Dear kind and patient reader,
If it appears to you that this web-site has regressed in its aesthetics and content, then you are no doubt a remarkably astute observer. Over these past few months, misterhazelwood.com has been a home without a foundation – a virtual mobile mansion, if you will, which has made its trek around the globe only to land back in that same low-cost subdivision in which it was erected. I had imagined a serene grassy knoll for its final situation (i.e. a more intuitive content management system) but never found such a place in all my travels. It seems that WordPress is to be the permanent home of my home after all. In the moving process, regrettably, I did lose a few belongings (previous entries) but I am ready to begin anew – filling this virtual domicile with only the finest artifacts from far-away, enchanting places within the universe of my atypical grey-matter. Let’s go shopping!
Speaking of world travel, I recently embarked on a jaunt throughout some of the southern United States to (as the poet might say) “test the waters” in reference to my musical presentation. I was accompanied in my travels and on-stage by a gentleman named Jason Goforth, an organic-electronic lap steel / harmonica player whose musical and social contribution to the tour was invaluable. Also in the caravan was the dark-story-telling Folk artist Row Craven. It was his booking efforts which had prompted the trip, and he was gracious enough to invite my participation. As intention would have it, Row and I would split the lime-light at three music venues to include Proud Larry’s in Oxford, Mississippi; the Circle Bar in New Orleans, Louisiana; and the Continental Club in Austin, Texas.
As I have insinuated, this trip was for me (although I can’t imagine what course of effort is not) an experiment. Though I do enjoy the time spent in the shadowy recesses of my home and my imagination, I often feel at loss for objectivity – some reference point by which to know that I have not labored in vain. This is how I am able to justify such a trip wherein there is significant pecuniary loss, given the current paradigm of the touring independent music-artist. I travel to gain a clearer understanding of how my art can be defined when framed by various cultures and vicissitudes on my part and on the part of the audience. A thing is only what it is in-relation-to another thing. And so I went – and performed – and took my return – concluding this: I need to be more selective about my choice of performance venue. Before I continue with my findings I must stress that I did enjoy my time spent in each city and that there were some very gracious and attentive patrons. However, this was the final trip that I needed in order to confirm that my music does not deliver well in an establishment which is in first priority a bar. In such a place, I almost always feel as though I’m broadcasting but no-one is tuned in. They often listen, indeed, but they seem to be on the wrong channel. If you will allow me to offer an analogy: I am broadcasting on SM (Soul Modulation) while the patrons in a bar are tuned in to AM (Alcohol Modulation) or FM (Fornication Modulation). It stands to reason why they might not hear any more than static. I create music on a basis of sensitivity and subtlety, qualities which go seem to go un-noticed by the muted senses of the (albeit intelligent and attentive) bar-goer. Perhaps that is why many Folk artists have done well in coffeehouses. Their audience is on stimulants instead of depressants. Hmm….? Did I mention that I’m performing at a Yoga studio in October?
Until a New Thought arises,
Mister J.S. Hazelwood
