and some of the thousands of antique mother-of-pearl buttons I have been collecting for a good 25 years. Little does Preston know that we are 2 of 11 Native American artists invited to submit something for an exhibit that is traveling Russia for over a year.
“Woven Together” is an exhibit intended to share a small part of Native American culture with Russians in the Urals. This will likely be the first exposure to Native American culture for many who visit the exhibit. Typically, the Consulate supports such artistic exchanges in order to encourage contact between Russians and Americans and to promote interest in the diverse people that inhabit the U.S.
Clarissa Rizal sorts antique mother-of-pearl buttons for the Raven button — a collaboration between designer Preston Singletary and button robe maker Clarissa Rizal
The exhibit will travel to three cities in Russia – Yekaterinburg, Orenburg and Surgut. In all three cities there will be opportunities to show objects in display cases as well as on the walls.
Yekaterinburg is an industrial city and the capital of the Urals. Previously, they have hosted an exhibit of Native American photography.
Orenburg is a remote city in the south of the Urals that is simply interested in learning more about other cultures. This will be their first time hosting an exhibit the American consulate and they are very enthusiastic.
Surgut is a city located in a region that is home to the Khanti and Mansi peoples. The region is committed to preserving and honoring the cultural heritage and traditions of the Khanti and Mani peoples, and they are particularly interested in the Woven Together exhibit to learn more about Native peoples in the U.S.
Corners of “Raven” button blanket made by Clarissa Rizal designed by Preston Singletary 2015
Jun 6, 2015 | Tools-of-the-Trade |
“Frog Speaks” sand-blasted glass window by Clarissa Rizal – 2001
Back in 2001 I had the privilege to apprentice with two glass artists Preston Singletary and David Svenson at the Pilchuck School of Glass. We were working on the glass pieces that were inserted into the totem pole that David had designed to honor the 30-year anniversary of Pilchuck. The main body of the totem pole was carved at the Alaska Indian Arts in Haines, Alaska by Wayne Price, John Hagen, Steven Brown, Lee Heinmiller, David and others. While at the school, Preston encouraged me to use some of the school’s other studio spaces, like the print-making studio, or the sand-blasting area, etc. I learned how to prepare a plate of glass for sandblasting so I could create an embossed, limited-edition print of one of my favorite button blanket images called “Frog Speaks.” I kept the glass plate; since it’s been a part of my window decor in my studio. Maybe someday I’ll make a second edition of this print OR maybe someday I’ll make a series of embossed prints — just never know!
May 14, 2015 | For Crying Out Loud, Honoring Others, Tlingit Culture Accentuated, Uncategorized |
Preston Singletary double-checks the accuracy of the most recent panel installed
Two years ago, when I heard through the grapevine that Sealaska Heritage Institute was planning on building a cultural center where the old Juneau Lyle’s Hardware once was, I got excited and thought of a couple of artist buddies of mine who I felt needed to be represented in the new structure. So I called up Preston and said he needed to get his foot in the door and make sure SHI has a monumental piece of his work. He asked what I had in mind. I asked him what would it take to construct a life-size, glass house screen front. He chuckled and said that the Seattle Art Museum’s house front was as large as he thought he could do. I said I thought it needed to be larger; he laughed again. He agreed that he would check out the engineering logistics with his production crew: could it be done? After some research with his production and installation teams, the answer was yes!
The paper pattern of the complete house front design
We spent a week or two drafting up a proposal for SHI; it would be a collaborative project since I’ve had some experience in glass work with Preston years prior and I am a fairly good designer (with always room for more improvement!); Preston and I felt pretty good about submitting the concept. A few months later, though both of us submitted the proposal as a team, he received a letter addressed only to him from SHI stating they liked the concept though they did not want my design concept. We both thought it weird that SHI made no statement about “working with Clarissa” on what design they wanted on the house front instead. They simply stated they didn’t want my design (which I interpret as my name) being associated with the glass front. After reading the letter a couple of times, I knew what “they” were up to. I knew “they” didn’t want me in the picture; they wanted a close relative instead, and I had an inkling who that particular relative was.
The “clan house” inside of the new Sealaska Heritage Institute’s “Walter Soboleff Cultural Center” (In 2001, I wove the Chilkat robe laying on the bench; Preston recently acquired it from the original owner)
Preston asked me if I felt okay about him going ahead on his own instead of the initial teamwork we had planned. I told him that initially I wanted him to have a piece of his work represented in the cultural center, so even though he could have told SHI that we were working as a team, I told him to go on without me because I knew SHI would come up with whatever reasons to not have my name associated with any monumental art in the cultural center, and I wanted to avoid any further denials.
The installation of the 17′ x 12′ screen was created in panels — Preston sets the next plexiglass plate
About a year later in the Fall of 2014, SHI sent out an announcement requesting apprentices to work with Preston on the glass panel. Of course, I did not apply. I knew SHI already had the person(s) selected, one of them being the young relative to SHI’s president. The call for apprentices was the legal procedure they had to endure. Preston was given no say who his apprentices would be though he was very happy Nicholas Galanin was “chosen.”
How many guys does it take to screw in a 17′ x 12′ screen?
You, the reader, may interpret this blog entry as a bitter response to being edged out. You may also think that I write about these kinds of sensitive issues on my blog or elsewhere. Not so. This may be the first time (and most likely not the last) I have written about an unjust act on my blog. I may speak about unpleasant injustice or opinions to others face to face, but I am not one to write about injustice, especially in an art blog.
However, I have made an exception because I realize I made a mistake in the course of this story. There is no one else to blame about me not being “included.” When SHI “edged me out” of the art project, and I had told Preston to go on without me; I was not honoring myself as a one-of-a-kind, female, Tlingit, full-time artist of nearly 40 years; this is where I made a big mistake. There’s no other Tlingit or any other female artist out of all the Northwest Coast tribes, who lives now or lived before my time, who has ever accomplished all that I have designed and created in a variety of works. I realized that even now there is no other Native female artist from Alaska who comes close to my caliber of artistry. As the elder from the western TV film series would say: “…no brag, just fact…” How am I to be honored by others if I am not loyal to myself?
4 more glass panels to install
This particular story is a big lesson to myself. My mother always said I was too generous with others and that I always “sell myself short” and when people recognize this, there will always be those who take advantage of people like me without intention of giving back. This concept did not ride home to me until I saw a few photos of the making of this art installation on Facebook. I felt a ton of bricks crashing into the core of my being. I was depressed for a few days; I let myself down, but I looked within myself for my answers.
In white gloves…
So why do I tell this story here? It’s for me. First, this story is to remind myself of how I have been all my life; it is to remind myself to forgive myself for not honoring myself, not being loyal to who I am and what I do and what I have become and continue in my human becoming. Second, I tend to forgive and forget, even this is a lesson I must learn and retain, else I repeat the same pattern, going through the school of hard knocks and never earning any credits. Why do we need to acknowledge and earn our credits? So we can “graduate!” Hello!? — I have always said “Patience Is Worth Waiting For” and this definitely applies to the patience any of us need as we continue to “grow up!”
Preston with his professional installation crew: Jeremy Bosworth and Joe Benvenuto
Though this was a big lesson to go through regarding this project, I bear no hard feelings towards SHI nor Preston. Like anyone else, they have nothing to do with my self-worth. I had a wake-up call about my lack of self-respect, loyalty to self with honor. Although SHI has hired me to do small projects like book covers, I have known for awhile where I stand with SHI regarding large projects whether they benefit me and/or others; I have learned to work around them because I just want my ideas put out there and get done. AND, I am proud of my friend Preston and his great piece of work. The inclusion of his work was my initial idea; my friend is now represented in the art collection of Sealaska. What more can I ask for? I helped him get there, and I can pat myself on the back for this!
Read more about the details of this art installation online at the Juneau Empire:
http://www.capitalcityweekly.com/stories/052015/ae_1248671002.shtml
Mar 11, 2015 | Adventures of Rear-Mirror Rissy, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Sue and Israel Shotridge enjoy one another; Clarissa Rizal’s “Chilkat Child” won Best of Class at the Heard Museum Juried Art Show, Phoenix, AZ – March 2015
Doing art markets alone is not as much fun, however if you get along with other artists who may want to do the show alongside with you, like Sue and Israel Shotridge, it’s so much more fun! We had a blast! This was their first year at the market; this is my third year. We were two of 600+ Native American artists featured at the Heard Museum Native Art Fair and Market usually held the first weekend in March; this was the Heard’s 57th year. Sue and I were not quite a year old when they first started this fair! There were also a few other Northwest Coast Native artists at the Fair, though not many of us: Dolly Garza, Diane Douglas-Willard, and Zoe Urness.
Shotridges and Rizal combine their “gallery space” in each of their 10′ x 10′ booths at the Heard Museum Indian Art Fair and Market, March 7 & 8 – Phoenix, AZ, 2015
To be a part of the fair, the application process starts each year in July. To qualify, you must be at least 1/4 Native American with proof of your CIB (Certificate of Indian Blood), there’s a $25 application fee, the largest, 10’x10′ booths are $500, you must provide a resume’, and 10 images of your best work within the last 3 years. It’s easy for myself because I have established a large body of work over the past 39 years, though for emerging artists, the application process may be intimidating; however, keep your faith in yourself, put your best foot forward, and if you have nothing major to show for yourself, then get on the ball and produce some work before the Heard Museum deadline for application! Get it together, step up to your plate that’s waiting to “feed” you! It’s up to you!
Israel Shotridge drums and sings a clan song to an audience in his booth at the Heard Museum Native Art Fair & Market, Phoenix, AZ – March 2015
A select group of the booths at the Heard are 10′ x 10′. The Shotridges and I took down the canvas wall that divided our booths; we wanted to be able to converse and especially have more light AND give buyers and opportunity to “step into our gallery.” —- These shows can be a lot of work. It took three hours to set up my simple booth below. It took three hours for the Shotridges to do the same. Yet there is a simple pleasure in the accomplishment of making our space look inviting, and in our opinion, it really is like setting up a temporary outdoor “gallery.”
Clarissa Rizal’s “little gallery” art booth at the Heard Museum Native Art Fair & Market, Phoenix, AZ – March 2015
Outside of winning ribbons and with the intent you will sell some work to help offset not only your costs but pay some of your bills for the next few months, one of the best parts (for me) about doing shows are the variety of people we meet from all walks of life and the invites to other shows and events, or invites to artist retreats or residencies, and not to mention the up-and-coming artists who look to you for guidance and advice. Generally speaking, I think people like to be needed; it gives us another sense of self-worth!
Recent glassblown pieces by Tlingit glassblower Preston Singletary at his annual art show held the same week as the Heard Art Market, at the Blue Rain Gallery in Scottsdale, AZ
Jeremy Frey won Best of Show for his magnificent basket, Heard Museum Juried Art Show, March 2015
Carver Israel Shotridge and Glassblower Preston Singletary
Sue Shotridge takes a photo of the award-winning bentwood box carved by her husband, Israel Shotridge — Heard Museum Juried Art Show and Market – March 2015
Clarissa Rizal and Sue Shotridge sport their cedar bark hats woven by Haida artist Merle Anderson – March 2015
Beadwork close-up by beadwork artist Marcus Amerman – (I am partial to the Chilkat emblem in dead center!); Heard Museum Juried Art Show & Market, March 2015
Marcus Amerman’s beaded “Smithsonian” piece at the Heard Museum Native Art Fair Juried Art Show, Phoenix, AZ – March 2015
Adrian Wall’s sculptures in blown glass and stone at the Heard Museum Native Art Fair & Market, Phoenix, AZ – March 2015
Dec 12, 2014 | Acting Out and Musical Chairs, Adventures of Rear-Mirror Rissy, Showing Off, Tlingit Culture Accentuated |
Ku.eex’s vocalists: Nahaan, Clarissa Rizal, Om Jahari, Gene Tagaban, and Preston Singletary – December 2014
Gene Tagaban, Om Jahari, Hahaan
In the Engineers room with Randall Dunn, Preston Singletary, Gene Tagaban and Nahaan
Randall, the sound engineer, makes it all sound soooo gooooood! All recordings are done at Avast(!) Sound Studios, Seattle, Washington
Our names and personalities are as individually artistic as our band name “Khu.eex” which means “potlatch” in Tlingit. Preston called us together for the past three days to record the vocals with the already-recorded instrumentation. We worked on the vocals in this band to sound like a chorus with two and three-part harmonies of many, many voices as if there is a large group of singers as we do in our traditional songs and dances. In the olden days, our songs were always sung with harmonies; we want to inspire our traditional dance groups to bring this element back – I feel “Khu.eex” can be a powerful venue to help this intent.
Singer extraordinaire: Om Jahari
Om is the professional vocalist; the rest of us have sung (mainly our traditional songs) but we are not considered professional singers. However, having Om on board helped “round us out!” This is the first time the five of us have sung and recorded together; it was FUN!
Our fearless leader: Preston Singletary
I don’t know if Preston has been a prominent singer with all the bands he has been in over the years as a musician. Khu.eex is his venue to begin to bring out his best voice. Khu.eex is one of his longest-time, biggest dream coming true! We who he has called together, are fortunate to share his dream.
Read my other posted entries about our band at:
http://www.clarissarizal.com/blogblog/a-lead-singer-in-prestons-band-ku-eex/
http://www.clarissarizal.com/blogblog/improvising-with-prestons-new-band-koo-eex/
Aug 23, 2014 | Honoring Others, Relationship Overdrive |
Two of my favorite friends who are excellent artists, Preston Singletary (L), Cecil Touchon and I — @ Preston’s annual show during Santa Fe Indian Market, Blue Rain Gallery, Santa Fe, NM — Friday, August 22, 2014– photo by Nisa Touchon
I don’t know why, but I always wanted these two people to meet. Maybe it’s because they are “famous” — maybe it’s because they are almost like two peas in a pod — maybe it’s because one is an Aquarian and the other a Leo…! Guess which is which. Whatever the case, I think I wanted them to meet because they are a couple of my favorite people and this evening during Preston’s annual show opening at the Blue Rain Gallery in Santa Fe, Cecil and his wife, Rosalia and daughter Nisa, showed up! I forgot I had told them about the show opening; I am so happy they came, so happy for these two guys to meet — (don’t ask me why I wanted them to meet, all I know is that I was happy for them to finally meet one another; you ever feel that way about two of your favorite buddies meeting?)…
You may check out Cecil’s paintings and collages at his website: www.ceciltouchon.com
You may check out Preston’s glassblowing at: www.prestonsingletary.com
Jun 22, 2014 | Acting Out and Musical Chairs, Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, North Tide, Poetry Alaskan, Showing Off, Tlingit Culture Accentuated |
Of all the things I have ever aspired to be and do, it’s never been to be a lead singer, or one of the singers in a band! Though at the request of my friend the glassblower, Preston Singletary, I thought I’d give it a go. We sing traditional Tlingit songs with the back up of a fantastic sound called funk jazz fusion played by outstanding musicians that practically blew flutist Gene Tagaban and I right off the stage with the very first drumbeats at our very first performance in Seattle the night of June 20th. We are called “Khu.eex” (pronounced “koo eeeexch” which in the Tlingit language means “potlatch.”
Preston’s other band is called “Little Big Band” – this band is a totally separate band with a totally different sound from Khu.eex, You may visit Little Big Band’s website by clicking here at “A Little Big Band.com”
The following are a few photos of “Khu.eex” taken by Dan Shanks and I:
Let’s introduce you to “Khu.eex” – L to R: drummer from New Orleans Stanton Moore, Clarissa Rizal, keyboard player from New Jersey Bernie Worrell, Seattle musicians: bass player Preston Singletary, flutist/spoken word Gene Tagaban, saxaphonist Skerik, lead guitar Captain Raab, and sound engineer Randall Dunn at Avast! Studios, Seattle.
Read more about the various band members & the recording studio on their websites:
Bernie Worrell, keyboard artist: http://www.bernieworrell.com
Stanton Moore, drummer: http://www.stantonmoore.com
Preston Singletary, bass: http://www.prestonsingletary.com
Gene Tagaban, flutist/spoken word/singer: http://www.storytellingraven.com/
Clarissa Rizal, singer/spoken word: http://www.clarissarizal.com
Avast! Recording Studios: http://www.avastrecording.com/
Preston rounded up Gene, Captain Raab and Clarissa to create the set list.
I thought to myself “man, this is serious, we are really performing for an audience and are no longer in the recording studio…” like “hello, wake up dearie, we are not in Kansas anymore…!” The following photos are rehearsal shots:
Preston, Stanton Skerik and Bernie during our one rehearsal directly before the first of two shows on the evening of Thursday, June 19th, Seattle,Washington.
Here are a few more shots of our performances:
When are we going to take this troupe on tour? Well, a few things have to line up: First, Preston is working on finalizing the recording sessions and it looks as though there is enough material for two CD’s. Secondly, Preston’s two kids have to get a little older by about two years so that they can come on tour with us. Thirdly, we have to do some fundraising (maybe via Kickstarter) to pay for the tour.
And fourthly, for me, now that my throat is pretty much healed from last Winter’s spell of pneumonia, I can continue to take my voice lessons from Brett Manning’s Singing Success.com – click here to find out more about how you can take these fun voice lessons — if I can take voice lessons, you can take voice lessons! Being a part of Preston’s band, I feel like I have to contribute more than just being able to sing the native tunes; I have to really learn how to sing so my voice is an actual instrument allowing me to be more CREATIVE!!!
Bernie Worrell with Dan Shanks (who was the photographer for most of the photos on this blog post).
Both Bernie and Dan (as well as Gene Tagaban) are part Cherokee — can you see the resemblance? I can….(elongated shape of skull/face, certain width at bridge of nose, ears are flat to side of head, and the human kind graciousness of their character…)
Feb 2, 2014 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Lots of braids when you are about to weave the eyes and bridge of nose…yep, folks, this is what a Chilkat weaving looks like when in “full bloom!” – and you wonder how we keep track of it all!
I’m doing a trade with Preston Singletary. The first pair of Chilkat leggings were a little too big for him, so they became a part of the “Copper Man” Ravenstail/Chilkat ensemble (which is now in private collection in Seattle), so I began weaving this pair about 6 years ago. It’s slow going; trades are slow going when you’re trying to keep up with paying the bills. Trades are always on the back burner. Though these leggings are getting done, slowly but surely.
It’s proof in the pudding that practice-makes-perfect. I look at this weaving now and think “golly, it’s not very good…” compared to how I weave now. Also, the warp is not very good. It’s spun pretty evenly but before I figured out the trick of stretching the warp taut when wrapped around the wooden back of a chair to dry, this warp is too bulky. For those of you who know how to spin and know how to weave, and have figured out tricks-of-the-trade in making good warp, you will understand what I am talking about here.
From the beginning shape of the eyes in the photograph above to the completed “electric” eyes in this photo, it took about 3 hours to weave
Even so, the weaving is okay. despite my critiques. I’ll be getting back to it again as soon as I complete the “Resilience” Chilkat robe. I am finishing up old business as well as completing commissions and trades. It feels real good to do this.
Thank you for staying tuned in during the progress of this weaving!
Dec 22, 2013 | Acting Out and Musical Chairs, Adventures of Rear-Mirror Rissy, Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
Preston’s new band tentatively called “Koo.eex” L to R: Gene Tagaban, Clarissa Rizal, Bernie Worrell, Skerik, Stanton Moore & Preston Singletary
Back in October on a Friday night, out of the blue, I received a text from Preston: “…will you be a back-up singer in my band? We will be recording a CD this coming December.” — “Huh? Like who does he think I am; a singer? What makes him think I can sing? He’s gotta be kidding….” —- So, I didn’t answer him. Four days later on the following Monday I got a call from Preston:
“Well hey, Clarissa, uh,…did you get my text?” —
“Yes.” —
“Uh, well, what do you think? (and like how come you didn’t answer…!?)
“What am I supposed to think? I do not recall ever indicating that I am a singer to nobody, like what makes you think that I can even sing, much less be a back-up singer in a band that is going to record it’s first CD!?”
“Hahaha. Hey I remember those songs you sang around the campfire at the end of the two-week work session completing the glass and wood totem pole at Pilchuck…you blew everyone away…!”
“Preston, that doesn’t count…those were dirty songs…!”
“Yeah, well…it’s how you presented them,…it’s the way you sang. I want that kind of energy in my band…will you join us?”
One of Preston’s bass’
Preston’s first love is music. Not glass blowing. How can I tell? He gets that look in his eyes. It’s that true musician’s look as if they are in another time and place; smiling inside out. I grew up with a musician. I’ve been around musicians. Some of my best friends are musicians and although some don’t necessarily “make a living” creating music, there’s that “way of being”….So for those of you who think Preston is a hot glass blower and that is his first love, you got it all wrong. I don’t care if the dude makes thousands on his work and thousands of art collectors have a piece of his work, his true love is music. Bottom line. — But if you must check out Preston’s glass blowing website: www.prestonsingletary.com
Bernie Worrell on keyboards – check out Bernie Worrell website at: http://www.bernieworrell.com/ This guy is no ordinary keyboard player! He is all over the board!
So Preston gathered together his friends, Gene Tagaban, Skerik and I along with two big name musicians (that at the time I didn’t know were big names), Stanton Moore and Bernie Worrell. For the past eight years, Preston had imagined putting together a jazz/funk rock fusion band to record a CD. He saved up money to do so; this December with the help of us buddies, he made his dream come true. The sound that came out of this band was so fantastic and fun, it blew all of us away! The music had become so much a part of me in just three short days, I barely slept. I began to understand why musicians “move to a different drum.” I began to understand why they stay up late into the wee hours of the morning. I also understand why some become drug addicts or are alcoholics or at least have a stiff drink before they go to bed. IT IS HARD TO GO TO SLEEP AFTER FEELING THE MUSIC IN YOUR BONES AND EVERY NERVE OF YOUR BODY!!! Holy cow!
Gene Tagaban on Native flute, Skerik on sax
Who is that drummer, Stanton Moore? Gawd, the guy can drum. Like I thought my friend D.C. Duncan could drum and for the past 20 years I’ve always enjoyed D.C., but man, this Stanton guy is something else!!! When I got back home after the recording sessions, I saw D.C. and asked him if he knew Stanton Moore. He said “well, hell yeah, I have bought his CD’s and have made myself a better drummer through his instructions over the years, the dude is goooood! The guy is THE drummer of all drummers – like he is #2 in the entire world – Why do you ask?”
Stanton Moore on drums — check out the Stanton Moore Trio on youtube and if you are a drummer or wanna-be-drummer, this is the man to hang with; New Orleans born and bred – check out his website at: www.stantonmoore.com
So, we spent three days improvising songs. A total blast. These songs were based on traditional Native songs of the Northwest Coast; we started out with the chants, then the band would slide on in and take off! It was a honor to play with these guys; thanks for the invite, Preston. I have appreciated every moment in actual time and now in memory!
Preston begins with a traditional tune – notice the child-size Chilkat robe in the background – I’d weave when I wasn’t singing…
Gene Tagaban has definitely made his way in the world with his storytelling and musical talents. I had no idea the extent of his talent until this recording session. He topped off these songs; he added so much depth and meaning. His contributions rounded everything out, like bringing the entire fusion together full circle. These are just my opinions folks, you do not have to believe everything I say here. Just make sure you buy the CD when it comes out by the Fall of 2014; it’s nothing like you’ve ever heard!
Gene Tagaban adds a story of Raven…walking along a beach…check out Gene’s website at: http://www.storytellingraven.com/
- Preston Singletary on bass
Bernie Worrell’s keyboarding hands
After the excitement of the first song the entire band played, Stanton and Bernie vigorously shook hands, honored to play with one another
Skerik on sax – this guy rips — Skerik is an American saxophonist from Seattle, Washington. Performing on the tenor and baritone saxophone, often with electronics and loops, Skerik is a pioneer in a playing style that has been dubbed saxophonics. Check out Skerik’s FB page at: https://www.facebook.com/skerik
In the sound room, Gene Tagaban, Bernie Worrell and Preston Singletary listen to the second day’s improv recordings
Sound engineer, Randall at the 1969 “board”
In the dining room kitchen, sound technicians and band members share home-made squash pie and baked apples hosted by Stuart, the owner of the “Avante!” recording studio – YUM!
Dinner at the Bitterroot Restaurant
After a fine day and night of playing together, and sharing a late dinner, Bernie Worrell and Preston Singletary share a bench and a smoke already reminiscing the “old days”…and the next project!
