Showing posts with label Jazz. Show all posts
Showing posts with label Jazz. Show all posts

Wednesday, October 26, 2016

Sun Ra Does Gershwin

And then, suddenly, one afternoon, from out on the edges of the quantum foam comes the thought: I wonder if Sun Ra ever did any George Gershwin?

Of course Sun Ra did George Gershwin! They were both from outer space!

Why did it take me so long to make that connection? And to find a half dozen tunes! This one from 1960.

Monday, October 24, 2016

Ralph Ellison on Lester Young

 
Ralph Ellison recalling his first encounter with a 20-year-old Lester Young back in 1929:

"A tall, intense young musician . . . who, with his heavy white sweater, blue stocking cap and up-and-out-thrust silver saxophone left absolutely no reed player and few young players of any instrument unstirred by the wild, excitingly original flights of his imagination. . . . Lester Young . . . with his battered horn upset the entire Negro section of town. . . . [We tried] to absorb and transform the Youngian style."

Monday, October 10, 2016

Sinatra & Jobim: A Collaboration of Musical Greats

Looking forward to giving this listening party on Sinatra & Jobim on Monday, October 17. Hear selections from their two collaborations and other songs that give a broader context to the recordings. Discover the stories behind some of the tunes, including the role of a young Candice Bergen in Jobim’s “Bonita.” Learn some of the history of Bossa Nova and Sinatra’s surprising role in its early development. Get an insider’s view of recording sessions that had the atmosphere of intimate party-concerts—with an audience that included Vanessa Redgrave, George Plimpton, Mia Farrow, and Quincy Jones. And dig into the mystery of an album that was never released and the rarest 8-track tape of all time.

Monday, October 17 
6 pm
Landa Library
233 Bushnell Ave
San Antonio

Wednesday, October 05, 2016

Jobim in Hollywood


Antônio Carlos Jobim. Hollywood, 1966.

Waiting around for Sinatra to show up for their recording sessions.

Saturday, August 27, 2016

Frank Sinatra – In the Wee Small Hours (1955)


The starting point for great album covers. By the musician who first understood the role of an image in contributing to the overall artistic mood of a recording, and designed by the father of album cover art, Alex Steinweiss.

"Sinatra was the first artist to construct an album that sought to unite thematic and musical elements rather than simply collect popular singles. Through sequencing and the cohesion of narratives within the lyrics—and even the iconic impact of the album covers themselves—Sinatra created an entire aural and emotional experience rather than a simple compilation." Robert C. Sickels - 100 Entertainers Who Changed America

There are several essays and scholarly articles that discuss the cover of In the Wee Small Hours, often connecting it with film noir. A few also mention its relation to the work of Edward Hopper. ("It appears as though Sinatra has been transplanted into one of Edward Hopper’s metropolitan settings such as 'Approaching City.'")

The cover was designed by Alex Steinweiss, who served as the sole graphic designer for Columbia Records from the late 1930s through the mid 1940s and basically developed the concept and language of album cover art. Here's an interesting article about him that features some of his other covers. Taschen also has a book devoted to his work.

PS: Credit also to Ava Gardner for making the album possible. Until she kicked Frank's ass and transformed him from a cocky pop star into an emotional wreck, he couldn't have produced this work. Without her, I don't think he would've become a great artist. 

"Ava taught him how to sing a torch song. She taught him the hard way." -- Nelson Riddle. 

In Ava, Sinatra finally met his match.

Tuesday, August 23, 2016

Sonny Rollins - Saxophone Colossus (1956)


I was debating between this cover and another great one: Thelonious Monk / Sonny Rollins (1954), but I had already posted one by Monk. Turns out, both covers were designed by the same person: Tom Hannan. Originally from Michigan, he was a jazz drummer when he was young, but then took up art. He moved to NYC in the early 1950s to study with Hans Hoffman and served as his studio assistant for three years. To earn money, he designed album covers for Prestige, Blue Note and other labels, including several covers for Rollins (Tenor Madness), Miles Davis, Red Garland and others. Later he moved to Vermont and became a dealer in fine American furniture and decorative arts. He died in 2000.

Biographical information on Hannan from "'In the Circle of Hans Hofmann: Works from the Hannan Art Collection' on view at Betty Krulik Fine Art, Ltd" at Art Daily.

Tuesday, August 16, 2016

Eric Dolphy – Out To Lunch (1964)



RIP Bobby Hutcherson.

"Unlike most Blue Note covers, which tended to be abstract geometrics or portraiture, Out To Lunch actually shares a joke. The clock in the store window announcing ‘will be back’ has seven hands. The Reid Miles photograph is bathed in indigo, creating one of the most iconic cover images ever produced." -- Greg Simmons at All About Jazz.

Sunday, August 14, 2016

Thelonious Monk - Monk's Music (1957)



"The image of Monk sitting in a little red wagon wearing a suit, sunglasses, and a plaid hat is one of the most memorable in all of jazz. The photograph is credited to Paul Weller and the cover design [to Paul] Bacon, but there is reason to believe that Monk was quite involved in the creation of this image. According to Monk, the original cover design included a photograph of himself in a cowl, standing at a pulpit and holding a glass of liquor. Monk objected to the image for reasons that are not altogether clear, and [Orrin] Keepnews, who was producing the session, agreed to change the cover. Monk claimed that the idea for the final image was his, although, of course, the staging, lighting, and other technical aspects of the photograph are no doubt the work of Weller. In any case, Monk clearly took an interest in the album cover and how it represented him. Perhaps it was a clever rejoinder to critics who had by then made a habit of describing him as childlike, the photo displaying the incongruity of a man, with nothing childish about him, sitting in a child’s wagon. Perhaps it was, as Monk himself claimed, simply an image he liked that represented his intensity: he was so involved with his music that when it struck him, he could compose anywhere, even in his son’s wagon."

Solis, Gabriel. Monk's music: Thelonious Monk and jazz history in the making, University of California Press, Berkeley, 2008.

Thursday, August 11, 2016

Saturday, June 08, 2013

Willie Nelson Concert



Oh that any of us are still as creative, energetic and fun at 80 years old as Willie Nelson. We really, really enjoyed his concert last night.

Whatever fears I had of seeing some sad old-timer playing beyond his years were immediately dispelled by the rousing opening version of “Whiskey River” and a swinging “Still Is Still Moving to Me.” The guy is truly amazing. His voice sounded great (better than on one of his recent albums) and his always underrated guitar playing was terrific: warm and beautiful at times, as on Django Reinhardt's "Nuages", or hard-driving and almost atonal on “Night Life.” What many people fail to realize is that beneath Willie Nelson the cartoon-figure cultural icon there percolates a musical mind of the highest order. His understanding of jazz, popular music, country, rock, folk, Mexican and Latin music and other genres is tremendous. As someone who loves all kinds of music, I find it invigorating. Tell me what living performer in a 90-minute show could weave together in a seamless whole Django, Irving Berlin, Hoagy Carmichael, Hank Williams, Bob Wills, Carl Perkins, Kris Kristofferson, shit-kicking country, gospel hymns, rockabilly, two songs originally performed with Snoop Dog, and, of course, the tremendous Willie Nelson catalog? His moody, samba-country arrangement of Berlin’s “Let’s Face the Music and Dance” may have been the highlight of the evening. (Even better than the studio version attached.) I don’t think I had ever really paid attention to Berlin’s opening line, “There may trouble ahead,” but last night when Willie growled out the words, I had images of outlaws riding into Mexico floating through my head, and the darker atmosphere of the song really came out.

The musicianship last night was top notch. In addition to Willie, the line-up included the key members of the classic “Family” line-up that produced all of those great outlaw country records in the early and mid-70s: his sister Bobbie on piano, Paul (The Devil) English on drums and percussion, and Mickey Raphael, who may now be the greatest living harmonica player, with all due respect to Toots Thielemans at 91. These people have been playing together off and on for about 40 years (Willie and English actually first played together in 1955!), and they know each other so well, that they can follow one another with great skill and ease from a hell-raising country song to a haunting version of "Gerogia." But the key to everything may be the young stud on stand-up bass whose super groovy, driving rhythm kept the old folks on their toes. I don’t know the guy’s name, but he made his presence felt from the first moment of the night. There was also a young drummer/percussionist who switched off and on with English, who suffered a minor stroke in 2010. The Devil would play drums on some of the old hits and more mellow pieces, and the young drummer took over on the swinging, upbeat songs. When not on drums, they both added some terrific percussion, especially English. He may not be able to pound the skins on every tune any more, but he’s a wise old dog with a great ability to add the perfect spice to a song - a chilling set of chimes during “Georgia,” or tasteful maracas during one of the Mexican-flavored works.

The other thing that impressed me was that many of the best songs of the evening were from Willie’s last two albums, Let’s Face the Music and Dance (2013) and Heroes (2012). He certainly played some of his classics (including my two favorites – “Me and Paul” and “Funny How time Slips Away”) and his big hits, which had the crowd singing along, but in no way was this some kind of retrospective show. He’s still making good music and having fun performing it live. Another great part of last night was hearing this group play some of those awful, syrupy Willie songs from the early 80s ("Always on My Mind" "To All the Girls I've Loved") that I've always hated. Suddenly, with new stripped-down arrangements, they didn't sound half bad. Also, thinking back on it, I can't believe how much material the guy crammed into 90 minutes. They never took a break, and he (sadly) didn't chatter much between songs. They just played. And played a lot.

In the end, the best part of the night may have just been watching an 80 year old musical artist with so much joie de vivre, who obviously still loves what he’s doing, does it pretty damn well, and seems to really enjoy playing for people. And they enjoy him. There was a great communal spirit in the auditorium last night. And my oh my how the ladies do love this old fart. At one point, Alexandra and I thought we were at a Tom Jones concert, as not one, not two, but three women climbed on stage to give the guy a kiss or throw him a bandana or try to hug him. And one of them was probably in her 20s or 30s! Yes, Willie sing-talks through some of his songs, but he did it wisely and to good effect, turning a potential weakness into a strength. And I’m sure his guitar skills are not the same at 80 as they were at 40. But all in all, the guy was pretty impressive. My only regret last night was that I hadn’t gone to see Willie sooner in my life, so I could have experienced him more in concert. If we could, we would go again this evening. Alexandra and I both really enjoyed ourselves.

Friday, June 19, 2009

The Song Stuck in My Head When I Woke Up This Morning

Fats Waller & His Rhythm
"I'm Gonna Sit Right Down and Write Myself a Letter"

Recorded 11/07/1934.



Music by Fred Ahlert, lyrics by Roy Turk

I'm gonna sit right down and write myself a letter,
And make believe it came from you,
I'm gonna right words oh, so sweet,
They're gonna knock me off my feet,
A lot of kisses on the bottom,
I'll be glad I got 'em!

I'm gonna smile and say, "I hope you're feeling better,"
And close with love the way you do;
I'm gonna sit right down and write myself a letter,
And make believe it came from you!

Gonna smile and say, "I hope you're feeling better,"
And close with love the way you do;
I'm gonna sit right down and write myself a letter,
And make believe, make believe, make believe it came from you!

Friday, February 27, 2009

How Football Explains John Coltrane

From "How Football Explains John Coltrane and Jackie Robinson," in Sal Paolantonio's new book, How Football Explains America:

The seamless connection of the game of football to African-American culture has roots that go back to America's only truly original musical art form: jazz.

Here's Harry Edwards, sociology professor at the University of California, Berkeley, and author of The Revolt of the Black Athlete: "Most of what you see on the football field is timing and rhythm and beat. You could literally take a piece by Miles Davis with John Coltrane and Cannonball Adderley and I think Red Garland on piano [Paul Chambers on bass, Philly Joe Jones on drums], a piece called 'Striaght, No Chaser.' Put that music to a play being run by the San Francisco 49ers and you see the rhythm that's involved."

"Straight, No chaser," is a Thelonious Monk composition. Monk always lived on the edge of life, wrote his music around the edges of jazz. He always found the cracks in the diatonic scale. In other words; Monk mastered the fundamentals, but then he found those shades of chromatic deviation. A perfect football metaphor.

"I Have been sitting on the sideline listening to that Miles Davis cut while [watching] the 49ers with Joe Montana and Roger Craig and Jerry Rice and John Taylor and Tom Rathman and you hear that piece, that 'Straight, No Chaser,'" Edwards said. "Then, all of a sudden Cannonball kicks in and you hear Montana: 'Hut, hut, hut.' Then everything starts to move, and you see that rhythm. It's like Coltrane coming in and picking up the pieces after Cannonball leaves off. And you hear that bass in the background. You hear Garland carrying the whole thing on piano and you see Joe handing the ball to Roger or Tom. It's all of one cloth. That's why some of the greatest American musicians are some of the greatest sports fans. They understood the game. They understood the risk. They understood the practice. You're not just getting ready to run a play during a game, you're downloading the rhythm of the play, the timing of the play, the purpose of the play, the spirit of the play into your automatic response system. So, when that play is called, you go up. You're not thinking now, you're just running the play."

Coltrane's groundbreaking solo with the Miles Davis sextet on "Straight, No Chaser" was recorded in 1958.

"Coltrane would go into his flat and practice for like 72 hours straight," said Edwards, "and it's the same way with plays. I watched the 49ers run play after play after play. It wasn't practice for practice's sake. It wasn't practice to get the play down. It was practice to make the play automatic. And it's the same way with music. That is shared. The risk, playing without a net, getting out there, trying to make it happen against competition. Competition in music being the piece itself. Asking yourself, 'Can I get this done?'"
This gives me a great idea. From now on, instead of being forced to listen to the idiots on ESPN who do Monday Night Football, I'm going to listen to some Monk and Trane and Dolphy while watching the game.

Monday, January 19, 2009

thought dream 010909

Coltrane playing "The Damned Don't Cry,"
1961
Africa / Brass.
It could be midnight
from the sound of that double bass,
but it's not.
It's just morning on a bus
headed nowhere. The horn section
tragic and mournful.
Booker Little
(dead at 23)
on trumpet, calling out
to some dark or vanished god.
I'm still waking up.
Trying to make sense of the
hollowness that has become my life.
The routine much heavier
than I expected. The air
crushing downward
upon the shoulders.
Eric Dolphy
(dead at 36)
orchestrating.
One of the reeds
in that cloudy response
from the darkness.
Some people fight in wars
and die
or become heroes (momentary).
Some people save lives
for a living. Nothing
in the catalog
about a respectable job,
face-painted emptiness,
the dry mouth,
the slow, stunned silence.
It's too dull
to even grieve or shed a tear.

Wednesday, December 03, 2008

Discovery

It is actually impossible to walk through mid-town Manhattan listening to Count Basie & His Orchestra play "Honeysuckle Rose" (their first recording, 1937) and not develop a jaunty stroll or break into a smile for everyone around you.

Count Basie + Lester Young + Fats Waller = A Force Greater Than You Know.


Honeysuckle Rose - Count Basie & His Orchestra


From: The Complete Decca Recordings

Interestingly, Basie and the boys recorded "Honeysuckle Rose" at Decca Studios, just 20 blocks north of where I was strolling this morning. Can music have a ghost? Can it linger in the streets of New York City for 71 years, waiting for someone to walk by who's listening to it? Is the music always present and we just hear it when we pay enough attention? Was my iPod even necessary?

Tuesday, November 18, 2008

America's First Black President

Barack Obama's election victory on November 4, 2008 was cool and all, but he's actually not the first black President of the United States. Here's the original:



The Prez, Lester Young, discusses his economic platform in "Pennies from Heaven," from a September 1950 Jazz at the Philharmonic film session.

He's joined by his cabinet:

Hank Jones - piano
Ray Brown - bass
Buddy Rich - drums
Bill Harris - trombone

Then, the "First Lady of Song," Ella Fitzgerald scats with the group on "Blues for Greasy," along with Harry "Sweets" Edison on trumpet and Flip Phillips on tenor sax.

The film was directed by Gjon Mili, who also did the greatest jazz film of all time, Jammin' the Blues (1944).

Lester will always be my favorite president.

Friday, July 25, 2008

A Gershwin Friday: The Jewish Cowboy Musical

Bronco busters Jacob and Israel Gershowitz (George and Ira Gershwin)

For me, the name Gershwin has always conjured up 1920s New York sophistication. George and Ira hanging out with Fred Astaire and Kay Swift in George's immaculate 5th Avenue art deco penthouse. Parties with young socialites and the artistic elites of the day. Soirées with great Harlem musicians such as James P. Johnson and Willie "the Lion" Smith" playing on George's grand piano.

Lest we forget, however, George and Ira also tackled the cactus and cowboys of the great American west. Their 1930 Broadway show, Girl Crazy, concerns the romantic adventures of Danny Churchill, a young playboy from Manhattan who's been chasing too much skirt and gets sent by his father to a small men's college in Arizona.

Gieber Goldfarb, a Jewish cabbie, drives Danny from 48th Street all the way out west. He winds up staying with Danny and encounters his own adventures - basically being an urban New York Jew trying to survive among rattlesnakes and roughnecks. At one point, about to be lynched by cowboys, Goldfard asks, "So, this is God's country?"

Later, Goldfard disguises himself as a Native American, only to encounter a real Native American named Eaglerock. Andrea Most describes the ensuing scene in her article, "'Big Chief Izzy Horowitz': Theatricality and Jewish Identity in the Wild West" [American Jewish History 87.4 (1999) 313-341.] :
Eaglerock is simply dressed, speaks perfect English, and has just returned from college. When Gieber enters he assumes the pose not of a "real" Indian but of a stage Indian who wears a full headdress, whoops loudly, and speaks a strange "ugga-bugga" language which confuses Eaglerock thoroughly. The two "Indians" try a number of languages before Gieber finally introduces himself in Yiddish. This works, Eaglerock responds, and the two exit speaking animatedly.
Girl Crazy was a big success at the time and made stars of two young actresses: Ginger Rogers and Ethel Merman. Down in the orchestra pit were future big-band legends Benny Goodman, Tommy Dorsey, Glenn Miller and Gene Krupa. Hit songs from the show included "But Not for Me," "Embraceable You," and "I Got Rhythm."

But the titles that attract my attention now are those such as "The Lonesome Cowboy," "Bronco Busters," "Land of the Gay Caballero," and "(When It's) Cactus Time in Arizona." In retrospect, it shouldn't be a surprise that the Gershwins would explore the American west as subject material, given how essential it is to our national mythology. Later, of course, George would also delve into the America South for his opera Porgy and Bess.

The 1943 film version of Girl Crazy, with Judy Garland and Mickey Rooney, removed the Jewish elements of the plot.

A few years after Girl Crazy, George and Ira would themselves follow the cattle trail out west (via modern airplane), lured by the siren call of Hollywood. We may think of George Gershwin as being one with New York City - Woody Allen's Manhattan! - but he actually died in Los Angeles in 1937.

In 1943, MGM decided that this Jewish cowboy musical was a perfect vehicle for the ninth pairing of Judy Garland and Mickey Rooney. Sadly, however, the studio removed Gieber Goldfarb and his adventures, as well as his song "Goldfarb, That's I'm!," converting the Gershwins' interesting cultural mix and comic fantasy of a fellow Jewish New Yorker out in the wilds of Arizona into a more comfortable and bland WASP vision of the American west.

It's interesting to note that this erasure of the Jewish elements of the story took place at a time when news about the concentration camps was first coming out of Europe. And that the head of of the studio, Louis B. Mayer, was Jewish himself. Evidently, Hollywood didn't think that a Jewish cabbie and a well-spoken Native American communicating in Yiddish would play in Peoria as it had on Broadway.

What the film does offer, however, is Judy Garland at the height of her vocal powers. And a typically surreal and mind-boggling musical number from Busby Berkeley. Busby was the original director for the movie, but he and Garland clashed on the set, so he was replaced by Norman Taurog. One of the few traces that remain of Berkeley's work is the bizarre finale that features a Tommy Dorsey big-band version of "I Got Rhythm," set out west, with cowboy outfits (perhaps the geekiest ever seen on screen), fake cactus, synchronized six-guns, a cannon fired directly at the audience, and strange, whip-like banners that remind me of Kurosawa.

It all adds up to classic Hollywood weirdness. (Especially the last minute of the video.)


Now, how we go from Jewish cowboy musicals and a freaky Busby Berkeley number to Bird and Diz using the same song as one of the foundations of Be-Bop is . . . well . . . one of those sweet mysteries of life.

Tuesday, July 08, 2008

Montréal

La Reina and I just returned from a wonderful 5-night stay in Montréal. I'm too tired after our extended train journey back home yesterday to offer anything but a few unorganized thoughts and impressions. Photos are all generic, since we have to . . . uh . . . actually develop our rolls of film.

It felt great to get out of the States for a few days, even if it was just across the border. This trip marked the first time we've been out of the country since we moved back from Spain eight years ago. We loved being surrounded by the French language, and the European feel at times among the people and in the overall atmosphere of the city. (Except for when it felt like New York, which happened to me more than La Reina. I was getting Park Slope vibes at times. Albeit a French version. With cleaner streets.)

Tiger shrimp in Pernod sauce. My favorite meal.

Among many.

The crepe, for instance, made of sweet-corn and sesame batter, filled with asparagus, black forest ham, cheddar and mozzarella cheeses and "Nelson sauce."

That was at the Jardin Nelson in the Old City, where we sat in a funky patio garden area and listened to a jazz combo sing Cole Porter, Édith Piaf, and Rodgers & Hart ("Bewitched, Bothered, and Bewildered") while we ate. After the meal, in one of my favorite moments of the trip, they did Charles Trenet's lovely tune, "Que reste-t-il de nos amours?" while I sat back sipping my Pernod and smoking a du Maurier - surrounded by flowers and ma femme tres belle on a beautiful, lazy summer afternoon.

We capped off that meal by taking a short stroll down to the Vieux Port area on the Saint-Laurent river, laid down in the grass under a tree and took a nap. It was, in fact, the trip of "naps in the grass after excellent meals." Twice in the park by the river and once at the top of Mont Royal.

Eggs Benedict with Gruyère, served on a crepe. That was a good one.

Montréal is worth a visit for the food alone. Everything we had was excellent. Including the marvelous hot dogs. (No, really!)

And cafe au lait! How in the world have I survived the last eight years without a Spanish cafe con leche or a cafe au lait? Obviously, my heart has hardened over time, and what little civilization I absorbed in Madrid has been crushed out of me by The Man. And, je suis désolé, but a latte at Starbucks just isn't the same.

Though we didn't plan on it, our trip coincided with the last five days of the 29th Festival International de Jazz de Montréal. What a fantastic piece of luck. The Festival is so pleasant and well-organized and offers a seemingly endless number of free concerts. We spent three nights just wandering from one stage to the next, listening to music from around the world, soaking up the spectacular summer evenings, eating crepes (homemade in front of us) or the most amazing hot dogs in the world (no, really, you don't understand - they were in a class by themselves), drinking beer, and even talking to the musicians at times. Ironically, a group we knew from Brooklyn, Las Rubias del Norte, were performing on one of the big stages on Friday night. We used to hang out at Cafe Barbes in Park Slope, where Las Rubias regularly perform, but we had never actually seen them play. This, as it turns out, was our great loss. They were a lot of fun to hear - glockenspiel, bongos, electric guitar, beautiful vocal harmonies . . . doing Bollywood songs, Greek tunes, and a host of Latin American classics, all in a cumbia mix. After the show, we went back stage and chatted a bit.

The only drawback to the festival was, ironically, that we didn't hear much good jazz. I think it's great that the festival includes all kinds of music: blues, tango, African, Latino, soul, rap, etc. But the number of actual jazz concerts was limited, and too often . . . well . . . how shall I put it? I heard "In the Mood" twice in one day. Hearing Glenn Miller twice in the same year is plenty, but twice in the same day, especially at a jazz festival, is just not right. Finally, though, on our last evening, we encountered The Marcus Shelby Quartet, with guest vocalist Faye Carol. They were from San Francisco, and they were the real deal. The trio is great by itself, but Carol has a truly dazzling stage presence. Her vocal style shows traces of Nina Simone, Ella Fitzgerald's scat, and even the primordial wail/yodel of Leon Thomas, who used to sing with Pharoah Sanders. She's incorporated each of these elements into her own unique sound, and all were utilized perfectly in surprisingly powerful and moving version of - wait for it - Kermit the Frog's song, "It's Not Easy Being Green." It was, without a doubt, one of the best live performances I've seen in years.

Suffice it to say, it's a wonderful festival, and if you've never been, consider going. Check out this cool 360 degree panoramic image of the Louisiana Parade (with music) for a little taste of the atmosphere.

No internet for six days. That was a nice break.

No news either, with the exception of watching some French coverage of Ingrid Betancourt being freed. No Obama. No McCain. No failing economy. No cowardly Democrats caving in on FISA. I have no idea what happened in the United States over the last six days.

We didn't do much sight-seeing; mainly we walked around the various neighborhoods. We did, however, visit the Basilique Notre-Dame de Montréal. After five years in Spain, and having done the Camino de Santiago, I'm definitely a snob when it comes to cathedrals and churches. But the Basilique was quite beautiful. And not only did they have real candles (essential), they actually used them more effectively than any church I've ever seen, with four colors - red, yellow, white and a deep purple - and two sizes, all laid out tastefully and in such a way as to play off the stained glass windows and the dark tones of the wooden interior. Also of interest were the stained glass windows, which, rather than showing typical scenes from the Bible, depicted the history of Canada and the "religious and social life of the early Ville-Marie settlement." And the statue of Jeanne d'Arc up at the altar made me think of Leonard Cohen, who happened to back in his hometown a few days earlier, receiving the Montreal Jazz Festival Spirit Award and performing in the city for the first time in 15 years. Too bad we missed him.

We tried speaking French to the good (and friendly) folks of Montréal, but we kept breaking into Spanish instead. You take one year of French back in college, at the end of the 18th century, so naturally, your tongue goes to the closest equivalent in your mangled brain. You start the sentence in bad French and end up blabbing on in rusty Spanish, with the person staring at you without any comprehension. Finally, you say, "Parlez-vous anglais?"

We did get cheeky a couple of times and ask our waiters, "Parlez-vous espagnol?" Pained look. "Anglais?" Relief on the waiter's face. Then they started trying out their bad Spanish on us. One waiter, however, did parle espagnol un peau. We wound up conversing in three languages, all of them poorly. But we were only ordering drinks at a sidewalk cafe.

Montréal is full of incredibly good looking men, including several of our waiters. La Reina told me so. Several times a day. She kept saying how she needed to tell her unmarried sister to move to Montréal. Wish fulfillment or genuine concern for a sibling? Oh, and they're all in great shape. (What, my beer belly isn't sexy anymore?) Just because some guy speaks French, looks intellectual and hunky, and dresses way cool. Geez.

But she was right. There are a lot of good-looking men in Montréal.

I didn't bother looking at the women, content as I was to be with my beloved, but If I had, I would've noticed that there aren't any naturally blonde Québécois woman. Not a single one in the entire city. Some do a blonde streaking thing with their hair. That was popular. But they're all brunettes. Hey, fine with me. (If I were looking.)

Funny travel moment: We're in a bookstore near one of the universities. Lots of philosophy books, literary criticism, cinema, etc. We're looking through poetry in French (I can read a little, even if I can't speak it). I'm checking out the Apollinaire, looking for something newer, like Michel Deguy. La Reina buys a book by a contemporary French woman who does prose poetry. Asian clerk behind the counter dressed in black, wearing black rimmed glasses. Everything feels très intellectuel. Meanwhile, the entire time we've been in the shop, they've been playing ZZ Top. A mix of their early stuff - maybe The Best of ZZ Top, from 1977. As far as I could tell, no irony was intended.

Oh, right, if I talk about food in Montréal, I suppose I should mention poutine. A "legendary" (the waiter's word, not mine) Québécois dish. French fries covered with cheese curds and brown gravy. I'm not sure why anyone would want to take a nice crispy french fry and turn it soggy with brown gravy, but, hey, whatever turns you on. And what can I say? I come from a place that takes a mediocre cut of beef, covers it in flour, fries it up, and then smothers the whole thing in cream gravy. So, I felt a kind of cultural connection, despite my quibbles with the soggy fries. Poutine seems well suited for that food craving one gets at 3 AM after a night on the town. And a great winter comfort food. Though when I asked if it was more popular in the winter, the waiter seemed a bit offended. "No, it's for summer, too," he insisted. "They're putting lots of things with poutine now, like chicken." (Chicken = summer?) One Montréal restaurant even makes it with pate I was told. I'm sure you can find the same kind of fancy-ization of chicken fried steak in some prissy Austin and Dallas restaurants. But it's sort of like putting perfume and a pink bow on a perfectly good hound dog.

The train ride up from New York City was spectacular, though long. (Really long coming back.) You travel through the Hudson River Valley and the Adirondacks, passing by Lake Champlain. A great deal at $61 each way. But long. The Travel Scrabble set we got one Christmas came in handy.

All in all, it was a great trip.

Saturday, February 16, 2008

The ZONE Primary

Forget Wisconsin and all that talk about Texas and Ohio. The only Primary that matters is the ZONE Primary. Vote NOW. (Look over on the right.)

THE CANDIDATES:

Tom Waits (Rain Dog Party)

Has consistently done well with returning vets and Salvation Army Band girls.

Tom discusses his economic policy
with some . . . emus?



Thelonious Monk (Epistrophy Party)

Has garnered early support from younger voters, older voters, minimalists, and hep cats.

What is Epistrophy? Monk lays out his platform.



Yma Súmac (Inca Princess Party)

Has a devoted base that consists of fans of obscure music, lovers of kitsch, and young men who haven't realized yet that they're homosexual. Can she attract soccer moms?

In this town hall meeting, Yma shows her ability to communicate with both the educated upper class and poor indigenous people with funny hats.

Harpo Marx (Harpo Party)

Does surprisingly well with women. Also has strong support among older New York Jews nostalgic for their childhood. Completely dominates the amateur harpist vote.

Harpo speaks! Surprising views on gun control.

T.S. Eliot (J. Alfred Prufrock Party)

A sexy, charismatic "rock star" who delivers impassioned speeches that critics claim are vague and filled with fluff. It's still unclear how voters will respond to his friendship with an American-born Fascist who made treasonous radio broadcasts against the United States during World War II.

Eliot delivers one of his fiery stump speeches.
(Warning: Do not watch this while drunk or on drugs. Something's not quite right.)

UPDATE: Results of the ZONE Primary . . .

A higher turnout than expected, with 17 votes cast. This was due mainly to superior organizing on the part of the Tom Waits campaign, specifically a link from a Tom Waits blog.

One crucial advantage Waits had over the other 4 challengers: he was the only living candidate. Though I'd argue that a dead Yma Sumac still would've done less damage to the planet than a living George W. Bush.

Tom Waits for President. Doesn't sound bad at all.

Tom Waits: 7 (41%)
Harpo Marx: 4 (23%)
Thelonious Monk: 3 (17%)
Yma Sumac: 2 (11%)
T.S. Eliot: 1 (5%)

Monday, December 24, 2007

Merry Christmas

I hope everyone has a wonderful Christmas!

After a crazy end of the semester, we managed to get out of town for the holidays. Will catch up with everyone's blogs when I get back.

Meanwhile, one of my new favorite Christmas songs. If you don't own the Vince Guaraldi Trio's original soundtrack to A Charlie Brown Christmas, I highly recommend it. The sound quality on the new, remastered version is simply stunning, and the music itself may be the most beautiful Christmas jazz ever created. Here's "Christmas Time Is Here," from the original show.



May you all have a beautiful and and joyful (and hopefully relaxing) holiday season.

Thursday, December 06, 2007

Pieces of Eight

Steve Caratzas has tagged me with this meme thing.

"The assignment: To write about certain topics in blocks of 8."


I've added two questions, so that there are now EIGHT. (Symmetry!)

8 passions in my life:

La Reina
jazz
poetry
French music
Spain
film
football
Luvin'

8 things to do before I die:

Spend time in Buenos Aires
Spend time in Ireland
Do the Camino de Santiago again
Learn French
Learn to play the piano
Play (on the piano) and sing Fats Waller songs
Figure out what I want to be when I grow up
Finish this bloody post

8 things I often say

What?
I don't understand.
That's interesting.
You've never seen _____?!?!?
Te quiero
What about turkey burger?
Brooklyn Lager
Oh, for Christ's sake, TACKLE the guy!

8 books I read recently

Jonathan Gould - Can't Buy Me Love: The Beatles, Britain, and America
Stephen Colbert - I Am America (And So Can You)
Robert L. Mitchell - The poetic voice of Charles Cros: A centennial study of his songs
William Rees (ed./trans.) - Penguin anthology of French poetry, 1820-1950
Kenneth Rexroth - One Hundred Poems from the French
Lee Server - Ava Gardner: "Love Is Nothing"
Mark Maske - War Without Death: A Year of Extreme Competition in Pro Football's NFC East
Thomas Merton - Zen and the Birds of Appetite

8 films that mean something to me

Ran

Top Hat

To Have and Have Not

Holiday

Monty Python and the Holy Grail

Pierrot le fou

Christmas in Connecticut

El Espíritu de la colmena
[Spirit of the Beehive]

(And for 8.5 . . . 8 1/2)

8 songs that mean something to me

Bob Dylan: "Blood on the Tracks"
John Coltrane & Eric Dolphy: "Spiritual"
Jerry Jeff Walker: "London Homesick Blues"
Lester Young: "Blue Lester"
Fats Waller: "My Very Good Friend the Milkman"
The Beatles: "Tomorrow Never Knows"
Maurice Ravel: "Pavane pour une infante défunte"
George Gershwin: "Rhapsody in Blue"

8 living people I'd like to have as dinner guests

(Taking for granted that La Reina would be co-hosting . )

Charlotte Gainsbourg
Jim Jarmusch
Subcomandante Marcos
Juliette Gréco
Hank Jones
Penélope Cruz Sánchez
Jetsun Jamphel Ngawang Lobsang Yeshe Tenzin Gyatso
Bob Dylan
(or Willie Nelson if Bob seems like he's gonna get all aloof and nasty that night.)
(or Tom Waits if Bob's gets all aloof and Willie's too stoned to find the house.)

8 people who I'm passing this on to

I don't even know eight people to pass this on to. How about 4?

Liam
Jeff
Crystal
Garpu