Pizza Buona

Just saw that Pizza Buona is looking to move. Priced out by rising rent. Sadly inevitable, though it suddenly reminded me of this, probably the closest I ever came to a restaurant review. It wanders off in a series of tangents–music, scenery, a party–and barely mentions the food, which is why I’m me and Jonathan Gold is Jonathan Gold, not to mention better paid. That being said, I did see him play cello in a heavy metal band. But I digress.

So we went to Pizza Buona at Alvarado and Sunset yesterday, per Justin Burrill’s and Lee Joseph’s recommendation. The place is a lot less red than I remembered. She ordered a large Special, crispy, which was perfect. The jukebox in the joint was gloriously unhip. Moon River is so unhip it’s not even ironic. Playing the Andy Williams version might be ironic, but this was the straight Mancini. They had Baby Elephant Walk on there too but I was afraid some hipster might walk in and it would show up on his next album. I dig unhip. There’s nothing unhip in Silver Lake anymore but it’s nice to see pockets remain in Echo Park. Got me a salad and I’d have shown you a picture but I hate it when people take pictures of their food. They invent digital technology and what do you all do with it? Take pictures of cats and salads. In the Polaroid days we didn’t waste precious film on pictures of cats or salads. Well cats, maybe. But not salads. Or cats and salads together.

OK, salad was good, beer was cold (Moretti), meatballs were good (we got meatballs), pizza was Jersey perfect. The vibe was good too (if not as red as it should have been) and the Burrito King across the street looked good. Never eaten there, but it looked good because it’s still there. That corner is pretty much unchanged since the days when Raymond Chandler could have mentioned it  but never did. You used to be able to get brain burritos across the street at the carwash. Wash your car and eat a brain burrito. What is sesos a lady asked. Brains, the guy behind the counter said. Cow brains, I added helpfully. She changed her mind and walked off, suddenly unhungry. I shrugged. The guy laughed. It was a tough town then, full of drive-bys and crack and brains in your burrito. Jonathan Gold probably ate there. Had the brain burrito. Those Pulitzers don’t come easy.

One time a friend showed up at our house for a party with a dozen vegetarian bean burritos from Burrito King and a bottle of Cisco. Cisco looks like Orange Hi-C with a mean hangover. He spent the party out on the steps roaring drunk and digesting loudly. You can only hear a slurred Cisco Kid so many times before it loses its funny edge. The Panther showed up and joined him. They ate vegetarian bean burritos and passed the bottle back and forth and belched front and back. They sang and laughed and made loud jokes without punchlines. They became the best friends a man ever had until the bottle was empty. I’m sure neither remember this now, but I remembered while gazing out the window across Sunset Blvd. We waited for our pizza and I put quarters in the jukebox and listened to Enrico Caruso sing Vesti La Giubba from Pagliacci. He recorded that in 1907. The year before he’d been in San Francisco when the earthquake hit. The city fell down all around him and he didn’t like that one bit. But you can’t tell that hearing this. So I played it again, and the pizza came, and it looked beautiful and smelled delicious and I listened to Caruso in rapt silence. What’s he singing about my wife asked. He’s a clown, he tried to kill his wife and her lover, I think. Were they clowns too? Yes, I said, they were all clowns. Sounds sad for clowns. Yeah, it’s a tragedy. She handed me a slice of the pizza, the music swelled, and we ate in silence, listening.

Caruso

Here’s that same 1907 Recording of Enrico Caruso performing “Vesti la Giubba” from Pagliacci. If you don’t know it by name you’ll recognize the tune after a minute and a half, trust me.

Renzo Piano’s Academy of Motion Picture Arts and Sciences Museum

It might look ugly now, but in the future it will also look ugly, so there will be continuity and a sense of timeless ugliness. Plus people will always love bowling. But I think it would look better next to the Triforium.

Renzo Piano’s Academy of Motion Picture Arts and Sciences Museum.

Renzo Piano’s Academy of Motion Picture Arts, Sciences and Bowling Museum.

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