Seeking Shadows, Holding Light: Music for the Fall Equinox

Sept. 23, 2010

I step outside with coffee mug in hand at 5:32. Clouds riding low on morning horizon, but stars and Jupiter in clear sky above, and a bright satellite moving across from NW to SE. Cricket song hazes the warm air. There’s a band of light, rising pale and high, directly across from where the sun will soon appear.
Coffee half gone at 5:50. I go inside, sit down with my steel guitar, and begin to play, tuning my heart and thoughts toward autumn’s arrival. The music rises, its simple and somewhat stark harmonic motion conjuring for me the image of a web of slow, wide ripples—and also, somehow, the ghosts of British Renaissance church music living on in American mountain ballads.
I listen and play while the morning light arrives on the first full day of fall.

-kmb

Morning Shore, September Light

North Shore Passage- Painting by Kevin Macneil Brown,
watercolor and gouache on paper, 2010

August Ripening

Horizon Meditation

HORIZON MEDITATION 1- Painting by Kevin Macneil Brown,
watercolor on paper, 2010)


trust the
symmetry until
something deeper
and more true
is revealed:

the pulsing shapes and
colors can-
not be defined
or explained but,
yes!
they are real.

vessels, structures,
openings, arrivals,
chroma, hues;
saturations of perception.

and all with breath
as solid as any
ancient stone,

vibrating,
infinitely
becoming.

-Kevin Macneil Brown

Celebrating the Lush Light of Summer

Toward the Harbor, Morning
Painting by Kevin Macneil Brown, watercolor on paper, 2010

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This is an edited version of a performance at Bethany Church, in Montpelier, Vermont.
LISTENING TO LIGHT was presented from noon to one on June 21, 2010, as contemplative music in honor of the summer solstice and the longest day of the year.
Kevin Macneil Brown- lap steel guitar, guitar, composition, recording and mix.

Upcoming Event: Listening To Light

LISTENING TO LIGHT

by Kevin Macneil Brown

Monday June 21, Noon to One

Bethany Church Working Chapel

Montpelier, Vermont

Free and open to the public

A live performance , in a sacred, meditative space , of contemplative music to honor the longest days of the year. Please come by to listen, contemplate, walk the labyrynth; Stay for a moment or an hour. Noon to One; free and open to the public.


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Beginning with the Winter Solstice last year, I've had the honor of presenting contemplative multi-media events to mark the solar calendar, graciously hosted by Bethany Church in Montpelier, Vermont. It's long been a dream of mine to present my more meditative and ambient music in a sacred space; honoring the intent at the heart of this music: to share in sound a deep connection to nature, spirit, and the ineffable power of creative energy.

(I've also, variously, offered visual art and poetry to accompany the music. )

The idea I have for these events is that they unfold without any beginning or end other than their actual duration-- that is, people can come and go as they please, finding and taking as much or little as they need. I have also found that the contemplative attention that people bring, whether listening, meditating, praying, writing, drawing, walking the labyrynth--has a profound effect on the music--- this I find to be wonderful; surprising, exciting.

My thanks go to all who share this adventure with me. Much gratitude also goes to Mark Pitton, for the enthusiasm and commitment he has brought to this process!

-kmb

In Fathoms: Dreams and Soundings

East Gloucester Liminal- Painting by Kevin Macneil Brown,
acrylic on canvas, 2009

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Avoiding the wreck
that lay at 30 fathoms
we nonetheless stirred
something from the bottom.

Stranger and
darker than any old bones--
we could not say
what it was.

But between blue basin
and silver shoal water
our captain could
thread the needle;

Through fog now, to Brown’s Bank,
where we arrived by morning,
in time to set out new lines.

-Kevin Macneil Brown

At Dawn

Morning Beach

Painting by Kevin Macneil Brown,
watercolor on paper, 2010

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Rising
{sun}

pillar of
diffuse light
through

clouds, becoming
the point of
being
every

reach of
now.


-Kevin Macneil Brown

Good Harbor Liminal

LIMINAL, GOOD HARBOR BEACH--Painting by Kevin Macneil Brown,

watercolor on paper, 2010)







... Across a tide,



racing to greet a shoreline,



welcome as first light.





-kmb



from NORTH COAST DREAMING:

http://www.lulu.com/product/paperback/luminist-diary-north-coast-dreaming/2499200

Every Journey Has a Soul

EVERY JOURNEY HAS A SOUL- Painting by Kevin Macneil Brown,
acrylic and maps on canvas board, 2007)



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So grateful for a world
like this,

where, at 4:30 A.M., I can be
pulled from deep sleep by

the song of a bird
I’ve never heard before.


A stepwise song, with rising and
falling intervals like the summits of
soft and wooded hills;

a green and hollow April timbre,
round with yesterday’s rain,
and clean with today’s shimmer
of sun in the moving river.


So grateful for the way all this pulls me awake
and right into the journey,


this sound that leads the way...


-Kevin Macneil Brown

Good Harbor, Morning

GOOD HARBOR, MORNING- Painting by Kevin Macneil Brown,

acrylic on canvas, 2010)

.... seaweed, kelp, and keen of gulls
where the liminal begins (can liminal have a beginning?)
and bells ride the wind and tide.
I might find, in any sky, that the light makes real the world...

-kmb

From LUMINIST DIARY:

http://www.lulu.com/content/2152993#detailsSection

Atmospheric Skip and AM Country Music Dreams

As I finish up recording and mixing THREE MILE BRIDGE-- an EP, I guess, not quite an album-- of my most recent country songs, I realize that I've never let go of an obsessive memory from my teenage years. It's that of late night/early morning radio, coming up on WWVA from Wheeling, West Virginia in the 1970s.
On Saturday nights I'd stay up all night, transistor radio under the pillow, to listen up close-- as close as I could, anyway, through all the static, the distance and drift. Live music with steel guitars and fiddles; singers, some well-known, others obscure; Coffee-and twang-fueled truck driving songs from the Jamboree.
I liked the voices, the stories; the sense of something timeless reaching through those late nights and early mornings; across the plains, up the Blue Ridge Mountains, or from who-knows-where; sounding in the gray-blue pre-dawn of my New Hampshire mountain home.
I can't let go of the yearning and joy those sounds brought to life inside me. So I keep coming back to my own imagination of them; in my own way. Most of these new songs are about places close to home here in Central Vermont.

Upcoming Event: Finding Light

(Spring Sky From Shoreline- Painting by Kevin Macneil Brown,
watercolor on paper, 2009)

Finding Light: Music, Word, and Image for Equinox Arrival
A meditative and contemplative celebration of Spring's arrival, with live ambient music, poetry, and images by Kevin Macneil Brown.

Saturday, March 20

Noon to One O' Clock

Bethany Church Working Chapel

Montpelier, Vermont

Free and open to the Public

After Snow, Looking North

AFTER SNOW, LOOKING NORTH

Painting by Kevin Macneil Brown, acrylic on canvas, 2010)

Late-winter Horizons: Poem and Painting.

YOU ARE MY HORIZON III (detail) Painting by Kevin Macneil Brown, acrylic on canvas, 2010)

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The angel arrived
having the mass
and volume and
hugeness of a mountain range,

While at the same
time the weight and shape and distance
of an entire cloud-massed sky,

and then
The shore-destroying beauty
of breaking
waves.



And the angel’s message,

silent, was:



Listen;


Wait;



And again,



-completely-




Listen.

-Kevin Macneil Brown

Following Trails and Abandoned Highways: Some Notes About Writing the Liam Dutra New England Mystery Series

My first novel, COMPASS,WATER, STONE AND TIME, began in my consciousness with the vague image of a lonely, whiskey-drinking trail runner who finds himself caught up in a solitary search for something lost in the woods of steep-sided Irish Hill in Berlin, Vermont. I’d been running regularly in the area, around Berlin Pond and up into those woods, exploring trails and an abandoned town road that I’d come to call “the ancient highway.”
Months later, the intersection of two events pushed a story to the fore.
First, a coyote on the trail ahead of me on the ancient highway actually led me to an old cellar hole. (It was covered then in brush; now, years later, I notice that the brush has been cleared, and the old Stewart farmhouse foundation has been exposed to the sky and to the eyes of visitors.)
Then, a boxful of VERMONT HISTORY magazines that I turned up at a library book sale offered a serendipity of articles: one chronicling the history and culture of the Irish in nearby Northfield, on the opposite slope of the hill; another offering an account of the Fenian Invasion of Canada in 1866.
A story and characters began to churn inside me. I got the first draft done over the course of a summer, sitting outside in the sunny mornings before work, writing in longhand with pencil or ballpoint pen in a bright orange surveyor’s field notebook that my mother had found at a yard sale in New Hampshire and sent to me.
Another vital inspiration at the heart of the book came from what I can only call The Muse; in this case, a vision of a dark-haired, dark-eyed, sweet-tough woman who somehow stirred my imagination to create Shawn Donahue, the woman who pulls protagonist Liam Dutra out of his loneliness and shares in his quest.
Liam’s real quest, his deepest yearning, is for connection--communion even-- with the landscape he lives in, including its hidden past. Shawn, I think, having grown up in this place that Liam has come to love, embodies that landscape: physically, culturally, even spiritually. In this, she turned out to be crucial to the story, crucial to Liam’s ongoing journey from solitude into engagement.
Subsequent drafts-- I was using the computer by now-- showed me how hard it could be to write a mystery novel. Changing one small aspect of a character or shifting one event slightly in time might cause a narrative to slide off its foundation and into a horrible abyss. There were some desperate times when I wanted to pull out my hair, rip up the pages, delete all the files; just quit...
But I kept going, thinking and stewing, scrawling notes to myself, shuffling the plot and character details I had notated on blue index cards. Things began to fall into place.
Writing the book within the book-- Neal Donahue’s 1866 journal-- came later, in the winter. It was mostly a pleasure, with Donahue’s voice often flowing clearly and without much effort onto the page. The historical research was enjoyable too; I still carry fond memories of old books, window-focused sunlight, and quiet investigations at the Kellogg-Hubbard Library.
First—and second, third, and fourth—readers kicked my butt in good ways, inspiring further changes and rewrites.
In hindsight, and with three more books in the series written now, I see COMPASS as a dark, dense, and sometimes lonely woodland of a book, with sunlight and water --and love-- offering redemption and hope. ( A few drafts in, I noticed the way some kind of water-- rain, stream, lake-- tended to be part of the scene whenever Shawn was around.)
Another thing I’d like to say is that in writing COMPASS I wanted to offer homage to the writers who inspired me: John D. MacDonald, James Lee Burke, Robert B. Parker, Raymond Chandler; Hawthorne, Melville, Thoreau. But I also worked hard to find my own voice, and particularly, to honor the northern New England landscape and the way people live, and have lived, in and upon it.

The second book of the series, THE HAWK OF THE INTERVALE was much easier to write; indeed the first two drafts were often intense and instantaneous in the way they came to me. Sometimes I’d have multiple scenes and conversations unfolding simultaneously in my imagination while I was out on long autumn trail runs. I’d run home and feverishly write things exactly the way they had come to me. It was exhilarating beyond belief, and only slightly exhausting.
HAWK allowed me to discover more about Liam and Shawn’s characters, and to deepen their relationship. Virgil, the Abenaki fisherman and poet who is at the center of Liam’s quest, allowed my poetic side to speak freely. And the Gloucester part of the story was a very satisfying way to immerse myself in my own roots and some haunting childhood memories. The prologue, with Virgil presenting his testament in a dream, came from an actual dream I had; Liam’s meetings with Ferrigno echo actual experiences that I had as a teenager in Gloucester, tracing the steps of my hero, the poet Charles Olson.
While COMPASS lingers in my writer’s memory as a sometimes dark and shadowed book, thinking back on HAWK summons up for me a sense of spaciousness, of clear horizons. Even the manuscript itself seems lighter, with more blank space on the pages!

I’ll add my thoughts about the third book at another time.

-KMB

February: Mystery Series Author Event and a. minor's Arty Party

It looks to be a fun and busy February!

First off, I'm excited to announce my upcoming author event/reading/ book-signing, Tuesday, February 16, 7 PM at Bear Pond Books in Montpelier, Vermont. I'll be celebrating the publication of my Liam Dutra Mystery series with readings from COMPASS,WATER,STONE AND TIME and the other books in the series. I'll also be talking about the process of writing fiction inspired by the power of place--landscape, culture, nature, history. I look forward to answering questions, too!





To visit Bear Pond Books on-line:


http://www.bearpondbooks.com/




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Artist a. minor is presenting a party featuring her dynamic live video art at the Lamb Abbey in Montpelier, Vermont on Saturday, February 13 from 7-10 PM (FREE admission), and I will be providing quiet live ambient textural music to accompany the visuals.
a. minor's work, often inspired by the light and rhythm of ancient Mayan textiles, is a wonder to behold. I'm really looking forward to this event!



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Also, my exhibit of acrylic paintings, LIMINAL HORIZONS, continues at THE SHOE HORN in Montpelier through February.
Thanks again for reading, looking, listening!
-kmb

Downloads Available Now

I'm excited to announce that some of my long-form ambient compositions are now available for purchase as loss-less downloads.

Ending 2009

(Winter Mountain and Lake-- painting by Kevin Macneil Brown,
watercolor on paper, 2009)

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In ancient Greek myth, the Halcyon Days were those surrounding the winter solstice: a period when calm seas allowed the island-dwelling kingfisher to lay her eggs; a period of quiet and well-being, a time for contemplation of new possibilities.

While we might not always experience that sense of calm at this time of year, I would like to summon a bit of it for just a moment while I offer my deep thanks to all of you have looked at, read, and listened to my work this year; who have come to shows, readings, performances, exhibits; who have purchased books or art; have supported me in other ways too many to detail. You have helped me to have an exciting 2009! Again, my deepest thanks to all of you.

I've some interesting things on the horizon for early 2010, including another art exhibit, an author event for my series of New England mystery novels, and a run of Fridays with Rusty Romance at Langdon Street Cafe here in Montpelier, Vermont.

Until then, happy holidays and a great new year to all!

Solstice Horizons

SOLSTICE HORIZONS


A meditative space with live music and images
to contemplate and welcome the returning light
at the winter solstice



Monday, December 21
12 Noon to 1 PM

Bethany Church’s Working Chapel
Montpelier, Vermont


Free and open to the public

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At the winter solstice we mark the return of —in the outer world of sky, stars, planets — the sun’s light in a dark season. We might also find, in any time, at any moment, the experience of returning light within ourselves.

These sounds, images, and words are offered as a quiet meditation upon that returning light, within us and without. Please feel free to listen, to look; to close your eyes and follow your own thoughts and images as they rise and fall, come and go.

While this event has a beginning and ending in time, it is also meant to be complete in any moment or section, to be experienced quietly within your own frame of time and attention.

-KMB