Jeannette Lambert

Creative living through jazz & intuition

April 7, 2020
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Michel Lambert’s Ars Transmutatoria in action

Do we all travel to the same place when we improvise, dream or imagine? Can a visual score allow us to travel to the same imaginal space together? These are the questions that pop into my thoughts as I consider my husband Michel Lambert’s epic Ars Transmutatoria project. In these days when it is difficult to travel in daily life, it is still possible to travel through music and imagination.

As we travelled the world together, or as we did pre-pandemic, Michel would always stop to observe nature around him closely and collected small details that caught his eye. In the same way I collect the energies of the spirits of place through song, he captures it in his visual scores, a multi-media multi-year project of art and music making. It is a logical progression of his Journal des Episodes that began back in the 1980s when he kept a daily diary of symphonic scores with a drawing each day. You can find those here.

So how can we bring all this magical energy he has collected to life? His first step has been to bring the scores to musicians who respond to the challenge in a series of evocative environments.

Here are some examples of the music created with this intuitive method. For this video, Ars Transmutatoria: Os, there are many layers at play. The score was created while we were in Paris, staying in a building once occupied by Victor Hugo. During our stay I enlisted my psychic dreaming friends in an experiment in remote viewing as Michel and I visited an exhibition of Basquiat. Needless to say they were uncanny as usual but I’ll save that story for another day. He brought this score as well as over forty more to the world renowned Studio la Buissonne in France where we met up with our creative musical friends from Barre Phillips’ EMIR group.

Here is the video with the music, instantly composed, and the score blown up for full effect.

Performed by Michel Lambert, drums; Jeannette Lambert, voice; Laurent Charles, sax; Davide Barbarino, sax; Lionel Garcin sax; and Emmanuel Cremer, cello. Recorded at Studio la Buissonne, Pernes les fontaines, France by Gérard de Haro, December 6, 2019. Mixing and film by myself.

Last summer in Kyoto during the Gion Matsuri or Festival, Michel composed this visual score from fragments gathered at the Artspace Yosuga residency. In December he brought the score to this immensely talented ensemble of free players in the only remaining Elizabethan Church in London.

Michel Lambert, drums; Caroline Kraabel, saxophone; Adrian Northover, saxophone; Susanna Ferrar, violin; Hyelim Kim, taegum; Jeannette Lambert, voice; Phil Minton, voice and trumpet; Trevor Taylor, vibes; Steve Beresford, piano; Veryan Weston, organ; Steve Noble, drums; John Edwards, acoustic bass. Recorded by Ali Ward. Recorded at the Old Church in Stoke Newington, London England on December 12 2019. Mix, master and film by myself.

Below are a few short videos of other recording sessions from the last year featuring Alexandre Grogg, Michel Côté and Michel and these are also in production and created around the evocative scores. To be continued!

January 23, 2020
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Why I shoot stock photos

I have a clear memory of a moment of my childhood, being struck by beauty in the most unlikely spot, and wishing my eyes were cameras so I could capture the moment for ever. As luck would have it I do still remember it, the way the light danced off of the strip mall by the ditch, the happiness I felt after crossing the four lane highway on my way home from school. It must have been the sky and the colours that struck me so deeply and what I remember most is that wish to hold the image and share it with others. *updated: see below for creative coaching contact info

Wide-eyed as a child in one of my mother’s art classes for children

So even as I was developing my voice, learning songs and singing in public, I maintained that joy in the visual. I chose to study film in university not only because my opinions about music were rock solid and I didn’t want to hear any more about it please, but because I felt I would be inspired and learn a lot about photography and video.

My first summer jobs were photo related, printing photos of jazz musicians on rich Agfa fibre-based paper in a small home darkroom, making a video on chunky 3/4” tape for the community outreach program to encourage women from the neighbouring ghetto to try university, then a series of photography related day jobs followed. Slopping around with darkroom chemicals, working big photo printing machines under fluorescent lights in a mall, retouching student photos with a brush and photo inks, assisting photographers in a big glamorous studio space, and finally, working in one of the first stock footage libraries in Canada where I learned first-hand that one artist’s trash may be another’s treasure.

My photo retouching inks and their bottles are busy disintegrating

It was clear that the digital revolution would cause many of these jobs to evaporate and thankfully also many of the health risks. As I ditched day jobs for self-employment, juggling night club gigs with sporadic small jobs for other freelancers, I also upgraded my digital skills regularly. Thankfully I have always been unafraid of machines and enjoyed adapting. Sky high rents in Toronto drove me and Michel out of the city as we could vagabond through France for far less money and we sought new inspiration. And when we’d exhausted our resources there we landed back in Canada, settling in Montreal with its music and arts scene and luxuriously inexpensive apartments back in the day.

The night club gigs had nearly all dried up and I found myself more interested with taking new technology into artistic places. I would spend hours at a time developing web art projects and they were included in new media exhibitions all over the world. It was, however, a labour of love, and as the first of my two children danced around underfoot I could no longer spend full days dedicated to tackling ever-changing computer code. I needed to be able to do something that could fit around our erratic new schedule (see Jazz as a parenting style).

How could I be expected to get anything done?

It was around the time that istockphoto came into being and I decided to sell photos online. I would just keep my camera with me as I continued my daily life, stopping to snap a photo of the perfect apple during an outing with my son’s daycare, or taking that one moment to snap a lovely salad before digging in to eat it. In the dark of winter here in Quebec working on luminous, colourful photos while my kids were sleeping was a great way to unwind after dashing through the snow or performing children’s music in the afternoons.

And so it is that we adapt. It’s amazing how many zoos and gardens and parks we visit when our children are small, and all of these environments offered me opportunities to take photos of plants, animals, landscapes. And in any anxious freelance moment I could head to my desk to work and upload and organize my photos and videos for sale. These days I sell primarily through Shutterstock and a handful of other photo agencies. Here’s my portfolio.

A perfect tomato that came my way

I do confess, it doesn’t bring in as much money as many other things. I never seem to upload the thousands of photos I store on my hard drive but there is happiness in knowing I could. And while the sales may be small they are steady, continuing even as I neglect them for years at a time. A super melty cheese fondue image also doesn’t age badly, and so it remains my top seller year after year, all over the world. A piece of sea coral my mother picked up on a beach holiday is then used as the logo for a conservation organization in the same area. I am happy to see my photo from a tamale festival now being used in their promotional materials. Because those tamales were so, so good and deserved the recognition.

And so I work to balance life and art, juggling time and effort, parenting and artmaking. I don’t always get it right, but at least I am enjoying myself greatly while doing it. And when I cook something new, not only do we get to eat it but the photo can be sold worldwide. When I discover the perfect nutmeg fresh from the tree during an artist residency outside of Kuala Lumpur, I can photograph it and sell it to people who do need to illustrate their nutmeg businesses or perhaps just the health benefits of nutmeg. So the nutmeg inspires a poem, a thought, a song and a little magical bit of what some jazz musicians liked to call mailbox money.

I’ll be teaching workshop participants how to make a much better diy lightbox than this one

I often encourage others to join me in selling their photos and I offered a workshop at Sur Place Media in Mile-End in Montreal in March, 2020. And then we all got locked down by the coronavirus and so many of us in the arts now need ways to earn some income from home. You can contact me by email or through Facebook for an online session of creative coaching. Together we can explore some of my tips and tricks, secrets and bright ideas.

(what I just photographed, a box of secret treasures, likely made by my great great grandfather, notable for being a maker of wooden shoes ie. klompenmaker)

October 21, 2019
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Meeting Cecil Taylor in the Rockies

I was a punk in the 80s and also printed all the photos in this book featuring Cecil Taylor

Living by intuition means paying attention to the nudges of the universe and also responding actively to those nudges. So when I re-discovered my journal notes from my time at the summer jazz workshop in Banff just as I read a call for papers on Cecil Taylor, I decided my story was worth sharing. And they were kind enough to invite me to tell it. I presented it at Unit Structures: The Art of Cecil Taylor conference at the Graduate Center, CUNY and Brooklyn College on October 26, 2019.

It was a wonderful few days filled with people who knew Cecil at various points in his life sharing stories and thoughts, as well as people who had never met him but have been moved by his work offering theories and ideas. It was just as much a labyrinth of thought as any conversation with Cecil or moment with his music might be. And it culminated in a concert of his music directed by Karen Borca who was immersed in his work over many decades and who is carrying on his legacy with confidence and understanding.

I considered documenting my presentation here but for now I feel content to know the shape of it is out there, formed by the live presentation and not etched in digital stone. Let’s just say that I wanted to make sure that people who are interested in Cecil and his art also knew how inclusive and inspiring Cecil Taylor was to those of us who are often shuffled to the side or dismissed, the chick singers of the world who often stop and wonder if it is really all worth the bother, the effort of carving out space for ourselves in a place that doesn’t always seem to want us there. He also reinforced ideas I had that at the time were just forming and growing inside me about expressing energies from ancestral stories or words coming from other dimensions. So often discussion of the mystical in free jazz gets left in the dust but what of animal spirits, ancestral dna and dreaming? How many of the things we love share their origins in the imaginal realm?

Drawing of Cecil and an elk by Theo Lambert

I know more about shamanism now than I did when I arrived in Banff, before I met Cecil. It’s a word I hesitate to use about my own music as so many see it as belonging only to specific cultures or even just to special chosen men and yet I am pretty sure it is a universal energy that exists for all of us. I’ve met people in remote places in the world devoting themselves to making music in much the same way that we do in free jazz and for the same fundamental reasons. Cecil embodied that philosophy for me and his music contains all the answers to all the questions he raised. So that’s what I have to say about it, for now.

There was a lot of energy at this conference that travelled back in time to dreams I had earlier in the year and I have found traces of it in the dreams of my dream sharing friends too so I am not entirely sure what the mystic detective in me makes of all of that. I will have to continue gathering clues and piecing them together and moving forward with it as well. What I do know for sure is that I was very happy to be entirely myself, to be given the time to explain myself as I do here in this space. So that was a great thing and for that I am very grateful.

Glorious landscapes through the Adirondacks viewed from the train from Montreal

September 20, 2019
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Genius Loci Mixtape: new album!

Genius Loci Mixtape is a collection of songs, the first in a series of several, from recording sessions with talented jazz musicians all over the world. Many are inspired by the genius loci, the spirits of place, in each of these cities. Some are invented around beautiful poems I’ve come across while travelling, poems originally in Catalan or Spanish, sung in translation thanks to the talents of A. Z. Foreman and A. S. Kline.

Review of Genius Loci Mixtape at theWholeNote

The songs are melodic and straddle genres, like ancestral folk songs that morph into stream of consciousness free jazz or vice versa. This is music to transport you to other worlds in your imagination. Free jazz and improvising has changed the way my brain works (hopefully for the best), making me nimble and adaptable, singing in the moment or singing dreams from a moment ago. And the musicians featured here are well-versed in spontaneous and evocative instant composing.

This music was created in evocative places like the second cellar of an old building in Paris, a raucous music festival next to burial caves in Sulawesi, an artist’s studio filled with paintings in El Raval in Barcelona, and our home studio behind in a brick cottage in the snow in Montreal. The many creative musicians performing with me include Michel Lambert, Reg Schwager, Barre Phillips, Glen Ferris, Greg Burk, François Théberge, Alexandre Grogg, Fendy Rizk, Bona Alit, Davide Barbarino, Julien Osty and Laurent Charles, all on a great variety of instruments including piano, guitar, harpsichord, bass, saxophone and trombone.

Barre Phillips and Michel at the Centre Européen Pour l’Improvisation

I’ve been vagabonding with my trio with Michel and Reg and our recording gear again this summer, visiting Bali, Java and Japan. So as I prepare our next recording, Genius Loci East, with all the music we invented there, we are excited to release this first collection.

Below is the first video to accompany the music. This song, A Windy Day, is based on Anne Bronte’s poem Lines Composed in a Wood on a Windy Day. I released it earlier in the year as a single and a remastered version appears on the new recording.

We recorded it at Greg Burk‘s studio in Ostia outside of Rome. We walked beneath the majestic trees around Greg’s home with his little dog Mambo ahead of us so when it came time to settle in to make some music, somewhere between swimming, eating pizza and cracking pine nuts, this favourite poem of mine by Anne Bronte felt utterly right. And it feels even more apt now that Greg has embarked on a social media mission to save trees and our climate with his Musicians for Climate Action initiative which you can support by following the group’s Facebook Page.

Afterwards we continued on to stay at the Ozu artist residency near Lazio. There we’d feast on truffle linguine and spend our evenings drinking wine while sharing delicious dinners and bright ideas with fellow artists who ran the residency or were attending it. We composed and recorded there as well among all the metal sculptures and candy factory gear.

Near Ozu, in Lazio
At the Ozu artist residency

I filmed most of the video imagery at the beautiful Parc Mont-Orford when the trees were almost past their peak in fall foliage season. Hopefully the tree spirits in all these places, England where the poem originated, Ostia where we recorded it, Orford where I filmed it, will approve!

Many of these recordings were made during artist residencies and travels that were awarded funding. We gratefully acknowledge the support of the Canada Council for the Arts and and the Roadmap for Canada’s Official Languages 2013-2018 Education, Immigration, Communities, and also the Conseil des arts et des lettres du Québec for these activities.

May 28, 2019
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On being green

As someone who walks everywhere, who recycles and composts, who eats very little meat, who carries at least two reusable bags at all times, who buys local, organic produce and has an indoor herb garden, I have to admit, sometimes it’s not easy being green. That’s why I recorded this song and asked my son Theo, a brilliant and fluid artist, to illustrate the point for me. It’s also my contribution to an initiative started by our friend, jazz pianist Greg Burk for Musicians for Climate Action. Spread the word and enjoy! #m4ca #musiciansforclimateaction

April 9, 2019
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Songs we forgot

I’ve been going through old binders full of lyrics, looking for songs I might have overlooked in my eagerness to learn hundreds of jazz standards back in the day. And so I’ve pulled out a few surprises that I haven’t performed before for this event in Toronto later this week. Some were just too hard or had too many words so I’m going to snap on my reading glasses and solve that once and for all. I’m not going to tell you what they are here in case I lose my courage yet again, and sometimes Reg just shakes his head no when we’re on stage and shuffles the charts. But I promise that if I succeed, there might be a video or two here to celebrate the conquest!

True to my word, I am back and have a video of one of the songs we revived. The song is Spain with lyrics by Al Jarreau, composed by Chick Corea. I loved singing this as a kid and going back to it has reminded me of what a great song it is and also how wildly talented Al Jarreau was.

I’ve blended our live version with my photos from last summer in Spain so that it might capture the spirit of place with another layer of sensory perception. And also because I had the lyric sheet in front of my face for a good part of the video. That said, there is something freeing about singing without necessarily always memorizing all one’s lyrics and I was happy to afford myself that new liberty.

November 23, 2018
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Jazzgrrl protests: nice for what?

After I first stepped out to sing jazz songs in public at the tender age of twelve, I was greeted with applause and then, a day later, an obscene phone call. I can see that moment so clearly still, the excitement of my parents as they handed me the phone, thinking this was something important coming up, and my horror at what I heard when I did say hello. My brother, who had also been on stage with me, didn’t have to put up with this kind of crap.

It was a pivotal moment in my view of my future, as I could see our paths diverging and the bumpy road I had up ahead of me. Reading Lionel Shriver’s misinformed and utterly unhelpful article this morning, with her claims that “The matter of ‘too many’ men in jazz is especially perverse, since there’s little evidence that women have been actively discriminated against”, this image floods back into my brain, etched in there like everything Dr. Christine Blasey Ford was talking about during her statements on Kavanaugh’s drunken attack.

In the 1990s I got so fed up with people saying there are no women in jazz that I started a web page that was just a simple reply to that, a page full of links to the websites of women in jazz. Like, look, there are tons. Duh. My idea was that if there was a long, long list, people would have to give up and not assume, as Shriver does, that there simply are no women in jazz (disinterested shrug goes here) so why make a fuss? I kept the web page up for a long time, even as my url,, was mimicked by a porn site, another kind of bashing on the head to please stay in my place and stop protesting. Or was it to say, oh, you’re looking for girls so here’s what you really want?

I took the page down eventually because I was overwhelmed by the neediness of the women there, the endless cds arriving in my mailbox, so many from the overlooked, underappreciated women trying to get a bit of visibility and they had mistakenly assumed I might be able to provide it. And I also ended up on the lists of promoters of anyone in jazz i.e. the men, and my inbox was inundated with requests for gigs, for recordings, for anything to help other people make money. Also, I didn’t always find that being female was enough to bond me to other women. We could be female, love jazz, perform jazz and still have wildly different views on everything. Never mind some other weird hairsplitting where singers are considered something lesser than instrumentalists. So whatever. I took down the page.

Nowadays I’m on the sidelines of the debate, working on my music from home, working on my own shit, learning new things to help achieve my musical goals my way. And I occasionally get drawn into a conversation with an older man in the jazz world who is puzzled, who doesn’t understand what this new movement towards equality means. Why isn’t it ok for him to make fun of chick singers anymore? Oh the times I have been berated as a chick singer when someone is mad at me for not letting them insult me some other way! Why isn’t it ok to indulge in a little flirting? Oh the endless attempts at flirting or worse I had to dodge as a student, all the gropey hands, all the patriarchal language, and how exactly did anyone think I was supposed to actually have the time and space to study and to learn something?

I look back on my journals now (yes, dudes, watch out, I wrote it all down!) and the hours I spent with my art teacher chasing me around a desk in his studio (how did I end up there?), or the math teacher driving me to god knows where in the dead of night, or the jazz musician chasing me in an elevator, asking how old I was over and over again (in case I was jailbait). But ok, whatever, you eventually figure out who to avoid, and you try to make a living as best you can, although, ah, maybe you don’t finish your degree because you can’t stomach the environment anymore, and then you head out to the pink collar ghetto only to discover the job market is also riddled with wandering hands.

I’m sorry, where was I? Have I lost focus? Can you focus when you are being hunted? Are you motivated when you sit on a jury for arts grants and realize only one 10% of the applicants are female and when you protest you are told, can you please tell the ladies to apply?

Reg’s Songbook band

My brother put together a band with good gender balance recently, or maybe there were even more women than men on stage. When someone exclaimed, oh Reg, where did you discover all these lovely talented young women?!! he replied in his usual deadpan manner, it’s easy if you don’t ignore them. So yes, kudos to the men who support us. And kudos to those who are standing up the old tired privileged mentality that Lionel Shriver is immersed in.

As Drake says, you gotta be nice for what? Let’s not be nice. Let’s point fingers and let’s change stuff. The simple fact is that the world needs more music and it will only benefit everyone if more women are encouraged and making it. It’s a win/win. Stop worrying that the entitled men are going to lose something. They’ll be way fine. They’ve had their turn for a long, long time.

November 6, 2018
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Why I sing Brontë poems

When I finished reading every single book in the juvenile section of our local library as a kid, the librarian suggested I move along to romantic fiction. There I discovered the timeless novels of Emily Brontë, Jane Austen and so many more. Later I discovered the poems by Emily and her sisters and felt pulled into their world of sweeping drama and story. Perhaps it was also their tragic history, all those deaths by tuberculosis that resonated with me as my mother struggled with the same dangerous illness.

As I started working with improvising melodies as a teen, I pulled out some of them and began singing. There’s something so angst-ridden, evocative and rhythmic that makes them easy to sing in any genre, and the words seem to contain melodies within them. And they lend themselves well to energetic free playing as I think to myself: what would Emily think of a punk version of her poems? And I wanted to sing songs that reflected the stories I loved as a girl, the female voices from my experience.

And so I’ve been singing them for decades now, in different contexts and you can find my versions of Brontë poems spread out over a series of recordings including Lone Jack Pine with Barre Phillips and Michel, also  Unclouded Day  with Mat Maneri, Raoul Björkenheim and Michel.

We’ve just released a new track that Michel and I recorded with Greg Burk in Italy, as his little dog Mambo wandered in and out of the room, beneath the pine cones, cactus and lemon trees. This is a version of Anne Brontë’s poem Lines Composed in a Wood on a Windy Day. It premiered recently and you can view it on Youtube now.

October 15, 2018
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Dreaming a poem together

What happens if you create a poem from a series of dreams by different people that were all in answer to the same question? What kind of a prayer will be created? That was what I set out to discover with my psi dreaming friends in late summer this year. And what is a good question? We jumbled together a collection of meaningful questions and selected one at random. And so our dream incubation was: how do we create more joy in our lives/world?

On the chosen night we all posed the same question and slept. In the morning we recorded our dreams in answer to this question. The answers were wildly varied, some joyful and flamboyant, others dramatic and sad. In some it was hard to find the joy at all, in others, the imagery danced around us easily. We shared our thoughts and impressions and then the extracting began.

Here is my poem from our night of dreaming for more joy. My own dream contained a quest for a girasol, which is either a jerusaleum artichoke (pretty much the only plants growing in my garden this year) or sunflowers in Spanish. And as I like action plans for my dreams, it was not long before I found myself in a blooming field of sunflowers, along with Michel, as we celebrated our wedding anniversary. It was the perfect setting to celebrate our joy at being together on so many levels.

In a startling sync, another of the dreamers shares the same anniversary date with his wife, who is a great fan of sunflowers.  I felt propelled along by the energy of the group poem, and have since spent more time with plants and nature. I’ve harvested a handful of the girasol from the garden and roasted them at Thanksgiving. I’ve started growing herbs indoors to bring flavour to our winter meals.

So many thanks to everyone who participated and shared their dreams with me. It is an intriguing exercise, one I hope to tackle again. This mutual dream poem was included in the Dream Art Gallery of this year’s Psiberdreaming Conference of the IASD so you can read more about it there.

October 11, 2018
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Inspiration in Spain

I remember sitting on the balcony with a view overlooking the Mediterranean, filled with dolphins, with our little pet goldfinch singing in a cage near me, trying to decide when to dash downstairs to steal a stalk of sugarcane from the fields waving below. Or when to go for a swim, lying on the rocks under the gaze of the white village of Salobreña. That was back when I was twelve and we were on sabbatical in Andalucia. A few decades later now, arriving in the village I am faced with a mosaic that depicts Salobreña’s history, an image with donkeys loaded with sugar cane and I realize I too am someone returning from history. The rum factory closed a long time ago.

Granada is now only a hop and skip away on wide, smooth highways overlooking dry mountains filled with unsightly greenhouses. But that city is as beautiful as ever and could it be that the food has even improved? The tapas are still free with a drink, plentiful and now there’s also flawless presentation. The flamenco played high in the hills is just as timeless as ever. And so even though some parts of history are now gone, and others remain the same, there is still much to discover in Spain and many things that are new, at least to me. We’d never spent time along the Costa Brava before, with the beaches of soft golden sand, rolling waves and warm, delicious water. We hadn’t passed through all the rice fields of Valencia and tasted all the variations on paella which delight us now.

These discoveries came to us thanks to our stay at the Vilarchangel artist residency, directed by the multi-media performance artist Ulises Pistolo Eliza, in his finca filled with the furniture of the original orange plantation from the 1930’s. Among the many bedrooms, balconies and large, shared spaces, we gathered our thoughts, ideas and met with fellow artists who were also discovering the region.

Michel gathered inspiration for his visual scores from the varied vegetation of the plantation, while I settled in with the large volumes of poems by Federico Garcia Lorca in the library as the flamenco singing of Kiko Cortes  wafted up from the front patio. Michel and I recorded music around poems I wrote on site using instruments from the artist workshop even as Sun Ho Kim, visiting from Boston, made small sculptures from tissue paper and oranges nearby. As luck would have it, this was an ideal setting for a family residency, again so vital for keeping life and art in balance, especially for a female artist and mother like myself. Multi-generational too, so my father was free to forage as he loves to do among the apricots, figs, walnuts, artichokes, oranges, plums and more. The kids made drawings with ink borrowed from Aki Hoshihara, visiting from LA, and played basketball under the bougainvilleas. They watched a few soccer matches on a t.v. that had been purchased at the request of monks that had once visited with the Dalai Lama, so that was another kind of blessing.

After the residency we discovered the villages near Castellon and stayed Mas del Gat a wonderful artistic retreat created by our great friend and best guide in Spain, Carol Charlton. She introduced us to more artists and toured us around the beautiful, inspiring countryside and perched villages. It’s a lush place, surrounded by olive and almond trees, figs and apricots, off-grid yet with a large swimming pool overlooking the valley below.

Before heading home we returned to Barcelona where we played a few wild sets of improvised music with some wonderfully inventive musicians at El Pricto’s long-running Discordia concert series in Gracia.

So now I am back home, harvesting the grapes from our balcony here as the starlings pass by, gathering all the music from this trip, the new songs, the old songs, the half-remembered poems. Many will be included in my new project, a mixtape of inventions where I sing to or with the spirit of place, the Genius Loci (working title). I’m hoping for a quiet, peaceful winter that will allow to me bring all these thoughts and ideas together so that I can share them here with you. We have replenished our stores of music so that Michel and I can be found in different parts of the house, each working on editing large amounts of freshly recorded music, while our sons and their friends take over the backyard studio and record their own new tracks. It has proven to be a productive time of creative renewal, just in time for harvest season.

Oh, and I haven’t even mentioned the hours of powerful music making in France before we headed to Spain, with Barre Phillips and many of the musicians from his EMIR collective, above the clouds on Barre and Mary’s magical mountain. It’s all there, ripe for the picking, to be continued …

Special thanks to the Canada Council for the Arts and the Conseil des arts et des lettres for their contributions to our many and varied projects.