My auction of my original art, instruments and antiques ends tonight at 7:30 pm, eastern standard time.
I’ve been cheerfully blogging about my art.
But it’s harder to write about the bassoons. So I am just going to ramble and post this blurt in the last hours of the auction. If you are the least bit interested in them, you might enjoy reading this.
It’s my ardent wish is that a real performer gets these precious instruments, either a seasoned player or an eager young student or professional who loves, as I did, the idea of touching the past through these instruments.
They are all real bassoons, meant to perform… the Ross Scherer is one of the best baroque bassoons on the market with a particularly warm and deep tone, was made in 2012, has a new Kim Walker gig bag. It has character and is a bit more of a handful than the Wolf HKICW that all the kids are playing (I had one of those and it was so easy to play, but a little bland) but worth the effort. This bassoon is worth $5000US and it looks like it’s going to sell for much less on the auction… any price that is close to this or equal is worth every penny.
The old bassoons are another story…full of history that an expert could guess and that the rest of us can only imagine. I do not possess any academic expertise in their origins, just enjoyed speculating with the experts who restored them.
They each were played for a lifetime by their original owners, and maybe others in the ca. two hundred years that they have been around, the wood burnished and the finger holes curved inwards with the wear of decades of performing. But they are not worn out, and bassoon-maker Leslie Ross took a a couple of months to both restore them and to measure them in great detail, producing drawings that will allow her (I think) to make bassoons that are similar.
The Anonymous bassoon, with the capital “F” carefully carved into the inner curve of the wings reminds me of a Heckel… it feels like it was really played and it springs to life more quickly than the older (I think) Glier. I experimented with different Leslie Ross bocals (the original bocal got misplaced when I loaned this bassoon to a dear colleague in Europe who died in a tragic paragliding accident). I also have the original simple wooden box that this bassoon came in and am keeping it. The delicate ivory bell ring has been carefully repaired more than once, and present, one small chunk has dropped out again and is carefully wrapped and in the case... a fine bassoon repair person will use the right materials (not modern glue) to repair. The bell itself has a slight curve. Robin Howell spent many hours restoring this bassoon and removed/filled some keys that he thought were not original, then in 2011, I had Leslie Ross give it a linseed oil bath and restore all the keywork and more. Pitch is lower than A=440 and higher than A=430…. It really depends on bocal/reed choice so I think you could probably get it to produce either. Not sure because I never got to play it in orchestra, only duets. This bassoon has a hard sided old gig bag that is pretty good.
The Glier in Klingenthal, Sachsen was found in an antique shop in Toronto by my former stage partner, Guy Few… we were looking for furniture in one of the big stores that reclaims parts of old buildings (Smash) when Guy spotted this bassoon.
The owners had dragged it around for 12 years, fully assembled, minus bocal, before someone told them what it was. I was so overjoyed to see this venerable, delicate beautiful bassoon. It was very grimy, but we could see and feel the natural rings of the maple… all this became much more visible after Leslie Ross restored and totally cleaned the bassoon. Once she finished the work, we could also see the maker's stamp clearly on each joint. Very exciting. It has an extendable wing, I assume to allow for different pitches, and the high a and c keys also extend… it is mindblowing to me. The low C hole is delicately outlined with ivory…. the bass joint is extra long and the bell is very short… Leslie gave me all the string and bits that she removed and replaced and I've got these relics in a box that I can send too. This bassoon needs much more playing to fully reveal it’s potential.
I don’t have a hard case for this bassoon because of it’s non-standard dimensions, but I have invented a gig bag out of a case cover. And there are Leslie Ross bocals with this bassoon.
The bonnets that protect the low D keys on each of the original bassoons are also very lovely (see below)
These instruments deserve to be owned and played by someone who is a position to show them to the world, share them with other players and students… someone with a good university job, or simply the means to take care of them. I got them started with thousands of dollars of restoration.
Write to me if you have any questions. Make a bid on history.
Just in case you wondered, I am a bassoonist who has always made art. I have had 7 dedicated solo art shows in my career and over 60 people own my art (in the beginning, I didn't keep track, so more than 60). If you want to check the market values, go to my website (shop section).
Moving Sale Auction ends tomorrow...7:30 p.m. on Thursday, December 6 . An easy way to avoid the crush of bids at the end of the day is to post your max bid now. The system will only go up by $2.50 at a time, so even if your maximum bid is $100,000,000, the system adds your bid only when someone else makes a bid on your chosen items, so if the last other person high bids $20, you get it for $22.50 Quite clever, old chap.
On with the stories. All of these are “parallel works”, i.e. pieces that I made while working on larger works or preparing concerti….
I bought a stack of 8.5” x 11” multicoloured sheets of quarter inch foam at a local Staples store, and made art objects from them, working on a few things with and for neigbour children, and making two art pieces of which this is one. I sold one work in this series, Three Fine Mice, to a collector in Montreal , the clarinetist, Jean-François Normand.
The mounting system is low-tech, comprising of 6 clear (or red, as in pic) push pins and is interactive, meaning there are three separate pieces and you can choose the order of the images, reverse one or two of them to create a band of colour bar or display them vertically.
I called this work silly but it WAS A LOT OF FUN TO MAKE. I use very sharp utility knives to cut the shapes and you will note that the negative shape is larger than the actual fineapple, allowing for the contrasting colours to show. And because I trust it’s strength, I used archival bookmaker’s glue to secure the images, though I remain unsure of the archival nature of the candy-coloured foam sheets.
This relatively robust work fits into a normal mailing envelope and is the absolute cheapest to ship.
LOT 131 GOLDBIRD (1999) 8.5” x 11” – india ink on paper, saturated with beeswax and touched with gold leaf, secured with 4 golden threads to a piece of black paper, recycled from previous service as a backmount for a paragraph I wrote about the Mark Morris Dance Company.
I did many very intricate works that were based on antique middle eastern rugs and I would soak these ink drawings in beeswax and secure them to heavy painted paper… all of these works sold and one became an album cover for Pentaedre's album, Airs Anciens.
All that remains in my personal collection are a few simple studies and this bird. Though he is light-weight and small, the saturation with beeswax seems to have made him very strong and he has travelled with me since 1999. And though he is called Goldbird, it really is his environment that is golden.
GOLDBIRD, 8.5" x 11", ink on paper with beeswax and gold leaf
Painted on unusually shaped and beautifully textured handmade paper from Quebec, this is a simple watercolour sketch of a very relaxed and slumbering orange tabby. And one day, I had a brush loaded with mica-infused acrylic paint, and I added it to the background of the cat, making the deep smoky purple sky shimmer behind the indifferent feline; the frame (not visible in photo) cleverly enhances the shimmering effect but you have to see it in person to appreciate.
Lot 138 DUCK STORM (2009) 48” x 48” – oil on canvas This is one of my anatomically incorrect domestic fowl with a lovely subtle texture both to the bird, his sorrowful small eye and the rippling background.
Lot 136 BRUSH FIRE (2009) 48” x 60” – acrylic on canvas
This big, vibrant acrylic painting has many textures and surfaces and is presently pulled off the stretcher so you would have to provide your own stretcher (I used it’s stretcher to paint AIR MARE). It also looks fantastic just stapled to the wall.
Auction Art – AURORA (2004) - 36” x 48” andAIR MARE(2017) 48” x 60” – acrylic on canvas – transcendent domestic beasts
Art stories continued, auction bidding open until 7:30 pm on Thursday, December 6
AIR MARE (2017) 48” x 60”, acrylic on canvas – original art by Nadina Mackie Jackson
This acrylic painting is done with very transparent paint over a lightly gessoed, heavy-weight canvas on a very heavy stretcher. One of the works painted while I lived in the repurposed church in the beautiful small Ontario town of Drayton… while many of my neighbours are involved in breeding race horses, there was not a literal inspiration for this abstract-style horse, just a sense of summertime elation. Not sure they would approve of my horse's particular gait either! Like most of my canvas art, AIR MARE can come apart for shipping (roll the canvas, bundle the stretcher).
AIR MARE (2017) 48” x 60”, acrylic on canvas – original art by Nadina Mackie Jackson
AURORE (2004) 36” x 48” original art by Nadina Mackie Jackson
This is the third painting in a series that I did in 2004. There are two others in this series, one entitled “Princesse” (purchased by Dr Nancy Mingo in 2004) and “Orpheline” (purchased by Deborah Whale in 2018).
Painted in very thin layers of luminous acrylic, these painting gives a feel of summer sun and the, to those who entertain such idea, the depth of soul in the innocent cow. That, and the fact that this quintessentially earthy creature seems to be levitating.AURORE can come apart for shipping (roll the canvas, bundle the stretcher).
AURORE (2004) 36” x 48” original art by Nadina Mackie Jackson
In 2010, my divorce was finalized, the big house sold, my elderly mother moved out into a retirement home, my Braun recording finished… I still had my Tacoma pick up truck and could fit an 8 foot canvas in the back.
I brought a store-bought one home (I usually stretch/prime them myself) and went outside to shoot paint all over it from squirt bottles, the idea being to make a good background for a large (4’ x 8’) landscape.
I started by splashing wet acrylic on the canvas and spreading rapidly with big sea sponges, then waiting a bit for it to dry and doing the next layer.
HOWEVER, the moment I finished the last pirouetting, air-flung squirt of black paint, I thought it looked fantastic. So active yet so transparent. So I set it up in the corner of the overpriced loft I was renting, resolving to think about it before proceeding further. And it stayed that way, becoming a backdrop for a photo shoot of a beautiful singer by a well-known photographer and the title work for the 2014 show.
So many people say they love it, and it has been expensive. I also do not have a single 8 foot expanse of wall in my new house. So it is in the auction and I hope one of the people who love it will marry it.
I had a quiet day on Thanksgiving, 2010 before heading out to visit parents in different towns. I hand stretched a canvas and primed it, then did a heavy layer of very soft, sky-inspired blues, grays and pinks…. Uncharacteristic but I enjoyed it. Paused for a second, then began writing quickly in the heavy paint, pouring out words of thanksgiving to people who would have been shocked if the words were visible… writing fast and furious, layers of sentences piling upon sentences until it was a torrent of invisible lines. Then I let it dry…. And went nuts with the brightly coloured paints in my squirt bottles. So much for soft and subtle sky shades!
continuing my descriptions of the art that is up for auction this week
The bidding continues for 2 more days on my online moving sale auction, ending at 7:30 pm on Thursday, December 6.
To reiterate, bidding is anonymous and progresses in increments of $2.50. You can pre-set your highest bid and the system will notify you if someone outbids you.
The auction house will ship at buyers’ expense.
Now back to the stories. The next two paintings I’m telling you about have been drastically changed from their original forms in different ways. They both bear scars yet are more beautiful than they were in the beginning.
For reasons I cannot explain, I was inspired/provoked by the title of the book by the original nasty old Scottish religious reformer, John Knox. His diatribe was The First Blast of the Trumpet Against the Monstrous Regiment of Women. And that phrase rang uncomfortably in my mind, so I started an abstract painting and called it What Women Are Really Thinking .
After I stretched the canvas, I used a black gesso as a primer for the first and last time in my career. While the painting was too good to destroy, I didn’t like it. After carrying it around for a few years, and after seeing an art book in Calgary about the artist Cynthia Girard called Unicorns and Dictators , I decided to release my own inner unicorn and paint on top of What Women Are Really Thinking. I cut down the canvas of the original work and re-stretched it on a 36” x 48” frame, then rapidly sketched my unicorn with a white pencil crayon, then using a sea sponge, painted out the negative space with black gesso. The result is a luminous little unicorn… the colours shine through the darkness in a somehow refracted but undeniable way. Because of all the overpainting and tumult, there is some cracking on the sides, which seems appropriate to the history of the piece, and I committed the further cardinal sin of using the black acrylic gesso on top of the oil to create the negative space, but even if it flakes a bit, the unicorn will prance on.
This was my first very large oil painting. In 2003, my now ex-husband went to Washington to sub for 3 months with the National Symphony, then went on tour with them. I stayed home with our young son and continued preparing for my third solo album, Notes From Abroad.
While it was a bit challenging to be completely on my own with my child and elderly mother for so long, it was also completely wonderful.
I stretched a large canvas, I think it was 36” x 60” and started my first large-scale oil abstract, finishing in 2004. And because it was summer, and the oil smelled powerfully, it was my first time completing a work outside. I liked this painting very much but something always bothered me about the part of the work… it was expressively appropriate but the lower section was nebulous and unformed. So after a decade, I chopped it down to 36” x 48”. Some of my male colleagues were dismayed, having preferred the larger painting, but I kept the beautiful part. Again, the painting is slightly distressed from being stretched a second time, but is so saturated in colour and texture that it can withstand a few cracks. I used the offcuts to make many smaller items such as heart-shaped coasters and book covers. Used the whole animal.
This is a chance to buy one of my large paper-based or canvas artworks below market price. My works are in in the collections of more than 60 people and the majority of my art is still available on my website for sale at market price.
Love and thanks for following and supporting my efforts.
Auction Art – 4 works inspired by Rex Ray and the Hummel Concerto
Continuing the descriptions of art that is up for online auction until Dec 6, 2018
In 2008, I bought two plane tickets for myself and Guy Few, and we flew to San Francisco to edit our second concerto album, Romanza.
We spent 4 days in the studio of recording engineer David Bowles of Swineshead Productions LLC in Berkley, CA. When the editing was completed, we headed into SF to eat things, buy stupid hats and look at art.
I was really inspired by the art of Rex Ray which was on exhibit. I bought a book about him and a big pack of postcards. I pored over the book and created two large paintings in one of my favourite elongated narrow shapes (2 feet x 6 feet).
One was called The Sun’s Letter to the Moon (I love you) and sold in 2014 to flutist Leslie Newman. The second, Othello and Desdemona, is available in the current online auction until December 6. It is acrylic on canvas, with portions of the painting collaged onto the main canvas. I also used multi-media acrylic polymer to give it a gritty texture in places. If it doesn’t sell, I will pull it off the stretcher, roll it up and use the stretcher frame to continue another series I am currently working on.
And I carried the postcards for 9 years, through 3 house sales and moves, one divorce, the death of both my parents and a several more recording projects. When sorting out boxes when I moved to the church studio in Drayton, I found that fabulous postcards and made two very long, double-sided mobiles.
The first one is my basic motif of a flying bird. I used very strong, thin nylon string that I had inherited from my father who had used it for creating fish nets (for catching food, not for making stockings) when he was sailing to Hawaii on a boat he built himself. Yes, his story might be more interesting.
For the cut out birds (Fly Free), I cut birds from two postcards and glued them one at a time, always referring to a hanging point to make sure they were level. The cardstock is good quality, but all papers need to be heavily weighted to dry straight and true, so I did one bird at a time, allowing a minimum of 12 hours to dry for each. In the end, there were 11 birds spaced on the string, and when hung, they turn slowly in different directions. In the daytime, they catch the sun and briefly flash; at night, they cast poetic shadows.
I used the remaining postcards to make PictureThis (Fly Free), which is another, shorter mobile (ca. 7 feet). This mobile uses two parallel support strings which are attached to a carved willow twig at the top. To create this mobile, I put equidistant pins into each end of the work table, then secured them for the duration of the creation process. I alternated the flying direction of each bird on the totemic mobile and spaced them evenly. There are 10 images on the mobile.
I am moving from a 4000 square foot house to a 1500 square foot house. The new place is more rugged, no climate control other than what Mother Nature deems necessary and what I allow Hydro One to ameliorate.
Which means my paper-based art and larger canvas works will all be vulnerable.
Thus, 18 of them are up for online auction, along with other things that need to find new homes.
Bidding closes on Thursday, December 6.
Over the next three days, I will describe the different types of works in more detail, starting with the scrolls.
Bidding is anonymous and progresses in increments of $2.50. You can pre-set your highest bid and the system will notify you if someone challenges that.
The auction house will ship at buyers’ expense.
If you’ve ever wanted one of my works of art, this is your chance to get them below market price. I still have over 100 large works in my collection and ca. 80 of these are available online.
Here is more background on four of the large paper scrolls, Upstream, Ariel and Caliban, Road to Freedom and Big Baby Dragon.
This painting is 11 feet long and can be viewed at full length either horizontally or vertically. It is adjusted to a smaller size by scrolling the paper up or down at either end, thus it can be any measurement from 3 feet to full size.
Made from a roll of handmade paper,Upstream is a complex and layered work created with many materials, including watercolour and pencil crayons, collaged tiny ovoid shapes cut from other of my watercolour and acrylic paintings (paper and canvas), gold leaf and ink. The main scroll of paper is heavily textured and the long sides undulate in a natural scalloped effect from the edges not being cut.
While not literally realistic, these fish images feel alive and fluid.
The background was created over many years, and the fish (ink) were created last in one burst when I was staying up all night to follow the livestream of an international informatics competition where my son was competing in 2014.
These images truly emerged spontaneously without any preset ideas. While I have done many scrolls in my career, this is the largest and the subject is unique. I feel that all the scrolls have a narrative quality, but I never impose the story.
This work is robust and can be rolled for transport.
A very long (ca 12’) scroll painted on kraft paper with a double-sided base of acrylic with the principal figures painted in oil.
Also collaged onto the surface are pieces of cut outs circles and ovoids of other art works, old stamps, time-worn small metal objects and ribbons of painted, distressed paper.
The swirl of ovoid shapes above Ariel’s upturned face are flying up towards an abstract image of the sun, also collaged to the main scroll. Beneath the figure of Caliban is a fish with shadows of prehistoric piscine shapes beneath that figure. The almost cartoonish and oddly benevolent image of a Caliban appears to be uplifting Ariel and paradoxically, his is the only figure with wings.
This large work is very fragile and would be best protected in a frame. Ideally it would also be transported flat, though it can survive one or two more rollings. And even if it were to crack, it can be mended as the tumultuous surface easily integrates further trauma.
I did a series of oil-based watercolours inspired by the basement windows of the miserable apartment where I stayed with my now ex-husband and baby son while my ex was subbing with the National Symphony in Washington and I was preparing to record one of my solo albums (Notes from Abroad). There were about 12 images in this series, and while they were colourful, only two of them sold.
I sliced the remaining 10 images into narrow strips, and over a period of six weeks, my dining room table was hijacked to service the creation of this scroll. It took time to place the strips as the juxtaposition of colours seemed to be very precise, meaning that when I set one strip next to the other, it would be immediately clear if it resonated. I had cut all of the paintings into dozens up dozens of strips prior to starting the project. I could glue only a few at a time, then would set plastic and heavy art books atop them to create a flat bond. The completed work is just over 6 feet long, it is my smallest scroll. Pictured horizontally in the catalogue for ease of photographing, I prefer to hang this work vertically.
The base is made from a single, integral large piece of handmade paper, velvety in texture, with soft naturally undulating edges. There is a large ink drawing on the back with a soft grey ink wash. This work is the most rugged of my scrolls and will roll easily.
This was my very first scroll and combined many of my favourite things… dragons, found paper and a painting medium that was completely new to me. The recycled paper is from an Ikea bookcase, the mystery powdered tempura paint that I bought in a country drug store was a white powder that only revealed it’s actual hue when mixed with water, and then dried exceedingly quickly, giving me almost no mixing time. And this little irreverent dragon has withstood the test of time, fearlessly brandishing his baby smoker’s teeth and cockeyed grin. I love him. This work is historically significant as it is my first painted dragon and I have gone on to paint many seriously expressive dragons with far more expensive materials. And the scroll surprisingly robust given that it is the polar opposite of acid-free. It can endure rolling for shipping.
The show is a broad arc of paintings and as with all my previous shows, there are several works on loan from private collectors. I am working on getting my web designer to create an online gallery for the privately owned paintings. And slowly, I am getting all of the currently available works online.
The newest painting, Little Bird BigDreams, was finished just a couple days ago up north at the log house. This piece took years to complete… I had experimented with carving lines into the wooden panel, then painting in many layers of oil paint. It didn’t blossom as I expected, seemed opaque and aloof, and over the years, I would add a layer or thrash away on it with a steel brush (didn’t change much), then one day, I picked up the Festool electric sander. This fine piece of equipment was in the house thanks to logbuilder David Rogers who used it in the restoration of my Dad’s log house last spring. Using a light touch with fine sandpaper, I smoothed the surface of the painting and something completely different emerged. Atmospheric bursts and lines were revealed, and interesting concentrations of colour in some of the knife cuts. When I posted the results on FaceBook, one of my friends (thank you, Randy Rennie) noticed there was a hint of a bird in the lower centre. There were actually two potential birds…. A streaking swallow or a dreaming cockatiel. I picked the dreamer.
And this is an active dream… it doesn’t represent longing or escape but rather, the kinetic panchromatic reality of the bird’s private spirit...
and a closeup of the little bird...
and I was going to show this work-in-progress but the heavy white oil paint was too wet to move from the studio last week (oil on rough-sawn and cracked plank, ca. 14" x 50", called I Will Always Love You)
This is all part of Cultural Days Ontario. The other big event in Drayton will be tours of the magnificent DraytonFestival Theatre, three doors down from my place on Spring Street. You can easily fit in both visits. And we will have snacks from Drayton's A La Mode and River's Edge Goat Dairy.
On Saturday, Sept 15, I hosted the first of two art shows at my studio home in Drayton.
Glad to say that I sold 4 works (possibly five pending if painting matches someone's couch) including Sweet Trash, Bright Bassoon, Diva, Missive and Fox Trot II and these works will be making their homes in Waterloo, Orangeville, Drayton and Los Angeles.
Next show is Saturday, Sept 29 from 11am to 4pm for Culture Days Ontario and I will be showing some hitherto unseen new works for the first time. There will also be posters and cock-a-doodle-doo coffee mugs available with the cultured rooster from my poster!
This past weekend, I displayed a large swath of my work, from 1998 to date with 30 new works being shown for the first time. My junior artist colleagues came over early to set up their art and treated the numbered catalogue as the key to a treasure hunt.
On the beautiful hot September afternoon, friends and neighbours came to visit and the even the mayor of Mapleton attended. And ten young people came to look at the art, ranging in age of 3 to 15 years old. They were vocal about which paintings they would like to buy and they generally had expensive taste.
I featured guest artists, including Dawn McLeod, a Drayton-based photographer who specializes in wildlife and nature shots. She is working on a new website to show her remarkable and sensitive art photos. She also photographed all of my art for my website shop, a difficult task and a godsend for me to have.
The junior guest artists were my youngest neighbours, Caitlin, Hannah, Daniel and George Rogerson who displayed a large selection of the clay objects that we created during the year after our intermittent bassoon lessons, plus paintings that they have done. I wanted them to have the opportunity to expose their art to more people and also to see it in a new space.
At the end of the day, after almost everyone had left, I taught a bassoon lesson to a gifted young player who had driven in from Toronto, starting our official lessons for the year. After a day of thinking about art, we focused on the fundamentals of sound, finding ways to let the full spectrum of tone colour emerge from having a correctly formed embouchure and airstream… amazing how quickly and immediately young people can understand. The sympathetic acoustic of my church-turned-studio, which is even more resonant now that I have decluttered, revealed the quick changes in tone production that my student was able to make.
Having an art show is a bit like presenting a solo concert… you muster the faith and courage to present your best work in the present moment. Doubt may flicker, but really, taking the step to bring our work to other people is as important as anything in becoming an artist. Oddly though, I am fearless when it comes to showing my visual art, though I was quite tired the next day! Regardless, I know that it is essential to have many and frequent opportunities to present my work and music, and for that reason, I also work hard to provide opportunity and support to others. And I am as grateful as can be to those who helped me on my way, including everyone who came to the show, the kids, the neighbours, the buyers and fellow musicians and artists. We really are all in this together.
I am hosting two art shows in my studio this month and hope you can come to one or both. There will be snacks from local vendors including A La Mode and River’s Edge Goat Dairy.
Saturday, September 15 from 3pm to 6pm at 16 Spring Street, Drayton, Ontario.
Featuring about 30 new works that I have done since moving to Drayton and a sampling of my art from the past two decades. The cover feature is Fox Trot. This large oil painting celebrates the fox that ran past me at 5 am on the day I moved to Drayton in 2015. Photographer Dawn McLeod will also be showing some of her works and there will be a display by local junior artists, Caitlin, Hannah, Daniel and George Rogerson.
The second art show will be on September 29 from 11am to 4 pm as part of Culture Days Ontario and will feature some extra works that won’t be at the first show (logistics), with a total of 103 works. And there will be posters of this featured rooster... 18" x 24" for $40 as the original is in a private collection.
And if you want to buy the walls that the paintings are hung on.... I've been working hard all summer to move my archives and gear up north, and preparing to put my big beautiful historical 1890 stone and brick former church studio building officially on the market September 29. Here is a sneak preview of the photos… heaven on earth for musicians, artists and anyone who relishes the high building standards of the past combined with modern upgrades!
I will be touring again in 2019 and rebuilding my teaching studio in Toronto. I am still on faculty at University of Toronto and the Glenn Gould School. And my big fat everything you want-to-know-about-my-bassoon-technique tome that I am writing with bassoonist Kevin Harris will be ready this fall.
Yesterday, played a most enjoyable concert with Pat and Philip Morehead for the 15th anniversary of one of the PROBUS (business) association in Huntsville, then drove to Toronto for dinner with my son before he flies to San Francisco to start an internship with another AI company. While awaiting his delayed visa, he continued work on one of his own development, Tab Nine... a program to help coders program more quickly (auto completer)... at least, that's what I think it is... take a look at Tab Nine here.
Many of the paintings are uploaded to myshop on my website and I have a catalogue that I cannot figure out how to upload. Once I figure it out, proofreaders always welcome to pipe up!
I will write again soon and meanwhile, I am always glad to hear from you about the music or the art or anything.