Triforium

What this town needs is more Triforiums. Lots more. With more drunks for the harmonies. Though I don’t know if the Triforium still makes music. I know it’s still there. In World War 2 they would have torn it down and made a couple tanks. Come to think of it, they might have broken up a couple tanks to make the Triforium. Yet it means something, the Triforium does, it symbolizes the interdependence of the three branches of government. That’s what the artist told City Hall. No, I can’t see it either. I just see this big poly-phonoptic thing. That’s what the artist called it, poly-phonoptic. Google never heard of it either. I have no idea what it means. But the Triforium has been poly-phonopticizing downtown Los Angeles since 1975. Is it art yet? Nobody seems to think so, but the damn thing is too expensive to tear down. I mean it’s worthless, but worthless is cheaper than tearing it down, and its negative worth makes it an asset. So it stands and chimes. If it still chimes. I think it does, at least sometimes. It used to chime all the time. Back in the early eighties it certainly did, down there amid the wreckage of the seventies, and I remember stoned and frozen nights walking back from the Brave Dog and the air rang with electro-chimed christmas carols and the keening of winos and I’d stop and listen and it was all so fucked up. Ah, nostalgia.

A bold, confident statement that expresses man's faith in the future or three wishbones in search of a turkey.

At night it lights up.

Ollie Halsall

(written 3/14/2015)

My pal John Altman just pointed out that today would have been Ollie Halsall’s 66th birthday. Alas, he barely made it into middle age. The usual things. But I did manage to see him one night at the Whiskey with John Otway, opening for the incredible Pere Ubu. It was 1979, I think. A duo–an unusual format at the time–pairing an utterly mad singer with an utterly mad guitar player. Now I knew John Otway’s name somehow–he used to pop up in the pages of Zig Zag, looking mad–but I had no idea who the guitar player was at all. Ollie somebody. They certainly put on a berserk show. At one point Otway hurt himself somehow–he was already bleeding from a split lip where the mic had bashed him, when some kind of backflip ended badly and he was prostrate momentarily, then staggering around out of sorts and it just seemed to drive accompanist Ollie to new heights. Crazed virtuosity. Wild eyed, fingers a blur, rule book out the window. Some people thrive on anarchy, and those were anarchic times. Certainly made an impression on me, especially right at the front of the stage as I was. It was years before I found out who he was. I was telling a friend about this incredible guitar player I’d seen with John Otway. He said that was Ollie Halsall. Didn’t ring a bell. So he gave me a mix tape that included a Patto tune. Loud Green Song. Jazzy prog guys doing proto-grunge or something. Whatever, it was more crazy playing. I wore the cassette out. I mentioned the cassette to another friend. You have to hear Patto, I said. He remembered Patto. Not his thing. But he gave me a custom made Patto tee shirt for my 40th birthday. I still have it. It’s several sizes too small (I stopped wearing large when I was in grade school, I think) so it is still in perfect shape. A one of a kind Patto tee shirt in mint condition. Probably worth a zillion dollars on Ebay. Maybe two zillion. John Altman snuck me into the one time ever Rutles reunion gig at the Pig and Whistle (open bar!) and I told Patto/Rutles drummer John Halsey about the shirt. He looked at me like I was an idiot. Drummers can tell these things.

Ollie Halsall New-York-1980

Ollie Halsall in 1980.

Allen Ginsberg’s Howl by Allen Ruppersberg

I stood in the room I thought alone reading the phoneticized lines aloud….I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix….and I realized two small ladies were standing in the corner, staring at me. I continued, louder. Angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness…. The ladies fled.

Howl still works, apparently.

Allen Ginsberg's Howl by Allen Ruppersberg.

Allen Ginsberg’s Howl by Allen Ruppersberg at the Skirball Museum.

Clarinet

I knew a guy that learned to play the clarinet, got married eight times, and lived forever, almost.  But was he happy? If he’d played bassoon, it would be moot. If he’d played the trumpet, it would be mute, at least on the ballads. The lesson is you don’t sleep with Ava Gardner playing the bassoon. Not at the same time, anyway. And if that’s what makes you happy, be my guest, learn to play the clarinet. You’ll never make a living at it, but then you don’t make a living writing either. But at least writing doesn’t bother the neighbors. Continue reading

Charlie Parker

I just saw this picture of Charlie Parker on Facebook:

Charlie Parker.

Charlie Parker’s funeral.

He’s in the box. I see Leonard Feather there, a pall bearer. Charlie Mingus watches from the church door. That was the day they buried Charlie Parker.

Charlie Parker. The man that changed everything in jazz. Everything. There was jazz. Then there was Charlie Parker. And then there was a new jazz. All the jazz before Charlie Parker was rendered obsolescent, unless it could deal with Charlie Parker. The “Now’s the Time” that’s playing here, in my room? It was war. Revolution. A scythe. Either you played it like Bird played it, or you settled into the big band circuit.  There you become instant history, you were nostalgia. Now was the time and you weren’t from Now. You were Then. Rarely does a cultural change happen with such annihilating suddenness. Charlie Parker was the Revolution brought to music, as merciless as Lenin. Continue reading

On the Sunny Side of the Street

It happened again. I’m listening over and over to Dizzy Gillespie’s incredible take on Sunny Side of the Street. Sonny Stitt takes the first solo, then Diz, and then Sonny Rollins, copping his lines from Louis Armstrong’s classic solo on his thirties take on the tune. Listen and you can almost hear Louis’s bluesy trumpet…this is one of my favorite Sonny Rollins solos. Then comes the best part — Dizzy’s perfect vocal. When I sing this song to myself hoping no one can hear, it’s this one I try and sing. Hell, it even taught me how to write about jazz. If ya wanna write about jazz, I told myself, ya gotta write in jazz. Otherwise you’re just another rock critic. So I tried to write like Dizzy talks/sings the lyric here. His phrasing, his timing, the punctuation he drops like bombs bouncing off a bass drum. Because this is the shit, man. This is jazz, this is bebop, this is the attitude, this is a whole fucked up old world opening up wide and you walk right on through, doing your own thing. And that, people, is what makes cool so cool…the gold dust at your feet (a metaphorical gold dust, but gold dust none the less) and you’re on the sunny, not the shady, but the sunny side of the street.

If you can dig that..

“On The Sunny Side of The Street”
Dizzy Gillespie trumpet, Sonny Stitt and Sonny Rollins saxes, Ray Bryant piano, Tommy Bryant bass, Charlie Parsip drums. Recorded in NYC, December 19, 1957.

Sonny Side Up

Sonny Side Up

Mostly White People Miles Davis

I keep seeing stuff about Mostly Other People Do the Killing’s Kind of Blue and I keep thinking Australian Pink Floyd, who’ve made their own killing playing Dark Side of the Moon note for note for people who really ought to know better. Maybe this is the same thing. They’re much better musicians the Australian Pink Floyd (saxophonist Jon Irabagon is an especially fine player), and their Kind of Blue is more Kind of Blue than the Australian Pink Floyd’s Dark Side of the Moon is Dark Side of the Moon, but we’re talking textures here. Both have all the notes right. And that’s what people are looking for, the notes. And that could be a lot of people. They really could make a killing at this. Mostly White People Miles Davis playing Kind of Blue, just like the album. At the Wiltern before you know it. Continue reading

Sometimes words work

So we watched an inspired, passionate Phil Ranelin set at the Watts Towers Jazz Festival on Sunday; it swept the crowd despite the amateur antics of the sound guy. Wonderful stuff. Pablo Calogero does amazing things on the soprano sax without ever venturing into the overwrought preciousness that afflicts that horn. What a wonderful player. Phil’s trombone playing is like expressionist watercolors, gorgeous and imaginative and just a tad out, and the alto player whose name escapes me was superb as well, just a hint of dry, a fine soloist. Don Littleton was on drums, good as always and smiling as the bassist nailed it over and over…I’m afraid I wasn’t being a journalist–been avoiding it–and got neither his name nor the pianist’s. The soundman somehow lost all power to the PA halfway through the set so the horn players had to really belt there for a stretch, it worked. Eventually the mics came back on (though the soundman didn’t seem to tell the musicians…who had to figure out which were live and which dead all by themselves….)  Then we headed way the hell out to Altadena for a BBQ and ran into Winston Byrd in the local Ralphs. He was shopping, not blowing high notes on the trumpet–that would have woken up the customers–but jazz, apparently, is everywhere. Or jazz musicians are everywhere.

As are words. Kamau Daooud was the emcee, if he read any of his own superb stuff (“each morning i read the newspaper/ and weep into a pot of coffee/ i muffle my whispered screaming/ with the music of the masters/ i find religion there/ rocking in ecstasy/ to the heartbeats of loved ones”) I missed it. (Look for The Language of Saxophones. I treasure my signed copy.) But I did have my mind blown by a poet at Watts, which doesn’t happen often. Continue reading

Jay’s Jayburger

Jay’s, man, how could I forget? It was at Virgil and Santa Monica, across the street from the 7-11 where you’d see crack sold in the open out front (the 7-11 nearby at Normandie and Sunset had ass sold in the open out front), and then on the other corner back a bit was the Garage, the club of the moment. Used to be a bar for the LACC profs, the name of which escapes me, and then a bathhouse called the Bunkhouse–you could still see where the baths had been–but all those guys died and it eventually became a rock’n’roll bar. There’d always be some shit band on the bill somewhere and while they were playing me and the Pope (aka Greg, but known to all as the Pope) would suddenly get the munchies and split across the street for the eats. I always got a burger and two milks, which the Pope found funny. (Milk? Really? A big guy like you?) He got two burgers and a soda. If Fyl was there she got her burger without chile, but everyone else got the chile. Better than Tommy’s, we’d say. Everybody said that. Jonathan Gold said that. It was an old school burger joint with seats on the outside and there was a bit of a gang war going on in the neighborhood and at least once the place was swept with bullets, so you kept an eye out for slow moving cars full of evil types. But then you did that anywhere in LA back then, it was Murder City USA for a few years. Hard to imagine that now.

It’s also hard to imagine a Jay’s now…hamburgers are hip things, upscale, odd.  And the neighborhood is too, mostly. Hard to gangbang when all your neighbors are lawyers and actresses. Sometimes the neighborhood is so safe I feel alienated. I’m not, really, but nostalgia softens edges and bodies in the street become less dead and more just a thing blocking your way to the Coconut Teaszer. (Though it’s harder to forget the hot air leaking out of the bullet hole in the skull into the chilly night air.) But that was in Hollywood, and Jay’s was in Virgil Village, or used to be, it’s all Silver Lake now. Not even Silverlake, but Silver Lake. Two words, as if that upper case L gave it class. I suppose it does, if that’s your thing.

Jay’s went under a long time ago, way back before the recession, when the landlord had some demented idea for a ghastly mini mall. Ugly thing it is, with what used to be Jay’s now a taqueria. The 7-11 is nice now, clean, crack free. The Garage is now a way hip bar the name of which escapes me…sometimes you’ll see nice young people in line outside, waiting to get in. Kids are so nice anymore, so polite. They just had their burger–without chile, sometimes without even meat–at Umami over on Sunset, which is fine. A nice place, tasty, but no Jay’s Jayburger, chile squeezing out from under the bun, a couple hotter than hell peppers, and a milk to settle it all down with. I drive home now late from some jazz spot and sit inevitably at the light there at Virgil and Santa Monica and remember the taste of the burger, the tough guy talk, the laughs, the music loud as hell at the Garage. Scenes are so alive at one point, so vital, it’s like they’ll never end. But they do, with a whimper, never a bang, like they never were. It’s always been like that, and always will be. When all us old geezers gather round some cheap beer we tell tales of those times, a lot of them funny, some even true. None of them important, really, but we tell them anyway, and sometimes I write them down, like this, which makes them history, sort of. I never tell anyone that I’ve written them down, though. Because memories are fun, but being history hurts.

Thirty years ago

Black Flag at The Palladium way back when.

Black Flag at The Palladium in faraway times.

I remember that night. They wouldn’t let us in. Even with our tickets. I guess they thought there was gonna be a riot. Which there was, later. We weren’t in it, though. We were over at the Firefly on Vine, where my wife punched a dude out. Sent him flying. He was asking for it. Those were the days.