“Stars twinkle until they wrinkle.” —Victor Mature
That was well over 20 years ago. Since then I’ve weathered many career ups and downs, working both with and without the support of managers, agents, publicists and investors.
Although I’m now a far better musician, I can definitely confirm that the accolades are much harder-won after middle age. Youth isn’t the only thing that’s wasted on the young.
I’ve learned that good fortune is evanescent, and fame, like the TV show, is fleeting. Our desire to to be known is really just the struggle to be seen. When we chase respect or renown, deep down what we really want is love.
I once heard an interview with veteran actor Sidney Poitier, in which he was asked what it’s like to be famous. “People don’t really know the man so much as the name,” he replied.
Sidney Poitier is an actor, director, producer, author, humanitarian and recipient of the Presidential Medal of Freedom
He went on to describe a recent experience at a cafe. After taking his coffee order at the counter, the barista, an attractive young woman with piercings and tattoos, hands Poitier a cardboard voucher. “Have a seat and I’ll let you know when it’s ready,” she says.
A few minutes later she calls out his name. “Sidney Poitier? Macchiato for Sidney Poitier.” Poitier approaches the counter and hands her the chit, pleased to have been recognized. She looks at it and frowns.
“No, no, you’re Joan of Arc ... see?” She points to the name scrawled in black magic marker on the small piece of cardboard.
“Sidney Poitier!” she calls again over his shoulder.
“That’s mine,” says an Asian-American gentleman in the back of the room, handing her his chit as he approaches the counter.
Don’t you love it?
Indeed, people don’t really know the man so much as the name.
Not only that -- sometimes they don’t even know the name!
Case in point, here’s a cafe story of my own:
Not that long ago I was performing in New Mexico, one of my favorite southwest touring hubs. Following successful shows in Albuquerque and Santa Fe, I arrived in Taos, a small mountain village with a population of about 5,000. I got to town early as was my custom; the rest of my band would arrive just before soundcheck.
Holly Pyle and Dmitri Matheny at The Outpost (Albuquerque NM) photo by Joseph Berg
Upon checking in at the hotel, I went out in search of coffee and found the perfect spot. I settled into a corner table with my book and a cup of dark, rich, aromatic happiness.
“First time in Taos?” the barista asked.
“Why, do I look like a tourist?” I laughed.
“I just happen to know most of the other folks in here,” she explained.
“No, I love Taos. Been here many times,” I said.
“Have you heard about the big concert tonight?” she asked. “Everybody’s going.”
Not the groovy David Bowie ear worm. The other one:
Fame! I’m gonna live forever I’m gonna learn how to fly High! I feel it coming together People will see me and cry Fame! I’m gonna make it to heaven Light up the sky like a flame Fame! I’m gonna live forever Baby remember my name
Remember?
“Fame” was a major showbiz anthem of the ‘80s, a big hit for Irene Cara, and the titular theme song of a popular movie and television series.
I watched Fame every Thursday night. I had no idea whether New York’s High School for the Performing Arts was real or fictional, but the premise of a special school for talented teens? Seemed pretty magical to me. To this day, when I hear that song I can’t help but sing along.
Lori Singer as "Julie" in Fame
My school in Arizona couldn’t have been less like Fame. Nobody at Canyon del Oro was gonna “learn how to fly” or “live forever,” least of all some skinny little pep band trumpeter with delusions of grandeur.
I could really see myself thriving, however, in a place like that Fame school. It wasn’t the bright lights of New York City that attracted me so much as the notion of being among my own kind.
How glorious it would be to collaborate every day with other young creatives! Learning from experts, making music together, attending plays and exhibits, talking about art! I just knew I could find friends in a place like that, and maybe even meet a girl like Julie, the gorgeous but shy cellist/dancer on Fame (huge crush).
So when the opportunity came along for me to transfer to a private, arts-centered boarding school, I didn’t hesitate.
Interlochen Center for the Arts (Interlochen MI), home of Interlochen Arts Academy and National Music Camp; Inset: pep band trumpeter with delusions of grandeur
Interlochen Arts Academy was everything I’d dreamed of, a community of misfits and eccentrics, just like me. For the first time, I was living among kindred spirits my own age: painters, sculptors, actors, dancers, writers, musicians. I was home.
Like LaGuardia High School, on which the Fame school was based, Interlochen emphasizes both arts and academics, attracting students from all over the world to prepare for higher education while training for careers in the arts. But unlike LaGuardia, which is situated in the heart of Manhattan’s upper west side near Juilliard and Lincoln Center, the Interlochen campus in located in a rural Michigan pine forest between two lakes.
The secluded setting made my experience at Interlochen feel more like living in an artist colony than a boarding school. The year-round Interlochen Arts Academy had grown out of the prestigious summer National Music Camp, utilizing many of the same rustic cabins, classrooms and dormitories.
I staked out my practice spot early on: the boiler room in the basement of our residence hall. Each morning I would take my horn down there to warm up with long tones and scales before the school day began.
I loved that cozy little bunker more than all the grand stages and recital halls on campus. It was my sanctuary. When I returned to IAA many years later as a visiting artist and clinician, that room was the first place I asked to see. Although the building had been renamed, I was gratified to find that my little boiler room had not changed a bit.
Interlochen is where it all began for me, no joke. It’s where I learned the discipline required to build a life in the arts, and how rewarding the artist’s life can be.
Top: IAA Jazz Combos, DM front, second from left; Middle: performing with IAA Studio Orchestra, Corson Auditorium; Bottom: Stud Orch rehearsal, DM rear left
“You've got big dreams. You want fame? Well, fame costs. And right here is where you start paying: in sweat.” —Lydia Grant, Fame
Interlochen taught me to work hard and stay humble, an ethos that would inform nearly all my future life choices.
It’s where I came to understand the artist's vaunted, leadership role in society, the public expectation to fulfill one's calling, and the private responsibility to develop one's capabilities -- not necessarily in the pursuit of fame -- but toward the creation of something meaningful and lasting.
The pressure to succeed in our lives and careers was explicit. Students who published a poem or won a concerto competition were celebrated by the entire student body. Those elite few who were named Presidential Scholars In The Arts were treated as mini-celebrities, with a pomp normally reserved for football team captains and homecoming royalty back home in the Lonesome Desert. A day did not pass without someone “sounding the call,” enjoining the Gifted Youth to get it together, buckle down, and level up.
I recall walking to class through the Concourse, a long hall of glass display cases, where the photos and accomplishments of notable Academy graduates were displayed. Seeing all their awards and accolades, knowing that these extraordinary young women and men -- now making waves in Hollywood, Chicago, the capitals of Europe -- had started their journeys in this very place? Inspiring! Intimidating, too.
If there is an Interlochen Doctrine, it is the notion of artistic talent as both a precious gift and a sacred responsibility.
“What will you contribute?” asked one of our teachers from the stage of Kresge Auditorium, the pledge Dedicated To The Promotion Of World Friendship Through The Universal Language Of The Arts adorning the wall behind her.
“What will you create for posterity?” she challenged us. “History remembers the artists and the conquerors, creators and destroyers. You are creators! Tomorrow’s leaders. So make your lives count! We’re counting on you.”
That kind of ideological rhetoric, grandiose as it was, really resonated with me.
I've never worked harder or had more fun than I did at Interlochen. I'm grateful to have made several lifelong friends there, too, including my mentor and jazz professor, bassist Tom Knific, now a dear colleague and frequent collaborator.
And yes, I even got to know a “Julie” or two ... but that’s a story for another time.
the smell of the rain the sound of the train my dog by the fire home again
As a boy in rural Tennessee, Billy Matheny slept in an attic bedroom, the slanted ceiling only a few inches above his bed. The Matheny house had a tin roof that sang when it rained, and the sound of raindrops would serenade young Billy to sleep. So Billy treasured the rain. And when he grew up, he passed that treasure along to his own son like a beloved family heirloom.
The rainstorms in Georgia were magnificent.
At the first thunderclap, Daddy Bill would throw open all the doors and windows of our little apartment, so we could enjoy the breeze and wait for the rain. If I close my eyes, I can still see him, puffing his pipe in that wingback chair, his legs crossed casually, unlaced hushpuppies hanging off the ends of his narrow naked feet.
Sometimes there would be soft music playing on the turntable -- James Taylor perhaps, or Miles Davis -- but usually we would just sit and listen to the rain as it came down out of the clouds, into the pines, and onto the red clay just outside our open door.
I remember hearing the peaceful, percussive patter of raindrops on the kudzu, accompanied by the low rumble of distant thunder. The aroma of Daddy Bill’s cherry blend tobacco. The fresh scent of damp earth. A sensory symphony of sounds and smells.
As the storm grew more intense, Daddy Bill would cheer the crescendo, appreciating nature’s performance.
Then he’d look over at me with twinkly eyes and say, “Welp, it’s really coming down out there, Little Bub. Let’s go for a walk.”
And just like that we would venture out into the storm, splashing along the sidewalk together. No umbrellas. No slickers or galoshes. Just the two of us, man and boy, in our street clothes, soaking wet and laughing. The neighbors must have thought we were out of our minds.
Dad and I moved from Georgia to Arizona in the summer of 1977, just in time for monsoon season.
The Arizona heat was exactly as advertised -- damn near unbearable -- but those dramatic summer storms were something else. They cleansed the land, revitalized flora and fauna, and replenished our spirits.
We knew that rain-walking would be a bad idea in the Sonoran Desert around Tucson. The topography is flat, vegetation is sparse and low to the ground, and lightning routinely strikes anything vertical.
No matter. We were thrilled to appreciate the monsoons from the safety of our screened-in patio -- an exhilarating, fully immersive experience.
The rain would pour down all at once in a heavy torrent, punctuated by brilliant flashes of crackling electricity that filled the sky, turning the saguaro cacti into stark silhouettes. The river beds filled up and overflowed their banks, flooding the roadways. Sheets of rainwater pelted our windows relentlessly. Peals of thunder rattled the adobe walls.
It was glorious.
Over the years, no matter where I happened to live or travel, the rain has remained a loyal friend.
At Interlochen I would sit on the dock and watch raindrops dance on the surface of Green Lake. In San Francisco, where I lived for 20 years, it wasn't uncommon for the entire month of January to be wet. Even in Boston’s Back Bay, where winter weather vexed my college years, thunder showers were a rare gift. I would sit at the Trident Bookstore Cafe, writing letters, drinking coffee and daydreaming as stormy skies benevolently baptized the red bricks of Newbury Street.
Rainy weather has been my welcome companion on the road, throughout the Americas, and around the world. Whether gentle or tumultuous, her arrival always feels like a personal message of support from the universe, assuring me that everything is going to be just fine.
Here in Washington State, where I now live with my girlfriend Sassy and our dog Scout, I have fully embraced my birthright as an avowed pluviophile! We receive about 73 inches of rainfall annually -- nearly twice the national average -- yet folks here seldom carry an umbrella. In the Pacific Northwest, rain is simply a fact of life.
Now when I go storm-strolling with Scout, the neighbors don’t even bat an eye. They just wave to us as we splash along happily from puddle to puddle.
Last month, we lost my father to Parkinson’s Disease. I miss him terribly, but I also feel an overwhelming sense of gratitude for everything he was and will remain, in memory. Among his many life lessons, Daddy Bill taught me to love the rain.
Shortly before he died, I received a surprise early birthday gift from Sass: my very own tin Rain Roof, professionally installed, affixed to the awning over my bedroom window.
Such a thoughtful gift. What a tribute! What a solace!
No one knows what the future may bring, but at least for tonight, all will be well.
Tonight the rain will come, and she will sing us a lullaby.
William Douglas Matheny, 84, died December 19, 2020 in Tucson, Arizona.
He was born October 24, 1936 in Nashville, Tennessee, the eldest son of William Ewing Matheny and Gladys Ella Bruce Capley Matheny.
Bill attended Columbia High School in Columbia, Tennessee, where he distinguished himself as an honor student and a champion amateur boxer in the regional Golden Gloves competition.
He majored in English and History at Belmont College (Nashville, Tennessee), earning his Bachelor of Arts in 1960 prior to studying Russian Language at Syracuse University (Syracuse, New York). He earned a Master of Arts In Teaching with an emphasis in Russian Studies from Vanderbilt University (Nashville, Tennessee) in 1971.
Matheny served in the United States Air Force Security Service from 1961-63, and worked as a buyer for Castner-Knott Department Stores from 1963-70 before beginning his career as a schoolteacher.
From 1971-78, Matheny served as Chair of the English Department for Brookstone School, a private college preparatory academy in Columbus, Georgia, where he taught English, Russian Humanities, Ornithology and Social Studies. A member of the prestigious Cum Laude Society, he was much beloved by his students, and was awarded the Columbus Chamber of Commerce “Star Teacher” award in 1977.
Matheny relocated to Arizona in the summer of 1977, where he worked briefly in the Marana School District before becoming head of the history department at Green Fields Country Day School from 1980-89. In 1989, he helped to organize and lead a Green Fields student/teacher exchange trip abroad to Kiev, Ukraine.
Bill was known for his intelligence, relaxed, southern charm, and curiosity about the natural world. An amateur poet, avid birder and accomplished naturalist, Matheny traveled extensively throughout North America admiring flora and fauna. He contributed to several annual bird counts for the National Audubon Society, and published the first official birding checklist for Graham County, Arizona.
Throughout his life, Matheny generously shared his love of nature with others, inspiring many of his students, friends and family members to develop their own deep appreciation for the natural world. This is his great and lasting legacy.
Bill is survived by his companion Nedra, his son Dmitri, stepdaughters Janice and Brenda, and his siblings, Jim, Maxine, Pat, Debbie and Dawn.
In keeping with his wishes, there will be no funeral or memorial services.
Those who wish to celebrate his life may make a donation in his memory to any cause or charity they choose to support.
In Bill’s own words: “Look around. If you see someone in need, please try to help that person.”
Writing a new Big Band composition for the South Mountain Jazz Orchestra. AZ friends, hope you can join us for the Phoenix premiere on Friday, February 27.
Arizona friends, join us for the AZ premiere of THE SNOWCAT, a special family show with matinée performances Saturday, December 6 at ASU Kerr Cultural Center Scottsdale and Saturday, December 13 at Chandler Center for the Arts.
“In this spellbinding performance,” raves Town & Country, “Dmitri Matheny and his band weave a magical, musical tale of a little girl searching for her missing white cat on a chilly afternoon. The SnowCat reveals the spirit of sharing and gratitude that makes the holiday season such a wonderful time of year.”
Created especially for children and family audiences, The SnowCat combines storytelling, singing, visual art and live music in a variety of styles, including jazz, blues, jump swing, funk, calypso, samba, tango and R&B. Don't miss it!
Dmitri Matheny's THE SNOWCAT is inspired by the ancient Asian parable of The Oxherder, in which a herdboy's quest to find his missing ox is likened to an individual's journey through life.
With origins in India, the parable became popular in medieval Japan and was depicted on 13th century handscrolls as the 'Ten Bulls' or 'Ten Oxherding Pictures.'
The scrolls traditionally divide the hero's journey into ten stages, each accompanied by a circularly framed image and a simple verse.
Rendered in the graphic style of Japanese narrative illustration, the story is as accessible and visually compelling as a modern comic book.
As in the ancient parable, the hero of THE SNOWCAT finds her companion and returns home to appreciate the beauty of nature, play music and have fun with friends.
She maintains hope, optimism and determination in the face of adversity, discovers the gentle power of sitting quietly, and embodies the spirit of sharing and gratitude that makes the holidays such a magical time.
Join us for the Arizona premiere of Dmitri Matheny's THE SNOWCAT A cool cat tale for the whole family
Holly Pyle vocals Dmitri Matheny flugelhorn/storyteller Andrew Gross saxophones Nick Manson keyboard T-Bone Sistrunk bass Dom Moio drums
“In this spellbinding performance, jazz flugelhornist and composer Dmitri Matheny and his band weave a magical, musical tale of a little girl searching for her missing white cat on a chilly afternoon. Based on a medieval Japanese parable, The SnowCat reveals the spirit of sharing and gratitude that makes the holiday season such a wonderful time of year.” —Town & Country
Added SAGEBRUSH REBELLION, my tenth CD as a leader, to The Wall today. What a satisfying feeling! Thank you, Ballyard Design, for the beautiful cover art!
Hey Kids! Bring your whole family to The Arizona premiere of Dmitri Matheny's THE SNOWCAT December 6 @ ASU Kerr Center for the Arts Scottsdale December 13 @ Chandler Center for the Arts
I'm delighted to announce that my new album Sagebrush Rebellion is now available for pre-order at www.DmitriMatheny.com.
The album will be officially released August 9 to iTunes, CD Baby, Amazon, radio and retail on the BluePort Jazz/Papillon Recordings label. We're staging CD Release Celebration shows in key markets around the country this fall.
In the meantime, for my friends and fans who pre-order now: you'll immediately receive an advance digital download of all tracks, plus free shipping throughout the continental US as soon as the CD arrives from the factory.
The CD features a terrific west coast rhythm section—Nick Manson, Justin Grinnell and Duncan Moore—and a great mix of music, including some new originals, classics by Johnny Burke and Duke Ellington, and favorite songs by Charlie Haden, Steve Swallow and Nat Adderley.
Jim Merod, a close friend of my mentor Art Farmer and the director of BluePort Jazz, says, "This is one of my favorite recordings...I hope listeners enjoy the depth and delicacy of these songs crafted with Dmitri’s flugelhorn mastery."
I can't wait to hear what you think of our album. Check it out here.
PRE-ORDER SAGEBRUSH REBELLION For Immediate Download & Free Shipping
I'm delighted to announce that my new album Sagebrush Rebellion is now available for pre-order here.
The album will be officially released August 9 (to iTunes, CD Baby, Amazon, radio and retail) on the BluePort Jazz/Papillon Recordings label. We're staging CD Release Celebration shows in key markets around the country this fall.
In the meantime, for my friends and fans who pre-order now: you'll immediately receive an advance digital download of all tracks, plus free shipping throughout the continental US as soon as the CD arrives from the factory.
The CD features a terrific west coast rhythm section—Nick Manson, Justin Grinnell and Duncan Moore—and a great mix of music, including some new originals, classics by Johnny Burke and Duke Ellington, and favorite songs by Charlie Haden, Steve Swallow and Nat Adderley.
Jim Merod, a close friend of my mentor Art Farmer and the director of BluePort Jazz, says, "This is one of my favorite recordings...I hope listeners enjoy the depth and delicacy of these songs crafted with Dmitri’s flugelhorn mastery."
I can't wait to hear what you think of our album. Here's the link.