• Billie Jean
• Warning Sign

I will be making a small guest appearance at The Gibson/Antonellis Comedy Hour tickets available here.

On Thursday, February 9th I’ll be performing with SchoolTree & sitting in on a few tune with What Time Is It Mr. Fox? at Church.  Goli opens the night at 9pm.

I will be playing with Molly Zenobia as well as presenting an original work of my own at Dream Within A Dream: Box Five’s Edgar Allan Poe Tour @ The Somerville Theatre on Wednesday, October 5th (Facebook Invite).

Since 1994, Tunefoolery’s simple, yet powerful message has been to emphasize people’s strengths by focusing on their abilities; not disabilities. Tunefoolery’s 50 musicians perform (as solo acts and in ensembles) at hospitals, nursing homes and other venues where quality live music is needed. The span of styles range from rock ‘n’ roll to classical.  Tunefoolery also provides their members with discounted guitar and voice lessons.

I believe that Tunefoolery represents a profound development in the awareness, acceptance, and care for mental illness in our community.  Their work is helping erase the social stigma of mental illness, and educating us that we all exist on a mental health continuum – just as we do with our physical health.

I am putting together an awareness concert for Tunefoolery on Friday, August 19th at the LilyPad (1353 Cambridge Street, Cambridge MA) – 7pm.  My goal of this concert to raise awareness about what mental illness is and what it is not, and to help help “Stop The Stigma” by booking boston-based musicians and Tunefoolery members on a collaborative bill.  Performers include Mali Sastri, Tony Leva and Raky Sastri (of Jaggery), Sarah Rabdau (of Sarah Rabdau & The Self-Employed Assassins), Molly Zenobia, Lainey SchoolTree, Brian King (of What Time Is It Mr. Fox), myself (Brendan Burns), and seven Tunefoolery members.  The evening will be hosted by Jens Rybo (director of Tunefoolery), Aimee Rose Ranger & Brendan Burns, and will showcase a collection of music from all artists as well information about Tunefoolery and mental illness in general.

STOP THE STIGMA

An Awareness Concert for Tunefoolery

7pm Friday, August 19th @ the LilyPad ($8)

1353 Mass Ave. (Inman Sq), Cambridge

Luckily for me, I love to work.

This past week I gave myself permission to create without the bonds of judgement or the pressure of a deadline in the woods of New Hampshire.  And as much as I love and understand composing, I found it incredibly challenging.

When I arrived to the cabin on Tuesday, I unloaded my gear and immediately went to the grocery store.  I knew that I wanted to spend as much time as possible at the cabin, so I quickly bought one of everything that I thought I might ever want to eat during that week in the hopes that I would not have to leave my composer’s den again.  When I got back, I put away my food and set up a workstation where everything was in just the right place.  And then I took a nap.  And then I made coffee.  And then dinner.  And as the evening progressed, it became apparent that I was afraid to write, and so I forced myself to sit down and play guitar.  I played for about 45mins and banged around a couple of ideas.  I wasn’t judging anything I was working on, but I did notice the process was difficult and the results were small.  I started to realize I was out of practice.  I spent the rest of the evening on the porch with the acoustic guitar and listened to the woods.  I played along with the wind, and the night bird, and all of the bugs, and prayed that I would not be attacked by a bear or an axe-murderer.

The next day, I slept in a lot later than I usually do.  I made breakfast, sat out on the porch, played guitar, sketched out ideas and then moved inside to repeat those same activities.  The ideas were slow and small, but they were a bit easier than the day before.  I could see the potential for momentum and was curious where it would be at the end of the week.

As the days progressed my sketches got bigger and the recordings increased in length.  My ability to articulate more complex concepts grew stronger each day.  Somewhere in the week I started writing for specific ensembles and specific musicians – some that I know, and others that I haven’t met yet.

Late in the week I began to fixate on a few tunes and their development.  There was a string trio + guitar & drums piece that captivated me for at least 20 hours over a couple days.  There was another piece for a Fender Rhodes and electric guitar that kept twisting and turning until it finally revealed itself on the last day.

And then there were some pieces that stretched my idea of what it meant to compose music.  I wrote some sketches/exercises for an ensemble that utilizes spontaneous composition and free improvisation.  I wrote a couple pieces in a style that doesn’t have a name – it uses a musical form that’s more like a narrative or treasure map.

Over the week, I recorded 50 audio sketches (2 hours and 20 minutes of music), composed 8 ideas for a medium sized ensemble, and created a dozen or so architectural drafts for improvisation.  That feels like a lot, but the numbers don’t hold the meaning.  The truth is, a lot of these ideas are not going to be developed.  Some have potential, but others were just part of the process.

Throughout July & August I’m going to spend some time with these sketches and see what it worth keeping and developing.  I expect to have something ready for performance in August and I’ll try to have some recordings available by September.

At the end of it all, I’m right back at the beginning.  There is still no goal or agenda, but there is a drive and the process is more clear.

Thanks for being curious about the project.

Today I’m venturing off into the woods of New Hampshire and disappearing for a week on private writer’s retreat.  I’ll be off the grid and out of my usual environment.  I don’t know what I’m going to compose, or what instruments I’m writing for, or even if I will write anything at all, but I’m giving my creativity the gift of a week to explore.

This prescription came to me late winter/early spring this year as I was producing a tremendous amount of wonderful work alongside a full teaching and performing schedule.  My life was sanctioned to the 15min increment with lessons, rehearsals, gigs, practice, e-mails, etc.  I was conflicted by creating, performing and managing valuable work, while noticing that my own inspiration and creative contribution wasn’t meeting my own standards.  I was deeply satisfied with my life and experience, but I had an urge/passion that was compelling me to do more.  But I didn’t have the space for it.  One moment on a Wednesday afternoon, I made a spontaneous decision to not teach a summer session at school this year.  Later in the evening I decided it was necessary to prioritize my summer as an exploration of this creative fire that’s been brewing.  By midnight I booked a week in my calendar to compose music unencumbered by the clock and life’s charming distractions.  I entitled it: “Beautiful Composition Week.”

One of the things I find fascinating about this adventure is that it has no goal.  Usually everything I do has a deadline, and then a meticulous list of to-dos sophisticatedly anchored the calendar, but this project has the opposite.  I has a big hole cut through the calendar.  Anything can happen, and it’s okay if nothing happens.  But I know my creative process well, and it has been craving this week.  I feel like I’m yielding to this passion.  So here is the space.  My gift to myself: time expanded.

The Mary Dolan Show follows a “Mr. Roger’s Neighborhood” structure — that is, if dear old Fred was fueled by one too many Old-Fashioneds and had a history of taking off more than his blazer and dress shoes. Rife with illicit tales of theater liaisons and showtunes interpreted by one of the dirtiest minds in the biz, The Mary Dolan Show takes you on a stroll down Mary’s (slightly foggy) memory lane.

Mary will be accompanied by Brendan Burns & The Dolanettes, showcasing an all-star line up of musicians from The Either/Orchestra, Jaggery, Bury Me Standing, Sarah Rabdau & The Self-Employed Assassins, Mascara, Walter Sickert & The Army Of Broken Toys, Ketman, ENSMB, Trabants, Ayn Inserto Orchestra, Olson/Pingrey Quartet and Elephant Tango Ensemble.

Brendan Burns & The Dolanettes will also be performing the post-show, featuring hot and insane interpretations of your favorite music by Lady Gaga, Justin Bieber, Katy Perry, Adele, Bruno Mars, Beyonce and more!

Brendan Burns & The Dolanettes is:

Brendan Burns – Guitar (Elephant Tango Ensemble)

Michael Glasshow – Guitar

Tony Leva – Bass (Jaggery & Bury Me Standing)

Matt Graber – Drums (Sarah Rabdau & The Self Employed Assassins, Mascara, Endation)

Tom Halter – Trumpet (Either/Orchestra)

Grant Randall – Trombone

Mike Dobiel – Alto Saxophone (Living Room Music Series)

Brendan Higgins – Alto Saxophone

Kevin Corzett – Tenor Saxophone (Walter Sickert & The Army Of Broken Toys, Ketman, ENSMB, and Trabants)

Kathy Olson – Baritone Saxophone (Ayn Inserto Orchestra & Olson/Pingrey Quartet)

Krissy Skare – Voice

Sarah Rabdau – Voice (Sarah Rabdau & The Self Employed Assassins)

Valerie Thompson – Voice (Goli & Elephant Tango Ensemble)

Mary Dolan, created by character comedian Jill Gibson, has been seen on NBC’s Last Comic Standing, as host of Bent Wit Cabaret, in All The Kings Men, The Slutcracker, and many comedy and variety shows in the neo-vaudeville scene. Mary has recently graced a myriad of legendary stages such as Gotham Comedy Club in NYC, The New Players Theater in London, The Art House Theater in Provincetown, and The Stella Adler Theater in Los Angeles. The Mary Dolan Show is proudly presented by Axe To Ice Productions.

The Mary Dolan Show premieres Friday, July 1 at OBERON. Tickets run $10-35, and are available online at www.cluboberon.com or in person at 2 Arrow St., Cambridge, MA. “Mary’s Box” VIP Tickets, which include upfront seating and homemade cookies by Mary herself are available in limited quantity. The show starts at 8pm, and seating is limited. For more info on The Mary Dolan Show, visit www.theoriginalmary.com or email Jill Gibson at jill@axe2ice.com.

w/Lainey SchoolTree & Mary Dolan:

t r e e h a u s : SchoolTree cd release party: Thursday, May 12 @ the Precinct 70 Union Square, Somerville 9 pm / 21+ / $8  Featuring the avant rock of Mascara, the wisdom of Mary Dolan, the mystery of Molly Zenobia, the antics of Meff ‘n jojo’s Tiny Instrument Revue, the dark grace of Mary Widow, UnAmerika’s Sweetheart Karin Webb, a set by SchoolTree (full band), and other talented friends.

w/ Elephant Tango Ensemble:

Blood From A Turnip: Friday, May 20th @ Perishable Theatre 95 Empire Street Providence, RI 02903 Featuring “Baby Zombie.”

Elephant Tango Tales: Saturday & Sunday, May 21st & 22nd; 1pm & 3pm at Puppet Showplace Theatre.  Purchase Tix Here.  Featuring full ensemble renditions of “Aesop’s Fables,” “The Couch,” & “Baby Zombie.”

Puppet Showplace Slam: Saturday, May 21st @ 8pm at Puppet Showplace Theatre.  Featuring “Baby Zombie.”

…. and no, I will not be dressed as an Angry Bird.

Featuring:

• Brian King of What Time is it Mr. Fox?
• Spoken Word from Jha D
• Bellydance from Divine Filth
• Commedia from Behind the Mask Studios
• Boston Underground Film Festival is back bringing great film shorts

Your favorite freaks are back with their obnoxious antics:

• Mary Dolan
• UnAmerika’s Sweetheart Karin Webb
• Lainey Schooltree
• Sugar Dish
• Femme Brulée
• and
• Elephant Tango Ensemble

Inspired by an idea from New Exhibition Room’s Dawn Simmons, Baby Zombie is a hilarious romp through the day in the life of an infant zombie.  Utilizing shadow puppetry, hand puppets, slide projection, and live music, Elephant Tango brings their unique combination of music, multimedia puppetry, and a huge dose of fun that both kids and adults will enjoy to the stage. Puppeteer and Co-Director Karin Webb says, “I’m excited about this project because it is our most sophisticated venture yet into general audience puppetry… there really is something for everybody!”