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        "date_end":"2013-08-24",
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        "event_title":"Gifts of Art presents Annual Employee Art Exhibition",
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        "combined_title":"Gifts of Art presents Annual Employee Art Exhibition: UMHS Employee & Family Artists ",
        "event_subtitle":"UMHS Employee & Family Artists ",
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        "description":"Each year Gifts of Art presents an exhibition of artwork by U-M Health System faculty, staff, students, volunteers and family members. It is our pleasure to display the artistic accomplishments and showcase the exceptional talent and creativity of our UMHS family. For this eagerly anticipated annual event, there are ribbon awards for Best in Category and Best in Show, and a People's Choice award will be determined by the votes of visitors to the exhibit. Winners will be announced at the Artist Reception and Award Ceremony to be held on Tuesday, Sept. 10, 2012 from 11:45 a.m.-1:00 p.m. in the exhibit gallery.",
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        "room":"Gifts of Art Gallery \u2013South Lobby, Floor 1. ",
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        "event_title":"Gifts of Art presents Contemporary Forged Jewelry",
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        "combined_title":"Gifts of Art presents Contemporary Forged Jewelry: Deborah Fehrenbach",
        "event_subtitle":"Deborah Fehrenbach",
        "event_type":"Exhibition",
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        "description":"Deborah Fehrenbach believes that jewelry should be fun, bold and exciting. She plays texture against mirror finishes and loves to include movement and dimension to create bold, yet feminine jewelry. She includes Tahitian pearls, natural stones and materials, custom glass, enameling and raku pottery in her designs. Exhibiting her work both nationally and internationally, Fehrenbach also teaches near her studio in southeastern Michigan. Her award winning sterling silver and gold jewelry is all hand fabricated and forged, using traditional goldsmithing techniques combined with unconventional methods.  ",
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    {
        "datetime_modified":"20130708T144558",
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        "event_title":"Gifts of Art presents Nature\u2019s Presence: Macro-Botanical Photography",
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        "combined_title":"Gifts of Art presents Nature\u2019s Presence: Macro-Botanical Photography: Robert W. Cleveland",
        "event_subtitle":"Robert W. Cleveland",
        "event_type":"Exhibition",
        "event_type_id":"7",
        "description":"Robert W. Cleveland was an advertising photographer for 30 years after studying botany at Alma College and art at the College for Creative Studies in Detroit. His macro-botanical landscapes allow the eye to travel beneath the surface of reality into a realm of visual surprises of texture, color, light and design. Cleveland sees his photographs as metaphorical, inviting viewers to experience the totality of nature's presence and the wonderment and tranquility it can evoke. Cleveland resides in Michigan, but also enjoys exploring Hawaii, Japan, Europe, the western United States as well as Michigan\u2019s Upper Peninsula.",
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        "room":"Gifts of Art Gallery \u2013 North Lobby, Floor 1. ",
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        "datetime_modified":"20130708T145809",
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        "event_title":"Gifts of Art presents Reconstructed Landscapes: Collage",
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        "combined_title":"Gifts of Art presents Reconstructed Landscapes: Collage: Cheryl Dawdy",
        "event_subtitle":"Cheryl Dawdy",
        "event_type":"Exhibition",
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        "description":"Ann Arbor artist Cheryl Dawdy received her BA from U-M and then dabbled in different media (printmaking, weaving, natural dyes) until discovering collage. She adores it for its spontaneity and perfect expression of her \"make it up as you go along\" approach to life.  Expectation invites disappointment, she contends, but an open mind offers unlimited potential. With that attitude, she works with old postcards, paper scraps, and pieces of old wallpaper washed with acrylic paint, creating landscape images some have described as \"wonderful little worlds you want to climb into\" and \"the stuff of dreams.\" Dawdy is also a singer for the Ann Arbor based musical performance group the Chenille Sisters.",
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    {
        "datetime_modified":"20130708T145534",
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        "event_title":"Gifts of Art presents Songs of the Birds: Airbrushed Acrylics",
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        "combined_title":"Gifts of Art presents Songs of the Birds: Airbrushed Acrylics: Carol Hanna",
        "event_subtitle":"Carol Hanna",
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        "description":"Mixing science and art, local artist Carol Hanna interprets the songs of birds using visual language that represents the color of the birds and the notes of their songs. The various stripe combinations of vibrating color in each painting represent each individual bird's measure of time or rhythm, the pitch or frequency of its vibrations per second, and the softness or loudness of its call. Hanna works with the U-M Biology Department to match each bird's exact color. Hanna has exhibited both locally and nationally, and her works are in permanent collections at the Cornell Lab of Ornithology and the C. S. Mott Children's and Women's Hospital. She received both a BFA and an MA from Eastern Michigan University.",
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        "date_end":"2013-08-24",
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        "event_title":"Ann Arbor Bonsai Society 41st Annual Show",
        "occurrence_title":"",
        "combined_title":"Ann Arbor Bonsai Society 41st Annual Show",
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        "description":"The annual display of the \u201cBest of the Ann Arbor Bonsai Society.\u201d\u009d $3 admission at the door. Presented by Ann Arbor Bonsai Society. Visit the Society's website for more information and specific hours for photography, sales, and display.\r\n",
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        "event_title":"\"Trinity\"",
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        "combined_title":"\"Trinity\"",
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        "description":"\u201cTrinity,\u201d\u009d curated by David Fischer, is presented through Aug. 30 at Work\u201d\u00a2Detroit. A key exhibit theme is that some art connects powerfully with viewers emotionally and intellectually. Exhibiting artists were asked to explore the neural underpinnings of the connection between the art they create and the cognitive reception in those who encounter it. Viewers are asked, when you view certain art, does it affect you in an emotional way? Does some art mainly form an intellectual connection? Is there art that hits you in a visceral way, either with revulsion or elation? All are asked to consider if art can elicit a reaction such as fight or flight, and\/or open an intellectual door, resulting in new ideas and insights.  ",
        "occurrence_notes":"The exhibit is presented Tuesday through Saturday.",
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        "building_name":"Off Campus Location",
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        "room":"Work\u00e2\u20ac\u00a2Detroit, Detroit Center",
        "location_name":"Off Campus Location",
        "has_livestream":0,
        "cost":"",
        "tags":["visual arts"],
        "website":"http:\/\/campusinfo.umich.edu",
        "sponsors":[
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        "datetime_end":"20130824T170000",
        "has_end_time":1,
        "date_start":"2013-08-24",
        "date_end":"2013-08-24",
        "time_start":"11:00:00",
        "time_end":"17:00:00",
        "time_zone":"America\/Detroit",
        "event_title":"\u201cIsamu Noguchi and Qi Baishi: Beijing 1930\u201d\u009d",
        "occurrence_title":"",
        "combined_title":"\u201cIsamu Noguchi and Qi Baishi: Beijing 1930\u201d\u009d",
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        "event_type":"Exhibition",
        "event_type_id":"7",
        "description":"This exhibit is organized by the U-M Museum of Art (UMMA) in collaboration with The Isamu Noguchi Foundation and Garden Museum, New York. This nationally touring exhibition project features approximately 60 drawings, including ink paintings, calligraphic works, and sculptures and interpretive materials from UMMA, the Noguchi Museum, and other public and private collections. \r\nLead support for this exhibition is provided by the Terra Foundation for American Art and the National Endowment for the Arts. Additional support is provided by the Center for Chinese Studies and Confucius Institute and the Blakemore Foundation.\r\n",
        "occurrence_notes":"Museum is closed Mondays. Hours are Tuesday through Saturday 11 am\u00e2\u20ac\u201c5 pm; closed Mondays Sunday 12\u00e2\u20ac\u201c5 pm",
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        "has_livestream":0,
        "cost":"",
        "tags":["visual arts"],
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        "event_title":"On the Road: Celebrating 100 Years of the Lincoln Highway",
        "occurrence_title":"",
        "combined_title":"On the Road: Celebrating 100 Years of the Lincoln Highway",
        "event_subtitle":"",
        "event_type":"Exhibition",
        "event_type_id":"7",
        "description":"\"On the Road: Celebrating 100 Years of the Lincoln Highway\" uses rich visual resources \u2013 including vintage postcards, maps, and photographs \u2013 to document the formation and early days of the Lincoln Highway Association and the construction of the highway itself. The Lincoln Highway was the first transcontinental highway in North America and originally covered approximately 3,400 miles from coast to coast. The route, consisting of both existing and newly-built roads, followed the most direct, scenic route possible from New York to San Francisco.",
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                "guid":"13662-1185519@events.umich.edu",
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        "building_id":"1000181",
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        "campus_maps_id":"65",
        "room":"Audubon Room",
        "location_name":"Hatcher Graduate Library",
        "has_livestream":0,
        "cost":"",
        "tags":["exhibit","audubon room"],
        "website":"http:\/\/www.lib.umich.edu\/special-collections-library\/events\/lincoln-highway",
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    {
        "datetime_modified":"20130416T133002",
        "datetime_start":"20130824T200000",
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        "date_start":"2013-08-24",
        "date_end":"",
        "time_start":"20:00:00",
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        "time_zone":"America\/Detroit",
        "event_title":"Tuck & Patti",
        "occurrence_title":"",
        "combined_title":"Tuck & Patti",
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        "event_type":"Performance",
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        "description":"Vocalist Patti Cathcart and guitarist Tuck Andress have been a steady performing duo for so long now, going on three decades, that it\u2019s somewhat surprising that I Remember You\u2013their new T&P Records recording, licensed to Universal Music\u2013zeroes in on the Great American Songbook. Surely they\u2019ve already recorded their take on these enduring standards.\r\n\r\nBut no, it just seems so, seems as if everything they\u2019ve written and recorded is already a standard. In their 11 previous releases, only a handful of tunes would fall under the typical, pre-rock era, standards banner.\r\n\r\nPatti couldn\u2019t wait to dive into the project, slated for release in Asia in October, 2007 and worldwide in January, 2008. \u201cWe meant to make this album a few years ago,\u201d\u009d she says, \u201cbut then I started writing songs for Taking the Long Way Home (my take on creating standards), so we never got around to recording it. Finally, with I Remember You, I could salute Ella, and Tuck could be the big band and the orchestra. The album is our tribute, a loving thank you to Ella Fitzgerald and Joe Pass for the path they started us on.\u201d\u009d\r\n\r\n\u201cAs always, Patti is the producer and the arranger,\u201d\u009d explains Tuck, \u201cand the conductor, and I am the enthusiastically cooperative orchestra and occasionally the problem solver when the orchestra gets a little uncooperative or grumpy. We\u2019ve definitely learned to capitalize on our strengths!\u201d\u009d\r\n\r\nThe album\u2019s track lineup began to take shape as Tuck and Patti played gigs in Asia, Europe, and the US. They asked their audiences to email requests. What would they like to see on a Great American Songbook album? Patti was intrigued by the feedback.\r\n\r\n\u201cThe most requested song, worldwide, was \u201d\u02dcSummertime.\u2019 But it was interesting what fans in other countries requested in addition to what we traditionally would include: A Bob Dylan tune. A Beach Boys song. Sly and the Family Stone, Joni Mitchell, Woody Guthrie, Steely Dan, Earth, Wind and Fire. They drew fewer distinctions based on the era or style of music, just requesting great songs. Because we in the States have lived with them in a different way (and are perhaps even jaded about some of the best ones due to overexposure), we seem to have more opinions about how these songs should fit into categories. Outside our country, on the other hand, the Great American Songbook is thought to include the whole range of American popular music.\u201d\u009d\r\n\r\nTuck and Patti decided for this project, however, to focus on tunes from their parents\u2019 generation. \u201cThere a reason why these songs are called standards,\u201d\u009d says Patti. \u201cThey are gorgeous tunes, with perfect lyrics, and they speak unabashedly about love. They\u2019ll never stop being relevant. On iTunes and YouTube, we could easily compare how all the greats performed them. We knew we had nothing to prove by trying to outdo or redo any one version. All we could do at this point was be the best we could be and add our voice to that list.\r\n\r\n\u201cIn our early years of touring, we suddenly found ourselves in the company of people we had never dreamed of even meeting, let alone sharing the stage with: Miles Davis, Dizzy\r\nGillespie, Ella Fitzgerald, Sarah Vaughan, Count Basie, Al Grey, Clark Terry, Keeter Betts, the Modern Jazz Quartet, Cab Calloway, Illinois Jacquet, Kenny Burrell, Joe Pass...the list goes on and on. Gradually people like this undergo a transformation from real people to mythical figures, but we were lucky enough to be there when they were very real people, who would tell us, \u201d\u02dcYou kids keep doing what you\u2019re doing.\u2019 It meant the world to us. We made this CD in remembrance of these bright lights, these enduring giants, and the remarkable songwriters we never got to meet. Thus our title I Remember You.\u201d\u009d\r\n\r\nOften CDs feature \u201cbonus tracks,\u201d\u009d but Tuck & Patti decided to offer another kind of bonus this time: They asked old friend, celebrated writer and now Poet Laureate of California Al Young to write liner notes. Not traditional liner notes designed to extol the praises of the music and sell CDs, in fact not really liner notes at all. \u201cWe gave him the assignment we would want to be given,\u201d\u009d explains Patti. \u201cWe said, \u201d\u02dcTake what we recorded as a jumping off point to write whatever you want about anything you want.\u2019 Al ended up presenting us with an exquisite collection of meditations on remembrance, which we are honored to include in its entirety.\u201d\u009d\r\n\r\nSpeaking of eloquent writing, the \u201cI Remember You\u201d\u009d title track, written by Johnny Mercer and Victor Schertzinger, immediately immerses the listener in the deep water of an inspired lyric. Was it \u201clong, long ago\u201d\u009d or \u201can hour or so\u201d\u009d? When you count time in kisses, when is then and when is now? What kind of love is it that could be remembered as \u201cthe thrill of it all\u201d\u009d when \u201clife is through\u201d\u009d? From listening to Patti sing it, she might know the answers\u2013at least she\u2019s asked the questions. \u201cThere is a reason why everyone imaginable did songs like this. They never let you down. They will keep taking you deeper for a lifetime.\u201d\u009d\r\n\r\nBeginning the album with a departure from any of the duo\u2019s previous textures, Patti insisted on a sparse walking bass accompaniment, played on Tuck\u2019s guitar, of course. \u201cIt was surprisingly hard to leave out all the chords and countermelodies,\u201d\u009d says Tuck, \u201cbut Patti kept at me: \u201d\u02dcNo, no, just the walking bass: it sounds so cool.\u2019 And I agree.\u201d\u009d\r\nTo give Duke Ellington his due, Patti selected \u201cIn a Sentimental Mood,\u201d\u009d falling deeply into the dreamy lyrics penned by Manny Kurtz and Irving Mills. \u201cWe were trying to get an orchestral sound,\u201d\u009d explains Tuck, \u201cwith strings sustaining and swelling. The lyrics are so beautiful, especially when Patti sings them. We kept it simple to do justice to this sublime song.\u201d\u009d\r\n\r\nThe oldest song on I Remember You dates from 1926, Fred Rose and Walter Hirsch\u2019s \u201cDeed I Do.\u201d\u009d Everybody did it,\u201d\u009d says Patti, \u201cbut I especially love the Ella\/Count Basie version. We studied every detail of their groove. How do you play those tutti horn punches at the same time as the bass line and Basie\u2019s embellishments, plus guitarist Freddie Green\u2019s classic chunk-chunk style? There\u2019s no way to do it all at once, just on one guitar, without it sounding stiff and uncomfortable\u2013it was supposed to be dance music! But Tuck found a way to juggle the parts just right, so he could evoke the sense of the Basie sound without losing the feel.\u201d\u009d\r\n\r\n\u201cIt doesn\u2019t hurt to have Patti singing, either,\u201d\u009d Tuck adds. \u201cIt\u2019s fun to mute the guitar on playback and realize that she doesn\u2019t really need any accompaniment anyway, she\u2019s already swinging like a whole big band.\u201d\u009d\r\n\r\nPatti had an unusual take on Ray Noble\u2019s ballad \u201cThe Very Thought of You,\u201d\u009d as a samba. \u201cThe lyrics\u2013\u201d\u02dcI\u2019m happy as a king\u2019\u2013were so jubilant and contagious that it brought back memories of everybody dancing and singing the samba in Brazil. That sound always makes me feel like celebrating.\u201d\u009d\r\n\r\nFor Edward Heyman and Victor Young\u2019s \u201cWhen I Fall In Love,\u201d\u009d Tuck provided a sparkling accompaniment, explains Patti, \u201clike little prayers, little galaxies. It\u2019s beautiful music, beautiful guitar. One of Tuck\u2019s great strengths is that he sees all the harmonic options. It\u2019s magic to me that, out of all the possibilities, he chose the perfect ones.\u201d\u009d\r\nTuck adds, \u201cWhen I heard Patti sing this song I\u2019d known since childhood, it was like I heard it for the first time. She made me realize how innocent yet profound the lyrics are. That is what sent me in such a deep, meditative direction.\u201d\u009d\r\n\r\nThe duo always records live in their home studio, which is as carefully crafted as a piece of fine furniture, particularly with Patti\u2019s proviso that cables should be unseen and equipment fans unheard. Even visitors remark on the studio\u2019s uncluttered serenity. \u201cThere\u2019s a give and take,\u201d\u009d Tuck says, \u201ca conversation that we cannot achieve by recording separately or combining separate takes. After all these years together, we live more and more in the subtle details. We set it up so we can\u2019t see each other, so we have to depend even more on listening\u2013to every nuance\u2013and just feeling each other.\u201d\u009d\r\n\r\nThis was the first time they actually mixed a project at home, though, made possible by a major studio upgrade. Patti explains, \u201cHoward Johnston mixed all our previous albums at his San Francisco studio, Different Fur, building each time on what he did the previous time. When he decided to sell it, we took it as the cue to take advantage of all the technological advances over the last 12 years and set ourselves up to mix at home. With his help, of course\u2013he is a genius and a generous, patient teacher. The learning curve was long, but we think it is the best-sounding CD we\u2019ve ever made.\u201d\u009d As always, they went to their trusted old friend Bernie Grundman for mastering.\r\n\r\n\u201cA Foggy Day\u201d\u009d was popularized in 1937 by Fred Astaire in A Damsel In Distress, but this Gershwin classic comes back to Ella for Patti. Their playful version, however, is bright with syncopation and an uptempo beat. Tuck says, \u201cWe\u2019d performed it many times, but one of Patti\u2019s signature producer tricks to keep it spontaneous is to throw me a curve just before we record a song. This time she said, \u201d\u02dcCheck this out!\u2019 and played me a Wynton Marsalis version, which had a lot of polyrhythms and a completely different harmonic approach than I usually took. I didn\u2019t have time to figure much of it out before we went into the studio, but it certainly sent us bumping each other down a new path when we started recording.\u201d\u009d\r\n\r\n\u201cSo, how did we get to the part where I sang \u201d\u02dcThere you were\/There you were\u2019?\u201d\u009d Patti asks Tuck. \u201cI think we were just jamming. Even with set arrangements, we leave room for what might happen. So we kept that as part of the arrangement on the next take.\u201d\u009d\r\n\r\n\u201cEven if we arrange and rearrange,\u201d\u009d adds Tuck, \u201cit still has that edge. We don\u2019t want too many rough edges to distract from these beautiful songs, but it\u2019s supposed to be a real- time adventure, like walking a tightrope. That\u2019s the magic of it all.\u201d\u009d\r\n\r\n\u201cIt Might As Well Be Spring\u201d\u009d (Rodgers and Hammerstein) is Tuck\u2019s solo showcase, and listeners at first may not be able to pick out the unique slant. \u201cWhen Patti suggested it,\r\nshe casually said, \u201d\u02dcIt\u2019s a waltz.\u2019 Well, that was news to me; I\u2019d never heard anybody do it that way. But I\u2019ve learned not to question what I hear from Producer Patti, because it turns out there\u2019s always a method to her madness! Plus I thought she might like it that way, and who better to please? My experience was improvising and tripping my way through it, trying to squeeze four beats of information into every three beats, but I think this led to a satisfying sense of adventure and rhythmic tension. And Patti likes it!\u201d\u009d\r\n\r\n\u201cOld Devil Moon\u201d\u009d by E. Y. \u201cYip\u201d\u009d Harburg and Burton Lane was a favorite Tuck & Patti tune in their early years, but they took a fresh look when they decided to record it, combining a neck-slipping, ostinato bass line with a chord pattern from Benny Golson\u2019s classic \u201cKiller Joe\u201d\u009d for the feel. \u201cWe wanted to give this one that fat, 60\u2019s soul-jazz groove that we grew up on,\u201d\u009d says Tuck, remembering a time when you could hear Jimmy Smith\u2019s funky Hammond organ trio alongside The Beatles on top-40 radio.\r\n\r\nPatti reminisces, \u201cIt\u2019s great to be able do to these songs. We just get to take a love bath and sing these tunes, unashamed and unapologetically. Let the listener have a really good time, leave their cynicism at home and enjoy these songs for what they are, good, old- fashioned love songs.\u201d\u009d\r\n\r\n\u201cIn a way, we regain innocence lost,\u201d\u009d says Tuck. \u201cWe are blessed that we are not jaded about this music. To have every song feel like it\u2019s a dream to play; it doesn\u2019t happen for every performer, but for us, it happens every time.\u201d\u009d Surprisingly, given the couple\u2019s strong roots in jazz, all but two of the songs on I Remember You were new, never sung nor played before. So they got to savor the experience of discovery together.\r\n\r\nThe Gershwins\u2019 \u201cEmbraceable You\u201d\u009d has a special appeal to the couple. \u201cIt was our first dance at our wedding reception,\u201d\u009d explains Patti, \u201cyet we\u2019ve never played it until now.\u201d\u009d\r\n\r\nAs meaningful as the song was to them, they labored over it, trying to find just the right approach. Tuck remembers, \u201cAs part of the process of exploring the song, I did a 24 hour marathon, reducing a complex orchestral version we both liked, replete with an exotic, atonal introduction, to the guitar. The result alternated between maybe-someday-playable and forever-impossible, and I was wondering how I would ever pull it off. Fortunately Patti had the wisdom to keep rearranging. Ultimately we used just one idea from that version, but it was a good one! We tried several other approaches, then, at the last minute, she started recording and had me play a syncopated pattern in double-time swing over a half-time bass while she sang it as a ballad in normal straight time, as if she were still listening to the original orchestral version! I was utterly confused trying to keep my part together while listening to her, but when we played it back, we both loved it.\u201d\u009d\r\n\r\nTuck adds that their website, tuckandpatti.com, will gradually post detailed transcriptions and analyses of many of these songs, the most common request from their fans, many of whom are musicians themselves. \u201cWe have an Austrian friend and scholar, who teaches at the University of Music and Performing Arts in Vienna, Wolfgang Pedelstein, who has done this before, and together we make sure it is dead accurate. On \u201d\u02dcWith a Song in My Heart,\u2019 he discovered that, even though the song is full of repeating phrases, only one phrase was played the same way twice. I had never noticed, but it\u2019s different each time because of the shifting conversation between Patti and me. It inadvertently turned out to be an object lesson in revoicing, altering and substituting chords to complement a singer.\u201d\u009d\r\n\r\n\u201cWith a Song in My Heart,\u201d\u009d the album\u2019s closing statement, is by the unparalleled Richard Rogers and Lorenz Hart. \u201cI am a major Rogers and Hart fan,\u201d\u009d admits Patti. \u201cThey didn\u2019t write as a team very long, and they were so young, so idealistic. Perfect melodies and such pure lyrics. Simple and unashamed.\r\n\r\n\u201cSo many of these standards had a special meaning then because of the war. And who goes to war? Kids go to war. Some of those kids became our parents, our grandparents. You can imagine the way they heard those tunes, especially with the knowledge that they might never see each other again.\u201d\u009d\r\n\r\nTuck adds, \u201cPeople are always asking, how does your relationship, your marriage, play into your music? With songs like these you can\u2019t help but reflect on the personal, even though these are universal songs. You are performing the song, you are lost in the music, and the song has its own life. But still, we\u2019ve had this extremely intense relationship with each other for over half our lives. So we can\u2019t help but put ourselves in there. How can it be possible for a casual word or glance from your partner still to take your breath away after all that time? In exactly 140 words this song completely describes the miraculous daily fabric of our personal relationship, something I\u2019ve been trying to grasp and articulate to myself for decades. It is amazing what a song can do.\u201d\u009d\r\n\r\nSometimes when singing, Patti says she will suddenly remember there are people watching. \u201cI become almost shy,\u201d\u009d she admits, \u201cknowing I am all exposed, like I am naked in front of the audience. You are seeing our secret stuff, yet here we are! Our lives together are completely tied up in every one of those tunes. But somehow, because of the universality and timelessness of these standards, it\u2019s easier to share these feelings\u2013I am singing not only about my experience, but about everyone\u2019s experience. To simply love: We all long for that.\u201d\u009d\r\n\r\n\u201cThe balance of the personal and the universal is always in music, just like the balance between human and divine love,\u201d\u009d says Tuck. \u201cBecause of the sparseness of our sound and what I call \u201d\u02dcthe miracle of Patti,\u2019 Patti is able to sing them, articulate them, and make them real for people. It causes us to do a dance between the personal and the universal that we find endlessly fascinating.\u201d\u009d\r\n\r\nPatti sees it as her responsibility to make a record like this. \u201cThe world is heating up; people are killing each other like there is no tomorrow. Children are horrified and do not think they are going to live; they feel hopeless and lost. It seems that now, when we have the knowledge and the ability to do something wonderful with technology, the world has allowed it to be so completely out of balance and crazy.\u201d\u009d\r\n\r\nMentioning news of a bombing at an Iraqi wedding, Patti becomes more somber. \u201cIt happened at a wedding, a wedding! In the midst of a war, people are still trying to love, get together, somehow cling to each other. For us, at this point in time, to stop and make an album that is all love songs with an \u201d\u02dcisn\u2019t it romantic\u2019 feeling...\u2019I remember you\u2019 feeling...\u2019with a song in my heart\u2019 feeling...to just step back and allow that simple kind of feeling to wash through you is a gift.\r\n\u201cSinging songs like this now is like swimming upstream. Amazing to put out music like this instead of recording a lament about all that\u2019s going wrong. I think it\u2019s courageous, almost subversive in fact. To us a love song is the ultimate protest music. The light it\r\ncasts reveals that a lack of love of some kind is the root cause of virtually every problem in the world.\u201d\u009d\r\n\r\nTuck adds, \u201cIf you want to hear about a \u201d\u02dcstandard\u2019\u2013our standard\u2013it is this: \u201d\u02dcLove is real. It is infinitely powerful. It is contagious and unstoppable. It is the secret sauce that makes life worth living. A lifetime spent in celebration of it is barely enough.\r\n\r\n\u201cHow\u2019s this for a job description: \u201d\u02dcFor your partner, choose your favorite person. Make your life a living meditation on Love. Put that into music so other people can share it. Be sure to use your creativity and don\u2019t forget to become more and more yourself. Travel around the world and meet the coolest people (they will come to where you work and introduce themselves so you don\u2019t have to search them out). You\u2019ll be unsupervised; just get the job done your way to your satisfaction.\u2019 The hours may be long, but that\u2019s not a bad way to make a living.\u201d\u009d\r\n\r\n\u201cI think one day,\u201d\u009d muses Patti, \u201cwe\u2019ll put together a track combining all those little bits that we trimmed from the end of each track we knew was the final take. We\u2019ve played the last note; the song is done. At the end it\u2019s quiet, and there is always this sigh. \u201d\u02dcYeah...that\u2019s it...it was cool!\u2019 That\u2019s what the feeling is. A big exhale. A nice sigh. And that smile. Ahhhhh!\u201d\u009d",
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