Winter Trilogy

By Louie Ferrera

On the cusp of Winter Solstice, I’ve had some thoughts about the upcoming season.

Leaf Ballet

A handful of leaves cling stubbornly to the branches of our majestic valley oak, a tree that one day 20 years ago poked its spindly trunk cautiously out from the cover of thick privet hedges that form one of the borders in our front yard. This tree simply wanted to grow here, it’s now taller than our house and completely fills the view from the two windows in our upstairs room. The few remaining leaves are either green or yellow or brown. One afternoon last week I stood beneath our tree, a soft wind rustled it’s branches and one or two or five leaves at a time gave up their grips and drifted to the ground like snowflakes. I became mesmerized by this ballet of leaf and wind and craned my neck to look up as leaves fluttered down around me. There were moments when no leaves fell then the breeze would pick up and their flight began anew. It felt like I was witnessing a moment of pure grace, a show meant for my eyes only. With the oak’s branches nearly bare, birds have nowhere to hide, I can see them clearly as they flutter about. The bush tits are my favorite. Not much larger than hummingbirds, they move through the tree in flocks of a dozen or more hunting for small insects. Very soon all of the leaves will be gone. Our oak will wait patiently through winter until the first bud break of spring. A  carpet of coffee-colored leaves now covers the ground like puzzle pieces, waiting to be raked into piles or blown about by the wind.

Winter Sky

The winter sky this morning is perfectly white, unmarred by any recognizable cloud forms or patches of blue. Some would call it drab but I think that the color of the winter sky is the most beautiful color of all. It’s the perfect canvas for spindly, leafless branches or the lush greens of redwood or cypress trees. The contrast is stark, making these trees literally jump off the sky-canvas. Hitchcock crows are black Vs against the sky, dark and ominous their plaintive caws send a chill up my spine. The dome of overcast deadens all sound, everything is hushed, the world is holding its breath. Where I live we’re blessed with many months of warm temperatures and blue skies. It’s during this time that I yearn for a day like today. The rains so far  have been frequent and drenching; 22 inches in the past two months. The hills are green, the ground saturated, trees and buildings, sidewalks and streets have all been cleansed of summer dust. The smell of wet earth is intoxicating. The creeks in our neighborhood are brown torrents flowing to the sea. The seasonal wetland behind our house is once again alive at night with a chorus of frogs. The winter sky is the canvas upon which this wonderful winter scene unfolds.

The Language Of Rain

In order to understand the language of rain you need open ears and a quiet mind. The sound of rain through trees is a primeval sound, a sound as old as time itself. While walking through the forest in a rain storm I try and imagine what it was like for our ancestors. The sounds I hear not much different from what they heard. The sound wash of raindrops changes in tone and volume depending upon the size and concentration of the foliage that the rain is falling through.

The sound that rain makes on open water is one long woosh, an unbroken wave of white noise perfect for quiet meditation. I imagine a monk perched peacefully under a dripping stand of giant bamboo watching the ripples as they spread to the shore, each raindrop creating its own flash of diamond-like brilliance when it strikes the surface.

The sound that rain makes when it falls on the corrugated plastic roof over our deck can be quiet and barely audible, like small handfuls of sand being dropped from above or loud and jarring like buckshot. A favorite winter activity of mine is to sit beneath the deck roof, sipping a glass of wine and listening to the spectrum of sound when a storm passes through.

Back To The Garden

By Louie Ferrera

The definitive song about a seminal event in the counterculture of the 1960s was written by someone who wasn’t even there.

Joni Mitchell was supposed to be at Woodstock. She was also booked on the Dick Cavett Show the day after the festival was to end. Joni and her manager watched on tv as nearly half a million hippies converged on Max Yasgur’s dairy farm in upstate New York.  Roads were clogged, traffic was backed up for miles, it was chaos. It soon became apparent that if Joni were to go to Woodstock she would most likely not make it back in time for her appearance on the Cavett show. A decision was made and Joni stayed home. As it turned out Joni was joined on the show by David Crosby, Stephen Stills and members of the Jefferson Airplane, all of whom performed at the festival. She would have made it back after all, but then again perhaps Joni never would have written Woodstock had she actually been there. Her song is essentially a second hand report written from information she gleaned from those who had been there.

Joni in her Laurel Canyon home, 1969

While history was being made up at Yasgur’s farm, I was twelve years old. Needless to say I didn’t make it to Woodstock. Over the years I’ve become somewhat of an aficionado of that festival; I’ve read the books, seen the film and listened to the songs countless times. From everything that I could gather, Joni Mitchell managed to grasp the essence of what the Woodstock experience was all about and distill it into a musical masterpiece. Her version of the song appears on her 1970 album Ladies of the Canyon. The 60s weren’t all sunshine and rainbows. There was a dark undercurrent during the Age Of Aquarius. Accompanying herself on electric piano, Joni brilliantly conveys this dichotomy. Her performance of Woodstock is haunting and deeply emotive. This is a song that stays with you.

The recording of Woodstock that most people are familiar with appears on the Crosby, Stills, Nash and Young album Deja Vu. Where Joni’s version is dark and moody, CSNY’s is raucous and celebratory, by any standard a truly great rock and roll song. Neil Young introduces the tune with a run of his trademark guitar licks, a ragged-but-right sound as recognizable as any in rock. Neil sets the table for what I think is the most inspired vocal performance of Stephen Stills’ life. Stephen’s voice can be sweet as honey or rough as an old bluesman. He brilliantly combines both elements here. In 1970, Stills was at the top of his game, a singer/songwriter/guitarist triple threat. His phrasing is spot on as the song chugs along through the first verse. Woodstock hits the first of many peaks when those incomparable CSNY harmonies kick in on the chorus. Soaring, seamless, inspired… I run out of superlatives when trying to describe this once in a lifetime vocal blend:

We are stardust, we are golden

We are caught in the Devil’s bargain

And we’ve got to get ourselves back to the garden

Stephen sings verse two with everything he’s got, the harmonies soar even higher on the second chorus, then here comes Neil again. His guitar solo here is twenty-seconds long. Everything that makes Neil Young a totally unique stylist, everything that moves me about his music and has made me a lifelong fan of his is packed into these incendiary twenty-second:  the tone, the distortion, the passion. Neil plays this solo like his hands are on fire! Out of the solo comes yet another chorus, because you just can’t get enough of those harmonies. The last verse is the cherry on top, the icing on the cake, the super in superlative ‘cause CSNY sing it together in four-part harmony:

By the time we got to Woodstock

We were half a million strong

And everywhere was a song and a celebration

Celebration indeed! I get goosebumps every time this verse comes around and sing it at the top of my lungs no matter where I happen to be.

By the end of the decade, the 1960s came crashing down. The hippie dream of peace, love and brotherhood never really came to pass. But for a brief moment that dream was alive for three days at a dairy farm in upstate New York. Joni Mitchell wasn’t there but her song Woodstock was the dream catcher.

(Listen to both versions of Woodstock below.)