Bobby Hutcherson

R.I.P. Bobby Hutcherson. I remember seeing him play at one of the Vibe Summits. He was the featured artist and last on the bill. Maybe a dozen vibraphonists preceded him, unknown, well known, chops galore. Quite an afternoon. Then came Bobby’s turn. After a few minutes my wife said how come all the others didn’t sound like that? They didn’t. It’s like they were playing notes, beautiful, wonderful notes, and he was playing colors. Washes of colors. He painted while they played. And I never heard anybody thereafter who even came close to what he did. Bobby Hutcherson just had that Bobby Hutcherson thing down. And now he’s gone.

Bobby Hutcherson

Bobby Hutcherson. Copped the photo from the Jazz Times site, no idea who took such a splendid shot.

Coyotes

Someone is rebuilding the wreck of a house across the street. Busy with hammering and sawing by day, it’s a silent and dark lot by night. Near midnight a fire engine pulls out of the station on the corner, siren screaming. Instantly a wild and dissonant chorus of coyote yelps and yips and howls explodes from behind the fence, four curs’ worth. Absolutely beautiful in its utter lack of domestication, it makes a mockery of the screaming saxophone in here on the stereo. The saxophonist seems trapped by syncopation, the coyotes sound utterly free. The harmonies aren’t exactly working, but their chorus grows silent just in time for the bass solo, and as the darkness settles the bassist begins to explore.

Elliot Caine at the York

Caught the last set of Elliott Caine’s Quintet on Sunday night. Was an eerie ninety nine degrees at 8 pm, though a bone dry ninety nine and I dug it. The York, though, was plenty air conditioned and Elliott’s band swung like crazy in all that cool. The jazz got really intense toward the end, with drummer Kenny Elliott and a wild pianist from Portland named Sam Hirsch in one of those crazy drum and piano vortexes, driving and driving each other to crashing, spinning frenzies. Tim Emmons on electric bass was there between them, perfect, while Elliott blew these weirdly melodic lines from off stage and Scott Gilman his trademark staccato runs on the tenor. Then Elliott took the melody and soared with it, Gilman took it back and drive notes like a nail gun through the rhythmic blast and all came back in on the head for an explosive finish. The audience just about screamed its appreciation, and that was it. We paid our check and made our goodbyes and ventured out into the heat. People walked by in a Mojave Desert daze and talked of distant fires.

Barber shop quartets

Barber shop quartets. No one thinks of them anymore. Not even in jokes. Not even in commercials. They are gone. They were everywhere, once, sweet adelining in four part harmony, but they’re gone now. Extinct. Like dinosaurs in candy striped shirts. “When you hear music, after it’s over, it’s gone, in the air. You can never capture it again” Eric Dolphy said. Though I doubt he was thinking about barbershop quartets.

There are lots of cemeteries out near Palm Springs–Sinatra’s out there, and William Powell–full of past generations, and there are thrift stores, full of those past generations’ stuff. Flip through the record bins and you will find barber shop quartet LP’s by the dozen. Four guys in candy striped shirts with vast mustaches waxed like my neighbor’s Camaro. They stand mouths agape, and there’s a barber pole and a guy in a barber chair swathed in shaving cream, looking disturbed. You will find all kinds of these albums in thrift stores in Palm Springs, every one of which opens with “Bill Bailey”, and finishes with “Sweet Adeline”. I was always terrified of the idea of a barber shaving me while singing Bill Bailey. Syncopation and straight razors never make a great combination. Sweet Adeline would be OK, though.

The old people–our fathers, probably your grandfathers–also had collections of albums of forgettable music with unforgettable models on the covers in various states of undress. Come hither they whispered. Zowie. How many of my generation lost their imagination’s virginity looking at dad’s records? We didn’t have internet porn then, and Playboys were locked away, so all we had was the thrill of those women and wondering if they really do drape themselves across pianos like that.

They don’t.

The bins are also full of the greatest generation’s Dixieland records. They made the world safe for democracy, that generation did, and then they listened to Dixieland. Not while saving the world for democracy–Basie and Ellington and the Dorseys and Glenn Miller scored those scenes–but afterward, when they settled down and grew vaguely nostalgic about the music their own fathers listened to. As the originals were all ’78’s few could play them, even by the fifties. So they went out and bought records by the Firehouse Five Plus 2, Turk Murphy and a thousand similar bands across the country. Those records are fun, actually, even a blast, and a lot of the bands are first rate. A little hokey, sometimes, redolent of good times and happy funerals and riverboats slapping the Mississippi into white foam. It was a fairly innocent jazz. The Firehouse Five Plus 2 played Disneyland. They never played in whorehouses or got in knife fights or suffered acute alcoholic psychosis that landed them in the loony bin for the rest of their lives. No, this was all straw hats and banjos and good times. But I like them. My dad loved the stuff. I have a mess of them tucked away in the record cabinet, segregated from the real jazz that my real jazz friends listen to. That way nobody gets embarrassed.

And then there were sound effects records that were ideal for early marijuana experimentation, replete with prepared piano dissonance and percussion that would boing from speaker to speaker. Remember those? No? My dad had some, a bunch of them to go with the giant hi-fi console and speakers in the living room. We’d sit in the dark and listen to funny sounds pan from one end of the room to the other. My favorite was the fireworks show. Ten minutes of people listening to fireworks, oohing and ahhing and breaking into applause, big booms and whistles and bangs in the background. Wintry nights in Maine pretending it was 4th of July. There are scores of these records in the bins. Not sure why I never pick any up. They certainly were popular with the exotica crowd a few years ago. They’d put on Tiki shirts like their dads are wearing in the old photographs, and mix long forgotten martinis and listen to Martin Denny records. Somehow these people always thought that I, a jazz fan, was therefore a Martin Denny fan. Funny how wrong people can be. I never made the mistake of thinking the Tiki crowd was nuts about Dixieland, however. Or Cecil Taylor.

You can listen to Martin Denny, though. Listen to a lot of those old space age pop records, if only for the jazz players mentioned in Stan Cornyn’s liner notes. With patience, you can hear some terrific soloing. Those records helped an entire generation of musicians who’d once had steady work in swing bands now make the rent. I still catch myself picking up the occasional LP because a favorite jazz player–Buddy Collette, say, or Don Fagerquist–are in the credits. Jazz on the cheap, sort of.

Then there is Nelson Eddy and Jeanette McDonald. The gene that made those records listenable seems to have disappeared from the genome. What sounded like real music to our grandparents sounds like torture to us now. Their albums stuff the Palm Springs thrift store bins where they sit forever, unwanted. Let’s just say that Gilbert and Sullivan did not age well for the rock’n’roll generation. It must sound like gas music from Jupiter to the hip hop generation. I hear Nelson Eddy and Jeanette McDonald and I thank god for Bing Crosby and Ella Fitzgerald and the others who saved my people from operetta.

Though personally I never minded a barbershop quartet.

No Bill Bailey?

No Bill Bailey?

Playmates and a beauty queen and oh the humanity

(2011)

Playboy Jazz Festival was a good time as usual. People always ask about the bunnies, though. That’s what you all want to know about, the bunnies. People just love Hef’s girls. And they were there, Hef’s girls. They get the very frontest table, as close to the stage as you can be, and make a late entrance. Hef in his yachtsman cap, and a string of blondes. Beautiful blondes. Tight everything. The audience cheers. Hef gives a royal wave.  The bubbly flows. The girls beam. Chosen photographers circle and click. The unchosen use telephoto lenses. Fun and jazz in the sun.

The press box is maybe thirty feet back, about as close as you can get without being one of the one per cent who can afford the tables at the very, very front. That used to be a reflecting pool and swans glided to and fro as orchestras played. Jimi Hendrix wrecked everything when all the kids waded in to be closer to Him. All those cables and microphones…it might have been fried freaks. No one died but they filled in the pool with concrete not long after and let rich people sit there, popping champagne and talking through the music. I sat there once, at that very table Hef sits at, swilling two buck chuck and eating a picnic dinner. The rich people ignored us. My wife asked for a beer. Wrong kind of bubbles. Later Sergio Mendes sent out a parade of girls in feathers and spangles who shimmied and samba’d and shook themselves silly all around us. Men’s eyes popped and the wives laughed. It was a perfectly terrible show, but the girls were nice. I’ve never been in that pool circle again. I never will. Lightning strikes but once in a lifetime.

But I sit in that festival press box every chance I get. All you need is the pretty yellow ribbon that says the magic word “Press”. Ushers point the way. Security leaves you alone. You sit down and pull out a beer copped from somewhere and enjoy. It’s a great life. One year my brother and I situated ourselves in there with a bottle of wine. Wayne Shorter was on. This was not the Weather Report Wayne Shorter. This was not the Wayne Shorter who plays sappy noodling soprano sax on Brazilian pop records. No. This was Wayne Shorter lately. The Wayne Shorter who plays out, way out, way way out even, and doesn’t give a flying fuck if the audience likes it or not. Most didn’t. They talked and passed the food and drank and laughed. Scattered here and there were devotees, but you couldn’t tell if Wayne cared or not. He just kept blowing, and had an awesome quartet, and  it was one of the greatest things I ever saw at the Playboy Jazz Festival. My brother and I sat there drinking wine all alone, and not believing how cool this was. But I bring this up not because it was such an incredible jazz moment, but because there was a scurry of people and suddenly, in the box next to us, was Miss California. This was the year that the first Miss California said such awful things about gay people–she really didn’t like them–and felt the whole weight of the internet on her pretty little shoulders. They tore that sash off her so fast, and she went on Fox News hissing and grumbling and threatening lawsuits and being perfectly awful.  The Miss USA people found a runner up and declared her the real Miss California. Outrage and hysteria ensued. Well, this new Miss California was ushered into the box next to us. Photographers circled like hyenas. She looked overwhelmed. She was terribly pretty and very classy, quite dignified. She sat next to me. An equally pretty friend joined her, and two very handsome dates followed. The guys sat as far forward in the box as they could get and watched Wayne Shorter with an intensity you didn’t see a lot of around us. After each piece they applauded loudly. Either these two were serious jazz fans or all the weirdness surrounding the new Miss California had driven them into an appreciation of Wayne Shorter at his most avant garde. Whatever the case, I was impressed. Maybe the champagne they were provided with helped. Like everyone else around her, I couldn’t help myself and leaned over the partition and spoke to Miss California. I can’t remember what I said, but it was something to the effect of how she was handling this with so much class. She smiled and said thank you.. She said that to everybody. She had to. It’s her job.

After twenty minutes or so the handlers came and took her off. I saw her later giving her umpteenth interview of the day, unflagging. You wouldn’t think you’d need to feel pity for a beauty queen, but I did a little. I heard some idiot reporter ask her if she also opposed gay marriage. She answered gracefully no, she didn’t. The idiot reporter had a follow up. He asked her if she supported gay marriage. She replied gracefully that yes, she did.

But this past Saturday they were no beauty queens. Just former Playmates. That was their designation, former Playmates. George Lopez gave them a shout out, the former Playmates. No names. Not even months, just formers. They filled the box like rambunctious kittens. They wore matching pink outfits, little pinks shorts, little pink tee shirts. Former Playmates I think the tee shirts said. I think the socks were pink too. Photographers hovered like gnats. They do know how to pose, those former Playmates. They’d see a camera pointing at them, freeze, smile, get a thumbs up from the photographer and exhale. This went on for hours. Sometimes they’d dart up to Hef’s table. More pictures. They gamboled about and giggled and posed and seem to be having a helluva time. Later they slipped into the press room a couple at a time to escape, and eat and act like real people. Then back out to the Playmate box to work.

They seemed like nice girls. One was older, sort of like a den mother. A beautiful den mother. It’s a different world, theirs, those former Playmates. I wondered what they did for a living. Were they secretaries or executives or work with handicapped children? Do they still like chocolate and long walks on the beach?

Once in the press room a few years back I was trapped by Crystal Harris. This was before she was Crystal Hefner. Or before she was almost Crystal Hefner, then just Crystal Harris, and then Crystal Hefner. It’s a complicated story. I wrote about the moment here. Me and a bunch of idiot reporters and television cameras and a big floppy pink hat. Pink again. Always with the pink, these former Playmates. Amid the excitement an entertainment news reporter inadvertently shoved her vast breast augmentation into my face, nearly knocking me out of my chair. It was like being pummeled by the Hindenburg. By two Hindenburgs. Oh the humanity. This never happened at other jazz festivals.

OK, there you go. Playmates at the Playboy Jazz Festival. And a beauty queen for good measure. Now you know. You always ask about the Mansion, too. Yes, the press conference is at the Playboy Mansion. Yes, it’s beautiful. The pool, the grotto. The private zoo. But no bunnies. None. Not a one. I looked. But even the bartenders were dudes.

Saxophonery

[from a Brick’s Picks in the LA Weekly, c 2009]

We dig saxophone. Sometimes more than anything. Saxophones are sooo jazz. Almost iconic of the whole music. Trumpets were once, a long time ago, and clarinets had their sweet little run too. But Coleman Hawkins, big solid hard blowing Hawk, he put the sax up there in a spot no one has really been able to bounce it from for any serious stretch of time. Lester Young came in right after that, so spooky and perfect and lackadaisically gorgeous…if Coleman Hawkins put that boot down solid then Prez just kinda slid in like a man in his socks on a smoothly waxed floor. Then Bird just turned everything inside out with his bebop thing, stepping here and there and everywhere at once almost. You try to follow those footsteps. Just listen to a solo and try to follow it. Try. Was that work or what? Your eyes crossed, huh? And then Trane? Oh man. You put Trane’s thing on top of Bird’s thing on top of Hawk’s things and all around Prez’s thing I mean, man…..you got harmonics gone nuts, fingers going crazy, you got all that forced air rushing through that crazy saxophone (and it is crazy…look at one close up) and notes and chords flying free from that bell, making crazy patterns, and if you could see them, if the notes were different colors, they’d be filling rooms, filling whole night clubs, all squiggly flatted fifths and minor sevenths and whole bars of chords piling up everywhere. Piling up like fluff or soap bubbles, wonderful notes everywhere, just pouring out of a saxophone like some kind of crazy fountain. Think of that next time you’re sitting there in some jazz joint, the sax man blowing his ass off. Imagine all those notes. Not even the piano emits as many notes (and those would be neatly stacked or maybe scattered across the floor like shards of a glass enclosure.) Nope, it’s the sax that makes the most sound in jazz. There’s just more jazz to be heard coming out of it. Music theory this ain’t. It’s just that we dig the sax.

Coleman Hawkins and Charlie Parker

Coleman Hawkins blowing, Bird listening.

Saxophone Players

[c. 2008, from a Brick’s Picks in the LA Weekly]

There are a pair of saxophonists bookending the weekend at Charles O’s that absolutely slay us every time. On Friday we got Charles Owens, fresh from a big LACMA appearance. A masterful player (and orchestra leader…the Luckman has done brilliantly under his direction), Owens plays just about every reed and woodwind ever made (just dig him on English horn) and plays a mean dirty flute; but it’s on tenor that he is on fire. At the World Stage we’ve seen him go what looked like utterly out of his mind, all Dolphy and Roland Kirk and late period Trane or a way gone Sonny running down East Broadway, you know, crazy clusters and Fulani scales and notes flying so fast, damn…. And at Charlie O’s we’ve heard the most soulful A Love Supreme, the crowd utterly silent, not a whisper or a stir till it fades on that final bass thrum…then hot damn it’s Charlie getting down with Eddie Harris, music so funky people are actually dancing at Charlie O’s, and so greasy they’re getting drunk. That’s Charlie Owens, delivering. And that’s part one. Part two is Benn Clatworthy, same stage on Sunday. You’d never think a foul mouthed Michael Cain-as-Alfie-sounding Brit would play saxophone as good as any Yank, even better than most. He’s got a voice on that thing, steeped in mid period Trane, in Booker Ervin, in lots of Sonny Rollins when Sonny was the greatest of them all. But that’s just the sound. But the ideas, the vision, the places he goes, pushing, daring…god damn. Nobody in LA does this. Maybe nobody nowhere. It can be the most radical. It can be the most hard bopping. It can be so gorgeous you will not draw a breath till that horn has expended his. His is an intense, radical, beautiful jazz playing and still completely in the tradition. So there ya go, two of LA’s most exciting saxophonists, just waiting for your ears. Oh…and who’s got the floor on the Saturday between them? Tenor Don Menza is who, and he can kick anybody’s ass. Don’t let no one tell you this town ain’t got great saxophone players.

Playing What You Want To Play

(c. 2010, from an abandoned first draft of a Brick’s Picks column in the LA Weekly)

Was at one  of those media events a couple nights ago at an old flamenco joint in Silver Lake. All kinds of people, no idea who most of them were. But you sure could tell the musicians….they were the ones who looked so uncomfortable. Nervous, really, all these rock musicians vying for a must gig and scared to blow it. Life is rough for any  kind of musician anymore, there’s only a few venues left, and most of you out there don’t have any money to spend in  night clubs anyway. Hell, when 15% of the population has 90% of the cash in the country—that is real money, the kind you blow in a club—well, things get rough. Hard to fill joints like that. People can’t afford to see you play on a regular basis. No one has cash to record, no one has cash to back you, no one has cash to release your record. You spend your time kissing the asses of whatever impresarios, promoters and A&R people that survive, hoping for that chance at maybe making something of yourself. You soften your sound, commercialize it, make it nicer. You go pop. You go smooth. You go whatever works.

Or maybe you don’t. Maybe you don’t care. Maybe you just play what you want to play. You play loud, crazy rock music in dingy little dumps for freaks. Or, if you’re a jazz musician, you play your jazz straight ahead, and pour your heart out every solo. That’s what we love, those straight ahead guys. That’s why we can’t stop talking about them.

Chuck Manning and Sal Marquez

Though the party is over and the people gone, Sal Marquez is on flugelhorn and Chuck Manning on tenor, improvising on a melody for nobody but themselves. The photo (a perfect photo at that) is by the late Tony Gieske.

Krzysztof Komeda

Rosemary’s Baby has always creeped me out too much to enjoy, and of course the wife loves it. Nothing too creepy for her. I’d never watched more than bits and pieces of it, which means I missed the score in its entirety. Like just now Mia Farrow is trying to escape in the elevator and the music goes nuts with this incredible trumpet playing, crazy and dissonant and gorgeous. Wow. I had forgotten Krzysztof Komeda scored this, which I guess means that was his quartet, him on the piano and that was Tomasz Stańko blowing trumpet? Damn, I need this soundtrack.

Just a year or two later Krzysztof Komeda was in L.A. with a bunch of expatriate pals, just goofing around, drinking. Komeda tumbled and fell and hit his head. He never woke up. They finally sent him back to Poland, comatose, where he lingered and died and took all that creativity with him.

Now Mia, post partum, stricken, is screaming at the room full of old people. What have you done to my baby you maniacs? Komeda scored a drunken march here, and Stańko takes the melody where melodies are not supposed to go. God is dead, the old people chant, Hail Satan! The banality of evil. The story ends in a sweet sixties melody, a very continental pop thing of Komeda’s called Rosemary’s Lullaby, with Mia’s voice. It’s so melodic that the contrast with Stańko’s solo earlier in the scene is jolting, a melody rendered nearly dissonant by its own sudden sweetness. Rosemary, a good mother, reaches down to touch her gurgling baby, the music swells and fades, but a final note on the piano, dink dink dink dink dink dink, is left hanging, unresolved, just like this.

Krzysztof Komeda2

You see a photo of Krzysztof Komeda from 1968 and wonder what he was thinking. Perhaps nothing. Perhaps everything.

Suggested for me by Google

The 5 Star Jazz Band with Elvis impersonator Ben Johnson will be playing Coleman Hawkins Park in St. Joseph, Missouri this July 31. Coleman Hawkins, who I confess to idolizing somewhat, was born in St. Joseph a very long time ago. Someday I will visit the town just to go the park. But not this year. However, if you are in St Joseph this July 31, please let me know if the Elvis impersonator is actually performing with the jazz band, as the announcement on the Google News page was unclear.

Incidentally, this was the one of the four news items Google nicely suggested for me. Hillary Clinton discussing terrorism, Ann Coulter disparaging Jews, ISIS destroying Libya and an Elvis impersonator in Coleman Hawkins Park.

This didn’t happen before the internet.

 

https://www.youtube.com/watch?v=KS8hbwlr9Fw

But this happened before the internet–Coleman Hawkins with Sonny Rollins. Paul Bley on piano too.