(For Phil Sudo)

Earthly tones, with pitch
Ascending, stairsteps to
Divinity.  Silver strings,
Gossamer wings, carry us
Beyond this world to ride
Ethereal melodies.

Expectations fall away,
Allowing soul to soar
Drifting upward in a
Gyre, each cycle higher than
Before.  Tune up!  And
Elevate your consciousness.

— Stace Johnson, 2006

EC was here

As of last night, I can die happy. The last major musical act on my list of lifetime concert goals has been scratched off: I saw Eric Clapton in concert.

Being a guitar player, especially one who likes the blues, it’s nearly impossible not to like Clapton. Sure, he gets negative press from purists because he uses too many effects, or because he’s too “pop,” but I think that even his naysayers have to acknowledge that he’s been a musical presence and influence on rock ‘n roll for nearly forty years.

Yes, forty years. For longer than I’ve been alive, this man has been a driving force in music. I’ve been playing guitar as a hobbyist for over 20 years now, and EC has always been an influence on me.

In my opinion, one of the areas for which Clapton doesn’t get enough credit is his vocals. The man has a very wide stylistic range, and can jump from growling the Delta Blues to singing bouncing reggae to twanging country songs with no apparent shift in mindset. His shift in voice is just another performance technique that he has honed over the years, like his guitar stylings.

Thanks, EC, for playing Denver this time around, and for bring such fine musicians as Billy Preston and Doyle Bramhall II along for the ride.

Zen Guitar

Zen Guitar

By:  Philip Toshio Sudo

Type:  Extended inspirational metaphor

Setting:  The Zen Guitar Dojo


Using Zen teachings interspersed with quotes and examples from famous musicians, Phil Sudo guides us on a tour through the Zen Guitar Dojo.  The dojo is a virtual practice studio; one can enter the studio anywhere, at any time, because it is more a state of mind than a physical reality.  Focus and dedication are the keys to this dojo; a beginner’s mind and openness to the teaching allow growth to occur.

Sudo divides the book into five main parts, each indicating different levels of progression in Zen Guitar.  When a new student enters the dojo, no matter his level of playing ability, he must embrace the beginner’s mind and put on the white belt, and these basics are covered in the first section of the book.

As the student moves through the dojo, his white belt becomes soiled from practice and begins to turn black; practice is the focus of the second section of the book.  When a player has practiced enough to become proficient, his belt may be completely black, and with that comes the responsibility of using what he has learned wisely.  That responsibility is the subject of the third section of the book.  Of course, just because a student has attained the black belt level, that doesn’t mean he is finished.  As in any dojo, a black belt only indicates that the student’s true learning has begun.

As he studies, his belt may begin to fray, and strands of the original white belt will begin to show through.  He will have learned much, and now is confronted with the question of where the music comes from.  Is he playing it, or is it playing him?  The correct answer is mu, the classic transcendent point of Zen philosophy.  The music is neither playing nor being played by the student, and the student will only understand his relationship to it when he drops the need for duality.  This is the subject of the fourth section.

Finally, when the student has played and practiced enough that his belt is once again white, he realizes that it was white all along, and that the way he got to the level he is now is by keeping the beginner’s mind forefront, and by wearing the same white belt.  The final section is a recap of all that the student has learned, and it is all white belt material.


I purchased this book in May of 2001.  I had seen it on the rack at my local magazine store and thought it looked fascinating, and finally I bought it, knowing nothing about the author or, really, what the book was about.  It sat inside my nightstand for a year before I took it out again and started reading.  I read it in small chunks, wanting to chew on each piece slowly, rather than blazing through the book and missing the points.  It was a very easy read; Sudo’s style is crisp, simple, and clean, and he makes even the difficult Zen concepts come across clearly.  I learned valuable information from many sections of the book that deal directly with stumbling points in my playing:  “Mistakes,” “Stages and Plateaus,” “Self-Doubt,” and “Overthinking” are all sections with which I connected directly.  They are all in the “white belt to black belt” section, so I guess I know where I am on the path of Zen Guitar.  I look forward to the day when I find I am connecting better with the sections in the later part of the book.

Some interesting things have happened to my playing since I started reading this book.  I’ve taken more risks, for one thing.  I have also worked on learning a lot of new songs, most of them heavier than I am used to playing.  I tried out for a band that is ready to start gigging, and I played and sang onstage at a local jam without feeling overly self-conscious.  I’m not sure how much of that can be attributed to the book, but I am sure that the book helped me develop the mindset that I needed to be open to these opportunities.

There is another coincidence: a very said one.  When I finished the book, I went to the Zen Guitar website listed in the back of the book.  I wanted to see if there was anything new that Sudo had added to the dojo that would complement this review, and I wanted to let him know that I had enjoyed the book and was going to write the review.  When I arrived at the website, the first thing I noticed was a date range:  Philip Toshio Sudo, October 20th, 1959 – June 9th, 2002.

Evidently Phil had been battling cancer since about the time that I bought the book.  He kept a journal online, and as I read through it, I thought of the same steps that my brother took as he fought cancer.  Phil lived a couple of years longer than my brother did, and from all accounts on the website, he lived live with a joy and presence that comes from viewing the world from within Zen.

I checked my Creativity Journal for June 9th, and I’m happy to say that I was in a Zen Guitar frame of mind that day, working out a song list for my basement band and studying the fret board.  The next day, I noted that I had “read some more Zen Guitar.”  I’m sure Phil would be happy to know that.


Though Zen Guitar is primarily aimed at guitarists, the ideas are universal.  Anyone, whether s/he plays an instrument or not, should be able to find something of worth in these pages if s/he is open enough to look.  At one point in the book, when Sudo is talking about recovering from mistakes, he says, “When things falls apart, make art.  Carry this spirit though to every area of your life.”  I think most of the principles in this book can be extended to all areas of life.  Basically, it’s all about maintaining a beginner’s mind: being open to learning new things, appreciating what we have yet to learn, and using the time we have left wisely, as Phil did.

Thank you, Phil Sudo, for allowing me into your dojo.

Michael Hedges Eulogy

Michael Hedges Eulogy

Michael Hedges


With the brisk winds of late fall came the passing of Michael Hedges, recording artist, acoustic guitar visionary, and father of two. A single car accident, reported on Dec. 2, 1997 claimed his life.

Born in Enid, Oklahoma on December 31, 1953, Hedges studied music at the University of Oklahoma and the Peabody Conservatory before embarking on a commercial career with the Windham Hill record label in 1981. He developed a unique acoustic guitar style, full of right-hand tapping, unconventional full chord hammer-ons and contrapunctal playing that attracted listeners from the rock and pop world to new age Windham Hill music. Though he was pegged as a New Age player, his background included a wide variety of music, from Celtic to hard rock. His favorite singer/songwriter was Joni Mitchell, and because of her influence, Hedges rarely played in standard guitar tuning.

For Hedges, the music was the primary experience. Though he could have played easier pieces and carried the same (or greater) popularity using standard equipment and tuning, he knew that would not meet his own requirements. Tapping and alternate tunings were a method he used to generate a kind of sonic landscape unique to each of his pieces. The melodic and percussive sounds he brought from his instrument were inimitable. When he began experimenting with harp guitar (an acoustic guitar with an extended soundbox and several bass harp strings attached to the extension) he sounded like a full acoustic band, complete with bass, percussion, rhythm and melody.

Hedges’ talent for acoustic guitar was indisputable, but he did not want to be limited to that instrument. He also played flute and enjoyed synthesizers, and once said that the only reason he became known as an acoustic guitar player was because he played for Will Ackerman’s Windham Hill label. Many of his compositional directions lay elsewhere.

I was lucky enough to see Michael Hedges at Purgatory Ski resort one summer, along with fellow Windham Hill artists Andy Narell and Liz Story. The resonant guitar sounds set against a background of high mountain summer scenery created a sensory experience that will never leave me. Hedges moved to his music constantly when he played, directed in a sort of impromptu dance by the notes flowing up the mountainside.