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Original chords by Jesus; Guitar played by Seba; voice, arrangement, lyrics by Sarah Passemar
This song has a beginning, like most things except God, and here it is:
My band (The Garden Abides) was improvising in Neuquen, Argentina in December 2009 before our concert, and a tiny portion of the jam was caught on Jesus's poor-quality phone recording. After which, I completely forgot about it.
When I made my way back to Neuquen the following month, the band said the tune had been stuck in their heads. So I took the chords that Jesus had composed, and wrote lyrics around Mamina's kitchen table on a blue sheet of scrap paper. (What is it about scrap paper that inspires the poetic juices to flow like a newly cleaned drainage pipe?)
The next day, Seba, Pato and I went to Pato's house on Lake Pelligrini in Rio Negro, and I put an arrangement together, adding a couple chords and making it weird. Seba helped me fine tune it, and we recorded it there. Pato started working on a bass line, and Seba started doing cool slide-guitar bits, but I drank some of the local water and was completely incapacitated, and unable to record the bass line and slidy bits. I blame the sunrise.
In the morning...
In the morning
I lie in my bed
In the morning
I repeat what you said
in my head
over and over...
Everything can wait
Everything can wait
Everything can wait
until six days from now
Your apricot heart
Was pitted last week
By the garbage truck man
In the morning
I shut out the day
But all of my Dreams
Keep leaking away
Through the cracks in the wall
In the morning
In the morning
In the morning
Still don't know if you lied
And now the morning
ocean's new tide
wants to spill from my eyes
Over and over...
Everything can wait
Everything can wait
Everything can wait
until six years from now
My brain takes its turns through it's
regular waves and I
wish you were here
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A History
Ok, so I'm a musician.
I've been playing piano since I was five. I was trained classically, and got a BA in music. In 5th and 6th grade, I played clarinet. In college, I started teaching myself guitar and bass. I took voice lessons and sang in choir off and on. I took a year of carillon lessons with this amazing guy from the Netherlands. I started playing percussion in the orchestra in college. (My first time on percussion was the "West Side Story" - what a way to start!) In grad school, I picked up accordion, (which I have brought to Buenos Aires with me). In Bolivia, I got a charrango, and a in April 2011, I bought a bright purple violin. I have harmonicas, and I'm a grand master of the Kazoo and slide whistle.
I didn't start composing until college, when I composed one completely original song; it felt like a fluke accident.
So towards the very end of college, I felt my piano skills were limited to playing what other people had written, so I began teaching myself jazz piano and improvisation. My uncle then got me a keyboard as my graduation present. The year after college, I went to Dell'Arte International School of Physical Theater in Blue Lake, CA, and around Christmas time (2009), I was volunteering at the community breakfast, and as they were overstaffed, I mustered up the courage to volunteer to improvise on the piano. They asked, "Do you play Christmas songs?" I certainly didn't. "I can give it a shot," I replied. That day, a local Presby church asked me if I'd like a job playing for their Sunday services. (I ended up being the only one in my class who had a job. $25 a week!)
At Dell'Arte, my confidence growing, I composed some music from a nifty Hamlet production we put together. Later, I did the music for my group's Melodrama production, with help from Walken Schwigert on the violin. One of the only times I ever got praise unadulterated from my professor, Ronlin Forman, was about the piece of music, which fit the production like a glove.
In Argentina, I joined a band (The Garden Abides), and started composing more seriously.
Then, when I came back home in Winter of 2010, I was in a production of ATFC's Alice in Wonderland, and offered to write the music for the show.
I also volunteered to write the music for my friend Elizabeth Swensen's Master's Thesis project, called "The Witch".
I just composed the underscoring for another ATFC production of "Rapunzel," and recently finished recording the piano score for Alan Menkin's "Christmas Carol" for a local theater group. I also did some of the voices... just for fun!
So that's what I can remember.
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