|
|
|
NEWS,
WEATHER, and SPORTS
March,
2008
The
Best February Ever
That’s
a bold claim to lay before a reader, I know, but as baseball
great Dizzy Dean put it, “It ain’t braggin’ if
you can back it up.”
Start
with the weather. The words “February in Quebec” sum
it up pretty well, though there are people for whom those words
might evoke something more like . . . fear and loathing. For
me, other seasons in other places have their charms, and the
world offers plenty of great scenery and weather, but way down
in my Canadian soul, I am profoundly stirred by that cold heart
of winter — the short, bright days, the flying snow, and
the deep blue freeze of winter nights. As French-Canadian songwriter
Gilles Vigneault sang, “Mon pays ce n’est pas
un pays, c’est l’hiver” — My
country is not a country, it is winter.
And
the air — so
fresh and crisp and bracing, so delicious to breathe, even as
it pinches your nostrils shut. It would be hard to prove, but
I swear there is such a thing as the smell of snow. One time
I was trying to name my favorite drink, and thought of the morning
ritual of fresh orange juice with half a blood orange squeezed
in (for sweetness and color), the full glass placed in the freezer
for a few minutes to get that Popsicle zest, or perhaps the end-of-day
Macallan on ice, with its fiery amber glow. But eventually I
decided my favorite drink is February in Quebec.
Whenever
I’m not off plying my trade in other parts of the world,
I am mainly based in Southern California these days, but I always
try to arrange my life and work to spend a few weeks in Quebec
around February. Perhaps my affection for that time of year in
the Laurentian Mountains comes from my love of cross-country
skiing and snowshoeing, but even beyond that — even
just looking out the window — it is soul-stirring. Snowscapes,
woodsmoke, and a frostbitten, dripping nose have been part of
my reality since childhood, and that season, in that part of
the world, must be my favorite combination of time and place.
|
Considered
in those terms, February 2008 in Quebec was just about perfect. The
storms of December and January had piled the snow waist-deep,
and white billows and pillows rounded the trees and rooftops.
The daily temperatures were generally in my ideal cross-country
ski range, five or ten degrees below freezing, and the skies
were either crystal blue or dashed with flying snow. One morning
at first light I woke up and looked through the window above
my head to see a million snowflakes dancing in the air, swirling
in patterns like a ballet of white atoms, a life-size snowglobe,
and I found myself saying, automatically, “Hello beautiful!”
Words
like that came into my mind on many days, and many nights, too,
like looking up through that same window at the piercing stars
and latticed treetops. But the beauty was most keenly felt when
I was out in it,
wandering the woods on cross-country skis or snowshoes. Nearly
every day I dressed in my multi-layered winter wardrobe and headed
for the trails, and this year it happens that such an aerobic,
full-body workout was a perfect fitness program for pre-tour
conditioning. In just a few weeks I will have to put on my drummer
hat instead of my black balaclava and “Be Yourself” wool
cap (bought at a London performance of the excellent musical Billy
Elliot, which
I attended with Carrie while we were there on tour last October).
Early in March I will have to start preparing for another series
of concerts, a “continuation” of the Snakes and
Arrows tour.
(The Snakes and Arrows “surge,” I
call it.)
We
had planned to end the tour in Europe last fall, but apparently
more people want to see us, or see us again, so we were asked
to do more shows. Some of them will be in places we haven’t
got to for a while, like New Orleans, Oklahoma City, and Winnipeg,
and that is nice, plus we plan to make a few changes to the setlist
and presentation to freshen it up a little. Although the world
knows by now that I’m not crazy about touring, I sure don’t
discount the good fortune that we can still do it,
personally and professionally — that we can play better
than ever, and that people will come and see us. That’s
not something I have ever taken for granted. As I have said to
friends who might be having their own work difficulties, “At
least if I have to work, I’m glad I can.” And
not just any old job, of course — pretty much the best
job there is — but none-the-less a hard one.
Another
semi-professional (literally) activity this season has been getting
back to playing the marimba. My old beginner’s instrument
had been disassembled and stored for a few years, but I was moved
to set it up again in my front hallway, which is like a small
chapel (a chapel to nature, with
big windows open to the view of white forest and lake). The marimba
had a warm resonance in that setting, as I riffed on my older
exercises, “Pieces of Eight” and “Momo’s
Dance Party,” and improvised more-or-less aimlessly on
some new ideas. Just for fun.
|
During
those few precious weeks when I remained free and unfettered
by schedules or itineraries, out wandering on the snow-covered
trails, I tried to take at least one photograph every day. A
little over a year ago I started experimenting with the use of
photos in these stories, and found the combination inspiring,
so from then on, and for that purpose, I made the effort to take
more motorcycling photos on tour. Similarly, this winter I wanted
to try to fully capture this very different experience and setting.
Carrying
my camera every day in my backpack, and looking around me at
all the fetching combinations of landscape and snowscape, I experimented
with different ways of framing the scenery. One innovation I
came up with was the “Tip-Cam,” where I would bend
down to shoot a scene across the tips of my skis, to give it
more perspective.
Here
is an example, where I was about to enter an avenue between groves
of silver birches.
While
I skied through the woods on all those glorious winter days,
kicking and gliding along the flats of the old railroad tracks,
as pictured above, or flying downhill between the leafless trees
and snow-dappled evergreens with mingled fear and excitement,
or laboring uphill with my skis splayed out herringbone style,
I tried to find the words to express what it was about cross-country
skiing that I loved so much.
For
one thing, I believe that no sport is more beautiful in its setting
than cross-country skiing. The only possible comparison might
be wilderness hiking. Long-distance cycling and running, for
example, must usually be done in less picturesque surroundings — public
roads in most cases — and endurance swimming is too often
confined to counting laps in an indoor pool. But the snowy woods,
and the trails through them, are always pretty.
And unlike roads, urban paths, or swimming lanes, there is no
traffic.
On
weekdays, I could ski for two or three hours and in that whole
time maybe encounter one or two other skiers, and often no one.
On weekends, when more people were on the ski trails, I could
snowshoe into the neighboring woods on remote paths and see nothing
but animal tracks.
But
cross-country skiing is my favorite, for its rhythmic swing,
and the special state of mind it engenders. The southern Laurentians
have a world-class network of cross-country trails, and by the
time I get on them, in early afternoon, the trails are already
broken through any fresh snow, either by other skiers or the
local association’s snowmobile trail-groomer. Many times
I have noticed that as soon as I plant my skis in those parallel
tracks in the snow and push off, it seems as though my mind is
suddenly transported. It’s
almost like a kind of trance, especially on one of my favorite
trails, a ten-mile, multi-textured loop that I can only compare
to the rhythm of a good flow yoga practice.
The
Opening Meditation is a mile or so of that old railroad track,
pictured above, where I just groove along with a steady, fairly
effortless pace. Then the Sun Salutations, as I turn uphill for
a long ascent through varying degrees of gentle climb and laborious
herringbone. The summit leads to several miles of alternating
ups and downs, the chatarungas and
standing poses, working different parts of the body as well as
the core, so that despite the cold, my inner clothes are soaked
with sweat. And all the while, the winter woods flow by, the
fractaled deciduous trees and the piebald evergreens, snow beneath,
sky above, the delicious air drawn in with relaxed, ujayi breaths.
Choosing
a sheltered grove or open overlook, depending on the wind, I
might pause to snack on a raspberry yogurt granola bar and apple
juice (this winter’s favorite combo — last year it
was peanut butter cups and cranapple). Then on again, up and
down, until a couple of hours later I close the loop, and glide
down the long slope to the same stretch of meditative flats I
started with. My mind is at rest, knowing the hard climbs and
perilous descents are behind me, and that final, easy cruise
feels like the equivalent of shivasana, the
traditional closing to a yoga practice. That’s when all
you have to do is lie there,
which is no big deal in itself, but it feels so blissful after
the arduous workout that led up to it. As I have written before
about such spiritual states of mingled satisfaction and relief,
like after a hard show or a long motorcycle journey, you can’t
just wake up and feel that good about lying down — it’s
a reward that
only has value according to how much you have paid for it.
|
While
I’m skiing along, my arms and legs are working away like
a locomotive, but require little thought to guide them, especially
after all these years (I first learned to cross-country ski while
working at nearby Le Studio, in the early ’80s). Above
it all, as it were, my mind is spinning like a generator, taking
that energy and converting it into a train of thought that can
go anywhere. And does.
Tangents
both shallow and deep, from cars to literary analysis, problem-solving
to wool-gathering, pondering how to answer a strange e-mail from
a friend, or a decision on this or that question, resolving to
write soon to another neglected friend (I have so many neglected
friends), searching for words to capture the world around and
within at that moment, and often, an old song plays in the background
of all those thoughts.
Yet
the cross-country skiing state of mind has a wonderful sense
of composure.
That word seems absent from running, in my experience, with the
jarring impacts and heavy breathing, and is even rare in cycling,
unless you’re spinning along a flat, empty road. On the
ski trails, while I’m kicking and gliding through the snowy
landscape, thoughts parade through my mind in a somehow stately fashion,
without urgency. Even issues that, at home or in the car, were
stressful, can be considered calmly, one at a time. Or not at
all, as I choose.
|
However,
I did have other, more serious matters to think about, for this
was a working vacation.
(That might be a recipe for an ideal life: a working vacation
that never ends.) Apart from preparing for the upcoming shows
physically, there was a lot of “executive” work to
take care of, and I could only try to deal with all that in the
mornings, to leave the afternoons free for snow sports. With
Hugh Syme doing the real work, I still had to supervise the cover
for a CD of our shows from Rotterdam last October, plus a revised
edition of the tour book to include photos from earlier this
tour, review the live mixes, and field countless questions from
the office, bandmates, and crew members about arrangements, schedules,
and decisions. And I did feel I ought to contribute something
new to Bubba’s Book Club, after a long hiatus because of
last year’s busy touring schedule, so I spent a few mornings
working on that. But at least those jobs could all be handled
by the relatively unobtrusive e-mail. All I care is that my phone
doesn’t ring, and that every day I can get out in the woods.
And
thus the high-tech world definitely has its place in my winter
wonderland. Why, this year I even made the leap to modern fiberglass
skis, instead of the antiquated wooden ones I had been clinging
to for many years. The new ones steer better, are much lighter,
and I learned to choose a wax a few degrees “warmer,” and
apply it more frequently, to get the same versatility as the
wooden ones.
Same
with snowshoes. I had always stayed with my quaint varnished-wood-and-sinew
racquets, but this year I finally surrendered to the undeniable
advantages of man-made materials. Perhaps they are not quite
so elegant, but — as I feel about vintage drums, motorcycles,
and cars, for example — some things were always nice, but
new ones are better.
Home
from the snowy trail, showered and changed, “it’s
good to rest my bones beside the fire,” as Roger Waters
put it in that great old Floyd song. As the light fades, I build
up the fire, savor a Macallan on ice, and look out at another
winter sunset. The last spark of orange filters through the snow-covered
hemlocks and firs to the southwest, and the snow is gilded with
soft light. Twilight is a magical time here, as the snow gradually
fades and glows through an unbelievable range of tints and shadows.
Carrying my glass, I move from one window to another to watch
the show.
I
am also glad that February in Quebec is a gift that can be shared,
and after a couple of weeks on my own, it was great to have Carrie
join me for ten days of the finest winter she has experienced — as
a native-born Californian facing her husband’s native land
in its harshest season. As she stepped out in her own new snowshoes,
and joined me on the cross-country trails, I christened her Notre
Dame de la Neige — Our
Lady of the Snow.
And
here’s a telling moment — a few years ago, after
twenty-five years of having a place in Quebec, I was thinking
about moving away from certain disturbing memories, and building
a new place on a piece of land I’d bought in Ontario. That
summer Carrie was with me in Quebec, reveling in the area’s
excellent grocery stores and restaurants, and the lovely scenery
and serenity, and one day she said to me, “Are you sure
you want to leave this area?”
Well,
no, I wasn’t sure, and before long I decided to stay. As
I described it in Traveling Music, this
is my soulscape. I went ahead and sold the old place, and built
a new one across the lake — a place to collect new memories.
This February was my first stay there, other than a few days
in December to organize the place, so that was another reason
why it was the Best February Ever.
One
first-time visitor to the area was my friend Matt Scannell, who
arrived for a weekend visit soon after Carrie’s departure.
Matt lives in Los Angeles now, but grew up in Massachusetts,
so he is no stranger to winter. He took to snowshoeing right
away, and as we tramped around the nearby woods, or across the
blinding white, wind-blown Sahara of the lake, he and I dreamed
up a spectacular new stage production, on a scale with Riverdance,
Cirque de Soleil, and Ice Capades, that we are going to call, “SNOWDANCE:
Lord of the Snows.”
As
we traded ideas, the vision grew into a concept for a massive,
over-the-top production, on a vast stage of artificial snow,
with dramatic lighting effects, soaring synthesizer music with
dynamic percussion, lasers and pyro, dry ice, and a huge cast
of performers, all on snowshoes. Just imagine the choreography
. . .
[photo —
Uniquely
among my friends, Matt and I have developed a certain “arch” tone
of conversation, so that sometimes we discuss absurdities as
if we were serious. As the subject matter veers into deliberate
surreality, we go on talking with complete sincerity, a kind
of faux earnestness
built on conscious irony. In that spirit, we envisioned a logo
consisting of a sparkly snowflake beside the word SNOWDANCE,
spelled out in big silver glitter letters against, say, powder
blue. I figured that every woman of a certain age would want
a sweatshirt like that. Matt thought probably everyone in the world would
want a sweatshirt like that.
I
spread my arms, all innocent frankness, and said to Matt, “I
know it might seem shallow to jump straight to thinking of ideas
for the merch, when
here we are conceiving such a vast enterprise of artistic genius,
but hey — I can’t help but see the entire creative
rainbow that lays before us.”
I
shook my head with amazement, “You know, when you and I
are together, all I can say is, ‘Magic happens.’”
From
then on that was the theme for our weekend together in the north: “Magic
happens.”
Here
is Matt, making some magic happen on the ’shoes — “Bustin’ a
move, kickin’ it old school, all right, bring on the noise,
bring on the funk.” This is just a hint of what will be
brought to the stage in “SNOWDANCE: Lord of the Snows.” Watch
for it.
After
Matt’s visit, I had a little more time to myself, then
a brief appearance by Brutus, who also did some impressive snowdancing
on the snowshoes — though unintended, in his case. He just
fell.
I
also shared my February with the woodland animals, whose tracks
I tried to decipher in the snowy woods, identifying deer, fox,
squirrel, and snowshoe hare. My man Keith, who looks after the
property while I’m off, you know, paying for
it, and his helper Pierre installed the new location of my multi-leveled
bird feeder, Chef Ellwood’s Birdbrain Café. The
black-capped chickadees discovered it on the first morning, and
I was happy to see them flitting in and out in their cheery,
gregarious mobs. The chickadees were soon joined by a calmer,
but no less sociable group, the common redpolls, with their delicate
russet plumage and bright vermilion caps. Mrs. hairy woodpecker
dropped by to sample the suet, and a solitary red-breasted nuthatch
was an occasional diner, seeing off the chickadees if they crowded
him too much. I recognized the spirit of a fellow cranky hermit.
In
any account of this Best February Ever, I would have to include
the lunar eclipse. Around ten o’clock on the night of the
seventeenth, Carrie and I watched Earth’s shadow start
to slip across the bright moon, framed among the bare, black
trees. Like the Christmas song, “Brightly shone the moon
that night, though the frost was cruel” — it was
minus twenty outside, so we watched from indoors, with
all the lights off but the fireplace. “A world lit only
by fire,” as an eloquent historian described the not-too-distant
past.
Across
the radiant, silver-blue snow, the trees stretched dark, sharp-etched
shadows, silhouettes that gradually faded as the darkness crossed
the moon. Finally the sphere turned a dull orange, and the stars
shone brighter in the eerie dimness. Long minutes later, a spark
of silver fire returned to the opposite edge of the moon, and
crept across its mournful face. The light radiated down across
our snowbound world, and the forest began to glow again. Magic
happens.
Back
in the early twentieth century, before color photography was
widely seen, Canadian landscape painters exhibiting their work
in Britain were derided by British art critics for portraying
such obvious absurdities as pink and purple snow. Any resident
of a Nordic country knows the palette of winter colors ranges
from delicate pinks to sparkling silver to deep soulful blue
to a brilliant, blinding Arctic white with prismatic, diamond-like
sparks. When I look at paintings of winter landscapes by artists
from other northern countries, in Scandinavia or Russia, I see
the same qualities of light and color.
And
they make me smile. Because magic
happens.
|
|
|
|