Halloween Words

Post-Season Pic #11- Good Advice

Game 6- Back to LA
 Houston Astros  vs.  Los Angeles Dodgers
An elimination game.
Will it end tonight with an Astros championship?
Or will we go through another elimination game tomorrow?
Stay tuned. It's been a classic!

Post-Season Pic #10- A Game of Words

Travel Day
 Houston Astros  vs.  Los Angeles Dodgers
And we all need a day off after yesterday's game!

Post-Season Pic #9- When You're Down, You're Down

Game 5:
 Houston Astros  vs.  Los Angeles Dodgers

All tied at two games each. That means at least a six game series!
It has been a classic!

Only One Day at a Time

October 29, 1988 - October 29, 2017

Humbly awed!

Post-Season Pic #8- The Promise of Wisdom

Game 4:
 Houston Astros  vs.  Los Angeles Dodgers
Astros lead Series 2 games to 1
What will happen tonight?

Post-Season Pic #7- Better Than the Ritz

Tonight it's Game 3
 Houston Astros  vs.  Los Angeles Dodgers

It's all tied up at 1 game apiece.
Astros looking for first EVER championship.
Dodgers looking for first in 29 years.

Post-Season Pic #6: Can't Argue With Yogi

No game tonight.
 Houston Astros  vs.  Los Angeles Dodgers

The Tuning Slide 3.18- Ways to FInd Balance

Weekly Reflections on Life and Music

Life is like riding a bicycle.
To keep your balance, you must keep moving.

-Albert Einstein

Remember- how you do anything is how you do everything. If our lives as musicians are “out of balance” that means that many things we do are also out of balance. There is also the reverse way of thinking about this. If we begin to find balance in some different ways, the balance will begin to move into other areas as well. Balance is a physical as well as emotional factor. Our “sense of balance” comes from the inner ear, as many of us learned in high school health or biology. As a counselor who loves metaphors, I think the awareness of balance connected to the “inner ear” is a great metaphor well beyond the physical facts of human anatomy.

The “inner ear” is also be about that part of who we are that listens to how we are feeling, inwardly. The “inner ear” listens to the signals and feelings from within. The “inner ear” can “hear” discomfort and internal pain, it can feel “out of balance” and knock us out of whack as much as an inner ear infection can cause us to be dizzy and unable to maintain physical balance. (Yeah, I’ve had that happen!)

In this month’s posts I have been talking about the ways we can be “compleat” musicians. One of the things that seems to jump out of all that I have written is balance. That came to mind on Sunday at the Pops Orchestra concert. As the 4th trumpet I was only needed for the first number. I went out into the audience to enjoy the rest of the show. At intermission I went backstage and told the director how good it was sounding in the auditorium. His only question:

Was it balanced?

Yes, it was. Which was why it sounded good. Of course the question was more than just about whether the oboe could be heard appropriately with the violins. It was also about blend and how everyone was playing. If one trumpet is playing the section staccato and another is playing the same passage legato, it will stand out. So balance is more than just weighing two or more things against the others. It is the overall sound and tone, the style and dynamics. As always:

It’s all about the music

There are different things that I have found that can help me find balance so that I can translate it into my music. Perhaps the most valuable and effective are the movements and disciplines surrounding the ancient arts of yoga, T’ai Chi and Qigong. While yoga has kind of morphed into a wide range of exercise options, at its heart is the ability to move and stretch into a more balanced life. If you want it for aerobic or extreme exercise classes are available all over the place. I am not going to talk much about yoga. I highly recommend it for learning how to move and stretch, to grow into a more flexible and physically fit musician.

For me, the T’ai Chi and Qigong (pronounced chee-gung) based disciplines have become a key part of my own journey into better balance. I have been working on these two disciplines at various levels for four or more years. I am in no way an expert at these. I am a mere beginner who has discovered a way that has helped me in many, many ways. As I did some digging recently I found that a number of music schools, including Berklee and Vanderbilt have T’ai Chi courses for musicians. From Berklee’s catalog:

Tai Chi Chuan, or "Grand Ultimate Fist," is a moving meditation/exercise/martial art that can complement and energize your studies, music, and all the activities of your busy day. ... It is also a constantly evolving art/science that promotes physical, mental, and emotional balance, and is a useful tool for identifying playing-related tension patterns and opening constricted channels of the body. Tai Chi Chuan is a slow, flowing, no-sweat exercise with excellent health benefits that requires no uniforms or equipment, a moderate amount of floor space to perform, and no opponent to compete against except yourself. -Link

For their Qigong class, "Playing in the Key of Qi" Berklee says:

These exercises promote emotional balance, mental clarity, and an optimum physical state. Students will learn about the unique physiological benefits as well as how to apply these exercises to their instrument, daily activities, and creative endeavors. In addition, students will learn how qigong can act as a catalyst for healing or preventing an overuse injury and other health maladies. By the end of the course, students will be more able to conduct the inner orchestra of their mind, body, heart, and spirit through a state of relaxed awareness. -Link

The Harvard Medical School Guide to T’ai Chi (Harvard, 2013) lists ingredients that are the framework for T’ai Chi. Five that have particular impact for musicians:

• Awareness
• Intention
• Active relaxation
• Strengthening and flexibility
• Natural freer breathing

In that same book, there is a chapter on enhancing creativity with T’ai Chi. Artists and musicians make comments like:

If you like music, you will probably like T’ai Chi. You can learn to tune into your body and know what that means. (Harvard Guide, p. 254)

T’ai Chi is about getting flow to happen, from inside to outside, side to side, and top to bottom. This is the same as creativity. (Harvard Guide, p. 252)

The experience [of T’ai Chi] felt so similar to playing music. Movement, rhythm, themes, and even vibrations, all come into play in both activities. When you play music, you have to play in tune, balance with your fellow players, and know where you are without thinking about it. Practicing T’ai Chi teaches you to tune in to the mind-body, the sense of balance, of being in the moment, and nowhere else.Doing the T’ai Chi form is a lot like playing chamber music. (Harvard Guide, p. 253)

Okay, I know this is sounding like an infomercial on T’ai Chi and Qigong. I guess what I am trying to say is that this is one way I have discovered to build balance into my own practice. The meditation in motion enhances my awareness and mindfulness. The discipline of easy breathing is an aid to relaxation before or after practice or performance. (Sometimes even during a performance.) Playing music is for many of us far more than just the notes on the page. It is deep movement, it is the breathing, it is the experience of doing something with others that is moving and entertaining. Above all, it is also a gift to ourselves allowing us to find the melody and the balance in tune with ourselves and the world around us.

There are more places offering T’ai Chi or Qigong than in the past. Google it for your area or check with a local community education program or healthy living center. Do some exploring for yourself. The best way is to learn with a teacher, but there are some good videos that can help you discover what it means. Here are links to three videos that I have personally found helpful:

Don Fiore T’ai Chi
Qigong at Spark People
T’ai Chi Chih

Mindful Musician
Tai Chi Health Products

With these we come to the end of this month's tips on being a "compleat" musician. In the end, self-care in all its forms allows us to grow and develop our skills. We can learn to be better balanced in music as well as the daily lives that surround our music. Or perhaps the music surrounds our lives to give us greater harmony and joy in life.

Next month we will jump back into ideas about practice, reminding us of the effective, efficient, and deliberate ways that we can use on a regular basis. See you then.

Post-Season Pic #5: Magnetic and Addictive?

Tonight: Game 2
 Houston Astros  vs.  Los Angeles Dodgers

Post-Season Pic #4: It's the World Series

Game 1: It begins tonight.
 Houston Astros  vs.  Los Angeles Dodgers
Last time won the World Series
Never                         1988

Post-Season Pic #3: Men of Character

Lou Gehrig    Jackie Robinson    Roberto Clemente
Three who did more than just play ball;
they made us a better people!

Post-Season Pic #2: There's Truth in There

Post-Season Pic #1: Sports Truism

True last night.

Tonight, it's TV.

The Tuning Slide 3.17

Weekly Reflections on Life and Music

True enjoyment comes from

activity of the mind and exercise of the body;

the two are ever united.

-Wilhelm von Humboldt

We have been talking about how to become a musician this month- at least in behaviors, actions, and attitudes. At the heart of it is always that priority list:

1. The music
2. Our colleagues
3. The audience
4. Ourselves

Unfortunately, since it puts "ourselves" last, people often use that as an excuse NOT to take care of themselves. We end up pushing ourselves beyond our limits into wearing down of our energy, skills, and careers. The issue of balancing extremes that I talked about last week in relation to our actual playing is just as important when it comes to taking care of ourselves. It can be so easy to mess up our lives by not paying attention to what’s important in how we look after ourselves. We ignore warning signs of extreme fatigue, we think that we will always be able to do everything we have always done, we will not take care of our body, mind, and spirit. Many of us will actually take better care of our instrument than we will of ourselves.

In reality if we don’t take care of ourselves we can easily get into deep trouble physically and emotionally. In the end the music we produce will suffer, the relationships with other musicians will deteriorate, and we might not have an audience to play for. Taking care of ourselves, I am convinced, is the same as cleaning, caring for, and tuning an instrument.

Last summer I explained to Bill Bergren at the workshop what I was hoping to get out of an individual lesson. He took my horn from me, pulled out the tuning slide and looked down the lead pipe.

“When was the last time you cleaned this?” He looked in my mouthpiece, handed the trumpet back to me and just shook his head.

I cleaned it that night- and there was way more of the ugly green gunk than I wanted to see. That green gunk is a metaphor for what happens to me when I don’t take care of me!

So I did some surfing around the Internet and found many good bits of advice as I got ready to write this week’s post. They sum up the different areas of our lives that need self-monitoring on a regular basis. That is the “mindfulness” that I talk about so often. The better we pay attention to ourselves and what is going on around us, the better we will learn to take care of ourselves.

I put the things I found into a series of categories:

✓ Balance
Avoiding extremes
✓ Breathing/Relaxation
Developing tension releasing activities
✓ Commitment
Making self-care non-negotiable. (It has to be part of the daily routine!)
✓ Exercise
Keeping the instrument of self physically tuned
✓ Gratitude
Developing an attitude of humility and grace
✓ Mindfulness
Learning to be self-aware both inwardly and outwardly

First, on the Musician’s Way website, (https://www.musiciansway.com/blog/2009/11/the-12-habits-of-healthy-musicians/) Gerald Klickstein had twelve habits of a healthy musician. Here are the ones I felt fit best with this post:

• Manage your workload (Balance)
• Heed warning signs (Mindfulness)
• Minimize tension (Breathing/Relaxation)
• Take charge of anxiety (Breathing/Relaxation)
• Keep fit and strong (Exercise)

On the website Psych Central (https://psychcentral.com/lib/how-clinicians-practice-self-care-9-tips-for-readers/) there was an article about how medical clinicians and counselors learn to take care of themselves. Here are some of the tips from there that seems most appropriate.

• Remember that self-care is non-negotiable. (Commitment)
• Put it on your calendar — in ink! (Commitment)
• Know when to say no. (Balance)
• Identify what activities help you feel your best. (Balance)
• Take care of yourself physically. (Exercise)
• Surround yourself with great people. (Mindfulness)
• Meditation (Mindfulness)
• Check in with yourself regularly (Mindfulness)

To be a healthy musician, then, let's put these together:

• Mindfulness:
  
  • Check in with yourself regularly
  • Heed warning signs
  • Meditation
• Gratitude:
  
  • Surround yourself with great people
• Balance:
  
  • Know when to say no
  • Manage your workload
  • Identify the activities for relaxation and renewal that can help you feel your best
• Commitment:
  
  • Put your self-care activities on your calendar in ink
  • Remember they need to be non-negotiable
• Breathing/Relaxation:
  
  • Minimize sources of tension
  • Take charge of anxiety
• Exercise:
  
  • Take care of yourself physically
  • Keep fit and strong

As to that last one, I have been a wannabe exerciser for years. I manage to keep at it for a while, then something changes and I get lazy or off-track. (I have been a certified group trainer, as well.) Yet I have always known and experienced that when I am taking care of myself physically through exercise and better eating, I am better overall, and I am a better musician. There are many places to find ideas about exercise for musicians. I came across one set that was really helpful. The site is Take Lessons (https://takelessons.com/blog/fitness-exercises-for-musicians) and they had a wonderful bit of information for musicians. They also had a number of links to helpful videos. Here are seven of their ten ideas, chosen more by my own experience to share:

• Yoga- Stretching and movement with balance and intention is a great metaphor for musicians. We can learn it well through yoga. The website talked about “power” yoga. Not a necessity in my opinion. Yoga will do it without all the extras added.
• Core Exercises- The core, the abs, are the supporting foundation for all good health. They provide a way for musicians to be more focused and relaxed because they are well supported. The benefits of a strong core I don’t think can be overstated! Pilates is an excellent way to build this.
• Posture- We have all heard that having good posture does a lot- we just ignore it. Yet a good posture will support better music. It also has a lot to do with breathing. And efficient use of breath is essential to those of us who are wind musicians!
  (http://brassmusician.com/posture-and-breathing-by-mike-white/)
• Arm Strength (biceps, triceps, shoulders)- Think about holding the instrument! Need I say more?
• Cardio- A healthy heart will help get that air moving and increase endurance.
• Neck & Shoulder stretches
  (http://www.musicnotes.com/blog/2014/06/17/stretches-for-musicians/)
• Meditation- Yes, this can be an important part of exercise. Next week I will talk more about this in relation to T’ai Chi and Qigong.

I hope I am preaching to the choir in this post. I am a strong supporter of self-care. It is not being selfish. It is taking care of yourself as a way of helping others. It is in line with the instructions you hear on an airplane. If the oxygen mask drops down, put yours on FIRST before helping even a little child put their on. You can’t help if you aren’t safe yourself.

Take care of you. It’s the only you that you will have.

The Stuff We Are Made Of

All About Grace- An Audio Version

Last Sunday I posted the text of my sermon from that morning. It was a short story about grace and Jesus. I recorded it on my iPhone and then added some stock and my own photos and posted it on You Tube. If you want to hear me tell the story, just click below.

The Tuning Slide 3.16- Avoiding the Extremes

Weekly Reflections on Life and Music

Happiness is not a matter of intensity

but of balance, order, rhythm and harmony.

-Thomas Merton

We’re thinking about musician etiquette this month. Really, it boils down to being a good musician. Remember the four things we are to focus on - in this order…

• The music.
• Other musicians
• The audience
• Ourselves.

"Etiquette" is being a good colleague who displays “musicianship”. That brings all four into play on a regular basis. Last week I looked at how our actions and behaviors in both rehearsals and performances can get in the way of all these things. If we do not practice good musical etiquette in general:

• The music will suffer. It won’t have the quality we want it to have.
• Our colleagues will suffer. They won’t be able to count on us to be equal members of the group.
• The audience will suffer. The performances won’t have the zip and fun that they want to hear.
• In the end we will suffer. We will get fed up with what is happening, especially if we blame it on others, and give up.

Having set that as the foundation of what we are aiming at, here are some of the things that we trumpet players do to others- and to ourselves.

Item #1- and at the top of our list of trumpet player sins.
Wanting to get to that great and wonderful Double High C.

It is the goal, the aim, the end of all being in the great trumpet room in the sky! For most of us it is summed up in one word:

Maynard! (For non-trumpet players, that would be Maynard Ferguson- the trumpet screamer to beat all trumpet screamers.)

To be a great trumpet player we all think we have to play high and loud. Like Maynard. Our hero!

Which of course means that if we can’t play the way-up-in-the-stratosphere register, there is something wrong with us as trumpet players. Many of us have fought that internal self-esteem killer most of our lives. Then we work- and overwork- our embouchure to reach those rare heights and we end up playing hurt, which only makes it worse. I have a hunch that is why, in the end for many of us, our true icon of trumpet playing is Miles Davis who personified for many years the good solid sound of a trumpet- and even played with a Harmon mute! It was almost like he was saying to the world:

I can play loud; I choose not to.

One of the great solos of his was the solo on the classic cut- “So What”. It doesn’t go anywhere near the stratosphere; it has a solid, almost reserved sound. Looking at a transcription of it you might say, “What’s so hard about that?”

Until you try to play it. Most of us could spend a lifetime practicing that and still not get it as solid as Davis does.

Herb Alpert is in the same field as Davis. Davis was once quoted as saying that all he had to hear was a couple notes and he could tell it was Alpert. Which brings me to the lesson for all of us in trumpet- and musical- etiquette. It was one of the items on the Trumpet Camp reflection list. One of our goals is to

Have the same “sound” for everything I play

Davis, Alpert, Chet Baker, Lee Morgan, and any of the greats always have the same “sound”, the same quality and tone no matter what they play. It is their sound. And they don’t have to scream to make it heard. But for my money, the greatest at doing that today - and for most of the past 60+ years - is Doc Severinsen. Here is one of his best examples of not screaming yet managing the complete range of the horn. He plays in that stratosphere as if it were just your every day middle of the staff music.

Item # 2: Equipment
Trumpet players always seem to be playing around with equipment, looking for the perfect piece that will make us into the next great star. Usually it starts with the mouthpiece itself. Get two trumpet players together and they will have at least six opinions on mouthpieces, the advantages and disadvantages, why they use- or don’t use this one or that one. Not that there aren’t differences and different ones allow you to do different things. Not to mention that each of us has a slightly different physiology which may mean that certain mouthpieces work differently.

But in general my research seems to show that most people start with a “beginner” mouthpiece that usually comes with the horn. Eventually most move to the good, old, reliable Bach 3C (or equivalent) and stay with that for the rest of their lives or careers, whichever comes first. Should we look at other mouthpieces? I guess. But the thought that comes to mind is “If it seems too good to be true, it probably isn’t.”

That doesn’t mean that a change won’t work well at times. I had that happen starting about a year and a half ago. I tried one of the new Bach Commercial mouthpieces at a workshop. It was a modified “v” cup. It seemed to allow me some freedom at the upper register and an extended endurance. The problem was all they had was a “5mv” and I was nervous about moving from the “3” size. So I didn’t get it. Earlier this year I had a chance to try the “3 MV”. I gave it quite a workout. It was as good, or better than the “5 MV” I had tried earlier. I bought it.

This new mouthpiece has allowed greater dynamic and sound range, higher register, and endurance. Was it a mouthpiece version of the “placebo” effect? I don’t think so- for two reasons. When I first played it for my wife she heard the difference in tone and dynamic immediately. Then, a few months later I accidentally pulled the “3C” out of the bag without noticing. Since the rim size was the same I didn’t feel the difference- until I realized my range and dynamic was off. At first I thought it was because I had been playing too much and was just tired. Then I realized it wasn’t the new mouthpiece. I switched and all the things that felt off went away.

But that alone isn’t what did it or allowed me to do it. What does it is another from the Trumpet Workshop list:

Learning to hear

By allowing me to hear a cleaner sound with greater dynamic and range I began to know what those notes should sound like. I like the sound of the “3MV” for me. I like hearing it and how it feels on my lip. It did not solve my “problems” and perhaps it gave me some new ones. (See next item.) But it did improve my ability to hear and that will always bring about an improvement in musicianship! The equipment we use is there to help us, it won’t do it for us.

The final item of trumpet sinful activities for this post:
Item #3: Balance.

Actually it’s the lack of balance that plagues us. It’s wanting to be a screamer the first time we pick up the horn. It’s wanting to be able to sound like Miles, or Maynard, or Doc without the years of practice. It’s wanting to be able to play loud for hours on end and getting pissed when we get tired- or worse- hurt. It’s wanting the equipment to save us or take us someplace we are still unable to go. Sure, if your valves don’t work smoothly you may never be able to play some of those amazing arpeggios. But a new horn may not be the problem- your present horn may be too dirty, your valves clogged, springs not working right.

Take the time to take care of the equipment and it will probably do what you need it to do. Sure, if you move into a new level of musicianship and career building you may need to upgrade the horn. But probably not. You are the musician that produces the sound. The horn or the valves or whatever doesn’t do it for you. Learn to balance your sound and work.

From our workshop list, this brings up:

Being efficient in playing

Efficiency is balance. If you strain and push constantly, you are not in balance and something will happen to your playing. If you want everything to happen yesterday, it won’t come tomorrow. Balance is taking care of your instrument so it doesn’t get so gunked up that its sound is compromised. Ignoring the basics of say the Arban’s first couple sections will put us out of balance with the whole range of what we want to do. Again, back to the video from Doc (above) the ability to play equally across the whole range of the horn is the result of balance.

Next week I’ll talk about personal balance and self care as it is part of our musicianship. That will get us into the greater aspects of what we can learn from being a “compleat musician”.

Until then, look for the balance, don’t only push to the extremes, but build the solid foundation and middle in order to support the greater sounds and range. Be efficient in order to be effective. Finally, nothing can do it for you.

All About Grace- A Story

I preached this morning, something I don't get to do as much any more. I was in the mood to write a short story. The scriptures pointed me to the ideal of grace. Here it is for your reading.

 ~~~~~~~~~~~~~~~

I have always enjoyed novels and stories. They are a way to listen, share, and learn. They can sneak in the back door with truth. Jesus told stories, but we call them "parables." They share truth even through stories of things that never happened. For many years I wrote a story every Christmas for the candlelight service. As I prepared for today a theme came up on the Internet on one of those idea seeds and I said- yep! The theme was a historical story in a woodworking shop with a scale.

As I started to write I saw this woodworking area that was part of the courtyard of an ancient house. It would be wrong to call it a “shop” as it was just a wide area on the side of the house. It was well arranged and, like the house, it had a good roof, as much for a place to sleep outside in summer as to keep out the sun and the winter rains.

Various tools of the time were scattered. We might recognize some of them- and wonder how anyone could do such fine work with such primitive tools. But have no fear, years of training, apprenticeship, and then hard work do work miracles. There was no workbench. That came much later in history. The Craftsman, and his sons, worked on the ground, bending, kneeling or sitting. Different projects at different stages of progress stood against the wall of the house or leaned against one of the poles that held up the roof. For one, the plow from their neighbor Avram had hit a stone too big to pass by. He would be repairing its gash. Door frames for the new doors for the synagogue were curing in the sun.

But what caught everyone’s attention when they stopped by was the smell of the fine cedar wood The Craftsman was using for his most important task in months. He was to build a new box for the synagogue. It was to be the place where the Torah scrolls were housed between the Sabbaths. In a couple hundred years these boxes would be known as “Arks” after the Holy of Holies at the Temple. In those days, though, the great Temple in Jerusalem was still the center of religious life and no one would even consider using that name for a mere local synagogue. Synagogues were not for worship as we know it- and as Jerusalem described it. The regular pilgrimages to the Temple provided the central rituals of sacrificial worship. Jerusalem was for true worship. Synagogues were more like schools. They were places to hear the Torah read and explained. At that time in history they were not much more than large rooms, maybe 30 feet by 30 feet. Benches sat along the walls with the local copy of the Torah- the five books of Moses- kept safely in a wooden box- brought out on the Sabbath when the community came together to hear and learn.

It wasn’t a large town. It sat on a hillside about 12 miles from the nearby Sea and surrounded by farming land. The 400 or so inhabitants were more like an extended family than a modern village. Humble, poor- and proud of their heritage, the new box for the scroll was a noteworthy addition after the old one had finally fallen apart. They had raised enough support to import this fine cedar wood from Lebanon. The Craftsman, the local woodworker, was chosen to make it instead of going to a nearby city where the care and respect wouldn’t have the same value attached to it.

The Craftsman’s two boys were most interested in that Torah chest. The expensive cedar showed that it was important- and holy. It was connected with the one God. The Shema, “Hear O Israel, the Lord our God, the Lord is One”, was the first creed of their faith; and those mighty words were on that scroll.

“Abba,” said the older son as he ran his fingers along the fine piece of cedar wood. “I know the Torah is from Moses; and Adonai, the Lord God, blessed be His Name, gave Moses the Aseret ha-D’varim.” (That’s the phrase the Torah uses to refer to what we call the Ten Commandments.)

“Yes, my son,” the father smiled. He enjoyed it when his sons showed interest in the Torah. They would grow into fine men of the faith. “As we heard from the Psalm last Sabbath, the words of ‘Adonai are more desirable than gold, yes, than much fine gold; sweeter also than honey and the drippings of the honeycomb…’ ”
“Why, then, Abba, are they called simply the ten d’varim and not the ten mitzvoth?” (In English d’vrim is translated “sayings” or “words”. Mitzvoth are “commandments.”)

“Are these ten, then, NOT mitzvoth, ten requirements like all the other 600 mitzvoth?”

The Craftsman paused a moment and walked over to the piece of wood his son was admiring and touched it gently. “You are wise, my son, to have figured that out. It is an important piece of wisdom.”

The boy beamed- as any child would when given such praise by their father.

“Does that mean they are not mitzvoth and we don’t have to obey them?” the younger boy asked. “Obeying them makes us righteous, doesn’t it, father?”

The Craftsman glanced beyond the courtyard to the hills outside the city. He was remembering one of his neighbors when he and their son were young.

“You know Miriam who lives up the hill over there,” he pointed. She and Yosef, may his memory be blessed, had a son my age. Yeshua. We spent a lot of time together. There was this one Passover when we all traveled to Jerusalem. On the way home we couldn’t find Yeshua. It turned out that he had simply been sitting in the Temple listening to the elders.” The Craftsman smiles and shakes his head remembering. “No one wanted to rebuke him for something as holy as that. All saw Yeshua’s joy at having spent that time there.”

The Craftsman’s son nodded, no doubt thinking, "Yes, Abba. Get on with it." He had heard the story many times. It was part of the folklore of their town.

“Yeshua was quiet at first as we finally headed home,” the Craftsman continued.

“About a day from home we passed by Samaria. I made some kind of childish comment about the Samaritans not being righteous people because they have a different Torah, not the real one like we do.

“Yeshua stopped and pulled me aside. ‘Oh, Baruch,’ he said, shaking his head sadly. ‘We are all part of the same people in the heart of Adonai, blessed be his name. The Torah is words. They give us a way to know what Abba Adonai wants us to do. But righteousness is not following laws. It is living and being open to the ways of the Lord God- in spirit more even than in word.’

“I was upset at what Yeshua was saying. I looked around to make sure that none of the adults heard him. ‘But how will Adonai know we are his people if we don’t follow his mitzvoth?’ I asked. ‘How can the people of God stay together if we lie to each other, steal from each other, are envious of what others have?’ ”

“Just then a young boy came running at us from the village we were passing. He was a little older than us- and was obviously a Samaritan- our people didn’t live near there. We could hear him crying for help. One of his sheep had strayed and was caught in a thicket. ‘Help me,’ he kept yelling. ‘My family needs that lamb.’ Yeshua started toward the boy. I called to him, urging him to stay away. ‘He is unclean, Yeshua. Our parents will be angry. We can’t go near him.’

“Yeshua ignored me. I was afraid- I didn’t want to become unclean. I stood there and watched as Yeshua went with the boy toward a bunch of branches. Together they worked and got the lamb out of the thicket. It was a little ragged, but it survived its ordeal.

“All I did was stand there,” said the Craftsman. “I stood and was afraid of Adonai because Yeshua had just broken a command. How would he be punished?” Baruch stopped talking and rubbed his hand gently across the cedar wood. He turned to see both his sons looking puzzled. They had never heard this part of the story before.

“What happened, Abba? Did Yeshua get punished?”

Baruch smiled. “No, my sons. We never told anyone. As I watched him that day I knew Yeshua was right- the joy on the Samaritan boy’s face was enough to convince me. Yeshua never questioned what he should do. He just went and did it., I learned that day that to be righteous is not in words or reciting mitzvoth. To be a righteous one is to do what is right to help another.”

“But Abba, some say Yeshua is not a righteous one. They say he leads people away from the Torah with wrong teachings. Remember last year when people chased him from town?”

The Craftsman did remember that painful Sabbath. “I don’t know about those things, my son, though I, too have heard people say that. Many do not like to have their beliefs tested or challenged. Especially about things like the Torah. I learned much from Yeshua when we were growing up. He was a good friend and showed great compassion. I even learned to love the words of the Torah even more because of him. He showed me that they are alive.”

His sons gave another confused look.

“Someday you will understand what that means,” the Craftsman smiled. “These words are priceless. When we say them out loud how many shekels could you pay to get them?”

“You can’t weigh them," the one son responded. "They are just, well, words”

“Correct. They are air and my scale over there couldn’t ever weigh them. There’s nothing there. But they are alive and real when we as the people of Adonai live them. To make them into dead laws kills them. They are far more important than that. They won’t get us into heaven, only the Holy One, blessed be his name, can do that. But he gave Moses these words so we can find the way.”

The Craftsman rubbed his hand across the cedar and smiled then held it out to the boys. “Smell this, my sons. One day soon this will be the fine smell of our Torah, absorbed into it and always there to smell. Then, when you smell cedar it will remind you to breathe in the wonder of these holy words.”

“I smell fresh bread. When’s lunch, Abba,” the younger boy piped in. “I’m tired and hot.”

The Craftsman laughed as he put his arms around the boys. “That, too, is a holy smell from the house. Let’s eat!”

 ~~~~~~~~~~~~~~~

[Note: I recorded the sermon on audio. I may put it together as a You Tube presentation. Will post it if I do.] 

All We are Saying...