Monday, July 13, 2015

Is the Great Gatsby the Power Pop of Modern American Literature?


My friend Metropolitan Savas posted this comment today:
In May 1940, a few months before his death at age 44, F. Scott Fitzgerald wrote to his editor Max Perkins about "The Great Gatsby," Fitzgerald's third novel, which had come out to disappointing reviews and poor sales in 1925. (Fitzgerald was to die years before the novel was rediscovered.)
"I wish I was in print. It will be odd a year or so from now when [my daughter] Scottie assures her friends I was an author and finds that no book is procurable....
"Would the 25 cent press keep "Gatsby" in the public eye -- or is the book unpopular. Has it had its chance? Would a popular reissue in that series with a preface not by me but by one of my admirers -- I can maybe pick one -- make it a favorite with class rooms, profs, lovers of English prose -- anybody. But to die, so completely and unjustly after having given so much. Even now there is little published in American fiction that doesn't slightly bare my stamp -- in a small way I was an original."
I've read that before, but today it got me thinking about the book, and how some things take time. I first read Gatsby as an adult, when serialized one summer by the New York Times. Initially, I thought it a trite melodrama. I enjoyed it well enough, but I like pulp fiction, too. This is the Great American Novel? Well, yes. 

It took weeks for Fitzgerald's book to sink in, for me to appreciate it. 

I felt the same way about Cheap Trick when I saw them. Sure, they could play. They were tight, virtuostic, well rehearsed but I couldn't get past the unison riffing in the service of power pop rock and roll I had heard a zillion times. No hint of jam. They were Glen Miller when I wanted Charlie Parker.
I'm not saying Gatsby is the power pop of modern literature--need to think through that analogy--but I learned a lesson about not always trusting initial reactions. My constitutional law professor Marty Margulies always warned against trusting initial reactions to First Amendment questions. He urged doing the analysis, because restrictions on expression, or religious exercise, often seem reasonable at first blush until you think them through.

Tuesday, April 16, 2013

Arcade's Collective Improvisation



Arcade
Improvised Music
Joe Morris, guitar
Pat Kuehn, bass
Andria Nicodemou, vibraphone
Jake Baldwin, trumpet

Sunday, April 14, 2013 4pm
Project Storefronts
756 Chapel Street
New Haven

On Sunday afternoon, I drove down from the west hills straight into 1971. In a storefront on Chapel Street, Joe Morris talked about the new music scene in the neighborhood since that time, vowing to keep it fresh with young, new excellent musicians with something to say. Gray longhair Joe Morris on guitar, and three young players on trumpet bass and vibes.
I soon felt I was listening to Chick Corea's Circulus, spacey, trippy clipped lines dancing in your head, virtuosic runs interspersed with noise. Bass fretted with a card under the strings to buzz and rasp. Vibraphones strummed with the stick end of the mallet, or bowed. Trumpet turned over, blowing into the bottom of the valve holes. Joe making classic avant-modern jazz runs, all incredibly of the moment, in the present, 2013.

The first piece could have been John Cage playing Carl Stalling's Looney Tunes melodies. The second piece started with a bowed bass solo, like a deep, in-tune Rochester sawing back nad forth. Joe jumps in clear and bright, polished in tone and line, beyond lightning fast. The pocket trumpet – just like Don Cherry used to play – starts screeling along the top, interrupting himself with Miles-like cold, echoing peels. The final touch, atmospheric vibes.

Vibes solo starts the next piece, a melodic theme. Phrases reminiscent of bebop hooks and old standards. Then the bass and trumpet mix it up. Joe adds neck-length runs while the bass player threads a long metal rod between the strings, sometimes scratching with it or just letting it dampen the notes he plucks. Vibist drops ping-pong balls on the keys, letting them bounce away. Joe frets a drone on his lowest string. The bass is exploring – high screeches and mid-range bowing while really bending the strings, pulling and yanking. Soon it becomes an all-out jam, a flood of notes. Joe goes all raspy, first by scraping his pick fast against the strings, next by slipping a card under his strings and finger picking.


After a break, the second set started with some percolating popcorn guitar sounds, then Joe scraping his strings with a raspy loop of a wire spring, and the bassist drumming his strings with the metal rod. More legacy of John Cage. Remember prepared piano? These musicians are preparing everything. There were times, after the ping pong balls, that the vibist bent down and played the vibe tubes hanging beneath the keys, hitting strumming with sticks and with a plastic credit card.

Anyone who has picked up an instrument has tried to make pure sounds, learning to fret and pluck a guitar string so it plays long sustained and clean without buzzing against the fret, or blowing pure notes from a horn instead of a raspy squawk. But modern artists in every idiom eventually break it down, deconstruct things so they aren't quite so “pretty” in paint, sculpture, and sound. The rock guys overdrive their tube amps so those clean tones get thick and fuzzy with texture. The avants, like the Art Ensembles of Chicago's Certain Blacks, “do what they wanna” making whatever kind of noise they can. It's not unique to this quartet. I've heard it at the Yale Music School and at Firehouse 12 and lots of other places, not defined by labels like jazz, or New Music. All parts of the instrument are fair game, not just the strings but necks and bodies of guitars, not just the skins but rims and sides of drums. And this is why I said it felt like Circulus – Chick Corea's quartet with Anthony Braxton, Dave Holland and Barry Altschul. Not the sound, but the feel. http://youtu.be/GrKGv142LuE 

After the show, I talked to Joe Morris about what he meant by the scene in the 70's – standing as we were in the original Goldie & Libro Music Center storefront. He talked about seeing Anthony Davis and Loren Mazzacane Connors, and otherwise long-forgotten performance spaces. We also talked about a outdoor show Real Art Ways show in the early 80's, Joe filling some gaps in my memory. The aptly named Firespitters, with Jayne Cortez and the band that did double duty those days as part of Ornette Coleman's Prime Time, Charlie Ellerbee and Bern Nix on guitars, her son Denardo Coleman on drums, and probably Al McDowell on bass. Here's her classic There It Is, with a slightly different lineup: http://youtu.be/G6bKgljhvR0
And more:
And this, which is what I heard that day in Hartford:

But just like Arcade, I digress. I've heard Jesse Hameen II describe jazz as a method of communication, and that applies to all of the above and especially Arcade. Communication is the core, among the players, with themselves and with the audience, in another language. It's not a new concept. Langston Hughes talked about Jazz as Communication in 1956. http://www.poetryfoundation.org/learning/essay/237856 And it's not limited or defined by labels like jazz. Arcade was not billed as a jazz show. On Sunday afternoon they communicated, sounds coordinated with some looks and nods. These kids were young – at least 2 out of 3 are New England Conservatory of Music class of 2013, so they're half Joe's age – playing with the confidence and impetuousness of youth yet with the grace of ages.

Joe Morris plays Sunday 4/21 3pm at Real Art Ways with Stephen Haynes and Matt Maneri. Next week he's back in the neighborhood at Cafe Nine with his electric band Slobber Pup, which he described as the complete opposite of what we had just heard with Arcade, loud and electric. Tuesday 4/23 8pm. 
See you there.




Saturday, December 11, 2010

The Spampinato Brothers 11/11/10 Cafe Nine

I got hooked on NRBQ at the end of the 70's and followed them through their prime years as the World's Greatest Bar Band. They carried on after the great Al Anderson left for Nashville in 1994. Joey Spampinato's kid brother Johnny stepped in, replacing Al in guitar, and Terry Adams kept making his zany magic on piano. But ten years later Terry went on hiatus (reportedly with carpal tunnel syndrome) and has since been playing with new bands. When I saw the Terry-less NRBQ billed as Baby Macaroni at Toad's Place a few Thanksgivings ago they were underwhelming.

Now come the Stampinato Brothers plus drums and second guitar in a piano-less rock quartet. They're playing guitar pop free of having to measure up to the legend, and sounding better for it. Joey, Johnny and guitarist Aaron Spade take turns on vocals and oohing and ahhing in the background. The catchy songs have infectious hooks and driving guitars.

It wasn't an NRBQ greatest hits or oldies show, even though the 90 minute, 22 song set contained plenty of Q songs. The band mixed up new originals, covers and some of Joey's songs from his old band, all with natural rockin' rhythm sound. Great rhythms and harmonies, solid bass and tasty licks. They played I Say Good-Day Goodnight, A Bear is a Bear is a Bear and others from their new album Pie in the Sky. Through the night they mined the old NRBQ repertoire with I got a Rocket in My Pocket, Flat Footed Flewzy, A Little Bit of Bad (Sounds Good to Me), You Can't Hide, If I Don't Have You, and more, including Beatles (You're Gonna Lose That Girl) and Stones (Baby Baby You're Out of Time) covers.

An hour into their set the band hits its stride with a smoking dirty fast Route 66. Then Joey takes back the reins with Wild Weekend. Five more songs and they closed the set calling Dr. Howard: "Ain't it All Right"

The band walked off the stage through the crowd to steady applause, went back behind the kitchen and waited. One old fan next to me lamented that we couldn't chant NRBQ. The band walked back out as the crowd called out requests. They sang about getting the blues when it rains then rocked out with "Get Rhythm".

"Yes a jumpy rhythm makes you feel so fine
It'll shake all the trouble from your worried mind
Get rhythm when you get the blues"

Friday, October 22, 2010

Tony Joe White 10/22/2010 at Cafe Nine, New Haven, Connecticut

The last time Polk Salad Annie was heard live on stage in New Haven was 35 years ago, when Elvis Presley sang it at the Colisuem, just a block away from Cafe Nine on the corner State and Crown Streets, where Tony Joe White sang his biggest hit tonight.

He walked through the crowd holding his old brown Fender Stratocaster, sat on a chair in a black cowboy hat and sang in a sleepy drawl with atmospheric guitar straight out of the swamp. Three songs into his set he brought out his drummer, saying "it's gonna get steamy in here now" and it did. He launched into a smoking driving "Undercover Agent for the Blues."

You can only see a bit of him from some spots in the back of the barroom but his sound fills the room. His propulsive guitar pulls the vocals along for the ride. In most songs he hits an effects pedal for a noisy electric lead, distortion fuzzed out and flanged.

"We're going to take it down to the swamp now," he says. "This song's about two boys" and starts singing "The river was dark and muddy...."

Tony Joe White is like a redneck John Lee Hooker. He played songs with Tejas/Train Kept a Rollin rhythms. Mike the sound guy has it just right, with understated power absorbed by the bodies and clarity over the chatter. Loud enough, but you can still carry on a conversation. Vocals and guitar nicely balanced. Guitar tone is both twangy and round...until he rips into a big delay-effect distorted lead.

He played his hits towards the end of the set. White grooves on Steamy Windows. Rainy Night in Georgia is quiet and soft, gentle, with an almost jazzy guitar sound. And then the moment comes. Polk Salad Annie. What can I say? He introduced it with the traditional, practiced rap and rocked it out. One more bluesy groove to close out the set and he's gone after a fat hour.

Monday, October 4, 2010

Jayke Orvis and Friends @ Cafe Nine 10/3/2010


Jayke Orvis + Friends are not for the faint of heart. Dark and dangerous, they may not be for purists, with their tattoos and piercings and dreadlocks, but they tore it up.

Rachel Brooke sings City of Shame like a young Loretta Lynn. She's a little woman with a big guitar. Singing murder songs. Her capoed guitar sounds bright and old-timey.

James Hunnicutt opened. He had a bigger guitar sound--his Martin sounded fat and round, to match the sweat-stain where his strumming forearm rested. He mixed up originals and covers, including The Misfits' Halloween and an couple of Hank Williams songs. Gotta know the canon if you are going to plow this field. He did a nice job with Lefty Frizell's Long Black Veil. It's a killer song that works better with Johnny Cash's deeper gravel voice but he made it his own, segueing powerfully into his own composition.

Jayke Orvis promises to be interesting. Nominally bluegrass-sounding on myspace, his band is setting up beat-up doghouse bass [that's Johnny Lawless with his bass in the photo], banjo, and gold-tone Les Paul electric guitar, with Hunnicutt tuning the Les Paul. And a guy in hillbilly dreads. That would be Mr. Orvis.

"OK we're gonna start. Here's a song." Yes it is.

This is rotgut redeye punk bluegrass. They can play as fast as anyone. And they're loud (except that it's the first sound check I've sat through where the musicians kept asking for the monitors to be turned down. Good sign.). Tattoos, piercings, stickers on the mando and the flat-out best version of Shady Grove I've heard, fast dark and deep. As raw and non-traditional as it might be, it's also the most authentic, hitting minor key notes on the mandolin. Orvis's voice is as old as the hills and he shreds his mandolin. It's not pretty but it's real. Two songs later he sang about killing his ex-girlfriend, dragging her out the door and burying her in the backyard. Perfect.

1. Instumental
2. Shady Grove
3. Thunderbolts + Lightning
4. Gone Forever More ("Here's a song about killing you're ex-girlfriend")
5.
6. (This song has a hot-rod lincoln feel to it)
7. Dreadful Sinner ("What does it take to become a righteous man"--sounds ancient)
8. (Switches to acoustic guitar-"now I'm going away"--hunnicutt tasty flatpick lead work)
9. Empty Bottles on a Broken Shelf
10. Feelings Like This ("How do you feel when you're all alone..." Hunnicutt on electric guitar fits right in. "Little plastic baggies all over the floor...")
11. ("Song's about divorce, about the very last night beofre..." Duet w/ Rachel--closes song with pretty unison riffing on mando + acoustic guitar)
12. Hank Williams" Kaw-Liga. Jayke on guitar Rachel + James harmony.
13. Alone with You (Faron Young tune sung by James)
14. ("Oh my time has come I gotta go" -- a capella with handclaps)
15. Yankee Taste [instumental]
16. Raise the Moon (Last song. "Gonna have a party gonna raise the moon, we all know that he's coming soon")

Sunday, August 15, 2010

Summer Tomatoes

Only two things that money can't buy
That's true love & homegrown tomatoes
--Guy Clark

Thanks to modern agribusiness, you can get a decent tomato year-round. Campari, on-the-vine and others from hothouses or faraway southern climes will get you through the dreary months better than those old cello-wrapped hard pink things with the flavor of styrofoam. And I do mean decent. A good off-season tomato can help a salad and nicely top off a hamburger or a sandwich. As good as they may be, though, they don't hold a candle to the real thing: a fresh juicy summer tomato, fresh off the vine, home-grown or from a farm stand.

Now that it's August, I've been getting mine from Shepherd's Farm, around the corner in my hometown. It's as close to homegrown as I'll get this year. They're homegrown, just not at my home! Heirlooms of all sizes and colors, including yellow and gold cherry tomatoes, sweet and meaty and juicy. Until two weeks ago, cherry tomatoes were an anathema to me. You know--those little round flavorless things that show up in salad bars, whose sole purpose in life seems to be to squirt flavorless tomato juice all over when you take a bite. These fresh heirlooms aren't even from the same planet. Tiny round perfection with names like Lollipop and Sun Gold.

All a good tomato really needs is good olive oil, but for real summer heaven, slice 'em up with slivers of onion, chucks of cucumber, a crumble of feta cheese and some salt, pepper and oregano. Add some green pepper if you like. Drench the whole mess in lots of the best olive oil you can find--fresh, fruity, cold pressed extra-virgin. At the bottom of the bowl you'll find tomato juices mixed with olive oil, bits of onion and feta and some tomato seeds. Be sure to have crusty bread to sop it up.

Big Bad Johns 8/13/2010

Cafe Nine was packed for the Friday the 13th Big Bad Johns reunion show. Usually when it's that crowded I can find a space to stand near the back but that didn't look possible. Instead we wounf towards the front of the house and got a spot--standing/sharing a table-- while the band was setting up. People crowded the stage when they started to play, so it got claustrophobic tight and hot, with some pushing (which is rare there). By the end it had thinned a bit so it was more comfortable.

The band sounded great. You never would have guessed that they hadn't played together in years. Paul was chewing gum and smiling all night. He looked a little stressed before going on--happy stressed because of the big crowd but also because his bass cabinet blew out so he had to go home to get another. He looked like his stage name Nervous Chet Purvis. After the show Paul said he was smiling because he kept making mistakes. The beautiful thing about rock 'n' roll, though, is that flubs don't get noticed.

Detroit Dick sang strong lead vocals with charismatic banter and crowd rapport between songs. The two guitars traded off rhythm and lead, the drums were snappy and Paul's bass was simply solid. He played mostly walking bass lines with a rock solid steady beat. That's what you want/need the bass to do. I love to hear guys jam out on 5 or 6 string bass but the prime function is to keep the beat and provide a big bottom, especially in a roots rock band, and Paul does that as well as anyone. Rostropovich used to say the orchestra is built from the ground up, referring to the bass section; the same is true for rock. Paul's big steady beat was the anchor, the pulse, the engine.