Jason Mraz eulogizes love in new album | Reuters
Performing with Mona Tavakoli, to a captive audience of penguins. Jason Mraz Cathedral of Ice where I was married to amazement. "Love Someone" is a song by American singer-songwriter Jason Mraz. Jane ( Mai Bloomfield, Becky Gebhardt, Chaska Potter and Mona Tavakoli). . mall, to the party and then quizzes them on camera about their lives, failed relationships, . "Love Someone" is a song by American singer-songwriter Jason Mraz. Jane ( Mai Bloomfield, Becky Gebhardt, Chaska Potter and Mona Tavakoli). .. mall, to the party and then quizzes them on camera about their lives, failed relationships, .
What I was not prepared for was an incident that occurred while anchored at Palmer Station. I had just observed a large chunk of glacier crumble in a corner of the glassy harbor. The surface water rippled outward in the pattern of a Wi-Fi signal. Jason Mraz Cathedral of Ice where I was married to amazement. Oblivious to the weather and my loose articles, a gust of wind swirled around me, lifting a snack wrapper out of my pocket and tossing it into the air like a feather.
I was easily 7 stories above the water surface and my trash had just gone overboard. It was out of my reach.
Love Takes Action: Highway To The Discomfort Zone | HuffPost
I watched in silence and panic as a shiny green-foiled paper fluttered and glided away like a distorted paper airplane. It made an ugly water landing on the settling mirror, frozen like a booger on a pristine painting. I had just littered in Antarctica! Fortunately, my trash was so visible that it was quickly spotted and retrieved by an incoming zodiac raft returning from an expedition.
It was not easy, nor swift. But I love my job, and I love the environment, and I stand to protect both. So I leaned into the discomfort and shared my apology in hopes of inspiring others to secure all loose articles — to pack out what you pack in — to leave the world better than you found it. I learned from that experience exactly the kind of impact humans have on the planet.
And keeping it clean thus conserving for future generations is going to take action. What lies behind us and what lies before we are tiny matters compared to what lies within us. Ralph Waldo Emerson Picking up any trash, literal or figurative, requires kneeling, which is the international gesture for being humble. And every single one of us could use a daily dose of humility.
I try to look on the bright side. I think Mother Nature is behind the scenes serving us tough love. Long ago we stopped observing Her as sacred and started buying and selling natural resources. If you're a new artist, practice your art and share it. Set up shop somewhere, whether it's a street corner or a coffee shop. I got my start in a coffee shop that didn't even have live music. I wanted to play in coffee shops that did have live music, but I didn't have an audience.
I didn't really have anything to offer those coffee shops, so I went down the street to a place that didn't have live music and I said, "Hey, can I bring some speakers and some music on Friday night?
Jason Mraz eulogizes love in new album
You couldn't even get in. That's what I try to encourage artists to do, make a home for yourself where it's easy for the community to find you and by playing often you'll improve as a writer, as a performer, and you'll develop a loyal fan base. I think these days, new artists have a tendency to try to cut corners.
Maybe they want a Kickstarter campaign and have an audience pay for their album. Well, you can also go out there and play enough gigs and earn money for that album and the music will probably be better and your listener will probably be stronger because you've actually spent more time on the road and in the venues. I think it's important to earn your fan base and not just try to immediately advance to the top.
If you ride to the top quickly, you're liable to fall as quickly. It's a long journey ahead of you as an artist.
There's nowhere that you're supposed to be other than right now living inside of your art. We agreed that a record of all original songs was something that has been long overdue.
When James sang me his idea for 'Different Shades Of Blue,' I thought the title was perfect, especially for the type of artist I am, and for the type of album we were writing. It says it all. At least it does for me. I hope everyone enjoys it. I think it's your most personal one yet. No doubt about it! You mention family members, your relation to God, Hurricane Katrina What motivated you to put a project together in this way?
I think the motivation stems mostly from my record label releasing me from the strictures that were in place with previous record deals. When you're on a major label like Island Def Jam or Atlantic, there can be a lot of pressure to perform and to put out a product that is going to be successful commercially whereas Vanguard told me not to worry much about radio and just to go make a record that I wanted to make. That's why the record sounds the way it does.
Although the production gets intimate, there are also rockers on the album and some other big production numbers. I feel like it's the caliber of the lyrics that really unify A Life Worth Living the most.
I do a lot of co-writing, I've always done that for my records and this was no exception. But I wrote with a bunch of different writers. For the past several records, I stuck with a similar stable of writers. This is no knock on them, but being put in situations with new writers opened me up to a different process in a sort of way. Most important was my desire to be brutally honest whenever possible.
That stems from hearing a particular song by a particular artist named Blake Mills. The blatant honesty that was on display in that song was jarring. It made me realize that I had avoided being as honest as that for fear of offending my wife's sensibilities for a long, long time. As noble as that may be, it definitely prevented me from connecting with the lyric in a way that I really desired to deeply.
So that song moved you into wanting to go to that level of revelation? It moved me so much that I had a talk with my wife and said, "Look, babe, this is going to be a different record. This is going to be some heartache and some heartbreak and I don't want you to focus on the words of the song, I want you to focus on how we are together and then just let me as an artist get this stuff off my chest. It helps that some of the heartache that's on this record isn't about her.
For instance, "A Life Worth Living," the title track, is a song about my grandmother passing away.
Someone's in Love
Even "Hurricane Heart" sounds like it's about a relationship. But truthfully, it's about a male friend of mine I had a falling out with. Sometimes the brotherly bond is a harder one to wrangle with.
No doubt about it. In love as I am with my wife, and in love as I am with my life, I felt really compelled to dig a little deeper into the nitty-gritty that I had been avoiding for so long. When she finally heard the album, were there any moments of wincing?
I think she's been well aware of this process from jump, so she never questioned me. She really gave me the freedom to do this thing. I'm guessing it was a cathartic process creating this project? One of the first songs I wrote for this record is called "Honesty.
I'll do it right on the spot while she wants to wrap her head around things first. That song really set the tone for the rest of the process. I tried to write that song with several different writers I work with and finally when I met Paul Moak who produced the record, we sat down and wrote that song. Not only did I know that it was the right mood and the right tone for the album but I knew that Paul was going to be producing the record from that point on.
What does this do for your future as far as how you're creating music? Was this a game changer? I think it is. Personally, I feel very strongly that this record put my best foot forward. This is my sixth studio album and I think that the writing speaks for itself. The production speaks for itself, and I'm looking forward to the next album, I really am. But I'm focused on this album right now.
Every project is quite different. Who knows who I'll be next year or what I'll learn by the time I get back in the studio for the next project. All I can do as an artist and as a writer is take those experiences and help inform the writing process. This is not meant to be rude, but these new performances seem night and day compared to anything you've done before, except, of course, "Home. I tend to agree with that simply because the previous albums were an attempt to do something that I knew I could accomplish technically.
However, connecting to the lyrics of the previous records is not the easiest thing to do, especially a song like "Hard Knocks" from Keep Coming Back. There are certain songs that I've written and recorded along the way that I really had no business singing at the end of the day because I didn't have those experiences growing up.
I was raised by a middle class family in a small town outside of Lafeyette, Louisiana.
I had lots of really poor black friends growing up, but I never lived through that. My parents are still together after forty years. My family is blessed in a lot of ways. I think most important was that I sought out at the beginning of this recording process to be really honest and true to myself. Classic rock and guys like The Black Crowes and the Foo Fighters are having more of an impact on me musically these days than ever before, as well as guys like Blake Mills who I've only recently discovered.
Blake's album was a big influence on this record. HIs writing was the watermark, if you will. Was there any song on this album that was difficult for you to write or perform? Both the song about my grandmother and the song about my friend were extremely emotional experiences, mostly because I felt more like a conduit than a writer of those songs. I wrote both of those songs on my own. The lyrics really weren't coming to me, they weren't divined from within myself, they were grabbed from somewhere else.
That process can be really difficult, not because you want to do the song justice, but because you realize that once you surrender yourself and allow that next lyric to come in, you realize how devastating it's going to be, emotionally, for yourself.
Surrendering to that process is a very emotional, very difficult process. And I'm going to throw "Home" out there again because I feel like that came closest to the emotion of your new recordings. Once again, this whole record was about connecting with the lyric. I had a producer, the first producer I ever worked with, Marshall Altman, during the records we made together would constantly tell me, "Sing the lyric, sing the lyric" and I never really understood what he meant by that until this project.
What it means is connect with the lyric, understand the words that you're saying and try your damnedest to mean them. Actors are trained to do this on a regular basis, they're trained to get into that character. When you finish writing a song, that day, it's really easy to connect with the lyric.
So often I have to go back and listen to demos and try to find that character again. This whole record was really focused on connecting with those lyrics and making sure that I was in the right headspace to sing every one of those songs. Speaking of headspace, perhaps your unconscious was nudging you into writing these lyrics. It was different in so many ways. Every record after my very first independent release I had hundreds of thousands of dollars at my disposal to record records, whereas with this project, we had a shoestring budget, but we were highly motivated.
Everybody involved felt really strongly about the material we chose to record. It was a really easy process in that regard, things came together pretty quickly over the recording phase. We built the tracks from the ground up for the first half of the record, the vibe-y stuff like "Honesty" and several other songs.