I don’t have too much to add to this piece by Jody Rosen, for Slate, about NPR’s taste in black music, but I recommend reading it. Rosen looks at their very white “Best Music of 2009 (So Far)” list and advances a theory that NPR’s producers look for four basic factors in deciding to spotlight a black musician—they’ve gotta be either Dead, Old, Retro or Foreign. He calls it the “DORF Matrix.”
Cute, yes, and true. NPR’s best-of list, voted by listeners, includes only two black artists out of 30 on the “best albums” list (Mos Def and, uh, Danger Mouse) and none at all on the “best songs” list. NPR isn’t the only media outlet to shaft current hip-hop and R&B for crusty soul revivalists with a by-the-books story of redemption, and though every media outlet is entitled to their own opinion, and death, age, history and foreign countries all make good, easy-lazy stories, it would seem that NPR should have an interest in battling their own caricature. Right?
Tom Waits is releasing a live album, Glitter and Doom Live, on November 24, just in time for the Christmas season. It includes 17 songs from various shows on his tour last year. I saw two shows from the tour; one at the beginning when the players were still finding their footing and one at the end, which was one of the greatest shows I’ve ever seen. The live album features a bonus disc in the CD version called “Tom Tales,” with 40 minutes of Waits’ trademark ruminations on “romantic spiders and injured vultures” (the bonus disc comes as a free mp3 download with the LP version). Here’s the track list:
Lucinda / Ain’t Goin Down (Birmingham – 07/03/08)
Singapore (Edinburgh – 07/28/08)
Get Behind The Mule (Tulsa – 06/25/08)
Fannin Street (Knoxville – 06/29/08)
Dirt In The Ground (Milan – 07/19/08)
Such A Scream (Milan – 07/18/08)
Live Circus (Jacksonville – 07/01/08)
Goin’ Out West (Tulsa – 06/25/08)
Falling Down (Paris – 07/25/08)
The Part You Throw Away (Edinburgh – 07/28/08)
Trampled Rose (Dublin – 08/01/08)
Metropolitan Glide (Knoxville – 6/29/08)
I’ll Shoot The Moon (Paris – 07/24/08)
Green Grass (Edinburgh – 07/27/08)
Make It Rain (Atlanta – 07/05/08)
Story (Columbus – 06/28/08)
Lucky Day (Atlanta – 07/05/08)
Steve Martin, comedian and banjoist extraordinaire, has been booked at the Napa Valley Opera House to play on Thursday, November 5. If you were stuck behind a tree or thousands of other people when he played in Golden Gate Park, there’s still a handful of seats left for the Napa Valley Opera House, which is comparatively the size of a shoebox. Click here for tickets, which run $110-$125 per person and are going very fast. Might I tangentially also recommend Martin’s very wry and funny memoir, Born Standing Up, if only for his fantastic story about running into Diane Arbus at Disneyland, or the passage on briefly dating Linda Ronstadt.
Healdsburg’s jazz scene was set to lose a fantastic outlet when the Palette Art Café was sold, but thankfully, the new owners of the just-opened Affronti have carried on the tradition of showcasing excellent small combos in their intimate environs every Thursday night from 7-10pm. Reports on the food are positive as well, and dinner reservations are the best way to get a good seat. Upcoming acts include Cat Austin (Oct. 15), Ken Cook and the Gravity Trio with Scott Peterson (Oct. 22) and the Adam Theis Mega-Quartet (Oct. 29). The location once played host to jazz bassist Henry Franklin, and might I tangentially recommend Henry Franklin’s The Skipper, a very good record that I wish I had discovered prior to his performance there this summer with Azar Lawrence and not, sadly, afterward.
Souls of Mischief, far from being past their ’93 prime, have a new album, Montezuma’s Revenge, out in early December. They are still one of the best live hip-hop groups in the Bay Area. Every time I see them open a show, I feel bad for the headliner, who bumbles through a set doomed to inadequacy. Next week at Slim’s, they hold to the fire the feet of Ghostface Killah, a great rapper currently on “miss” in his hit-and-miss catalog of albums. Parlay the temptation into instead seeing Rakim, a great rapper who hasn’t made an album period for a while but who never disappoints, at Slim’s on Oct. 25. Might I tangentially recommend Eric B. and Rakim’s Follow the Leader, an album packed with just as much genius as Paid In Full but not, you know, overplayed.
Here’s my favorite story of the week: Earlier this year, Scott Brown made a pilgrimage to the final resting place, in Queens, of stride master and jazz piano pioneer James P. Johnson—only to find an unmarked scattering of weeds. Shocked at the lack of respect for one of jazz piano’s inarguable giants, he called on some of New York’s stride aficionados, including Dick Hyman and the Bad Plus’ Ethan Iverson, in order to raise money for a proper tombstone. You can read about the marathon nine-hour cutting session here, and rest assured that James P. Johnson will have his life and legacy properly marked.
Dickie Peterson, the bassist and singer of Blue Cheer who spent a lifetime oversaturating amplifiers in underrated glory, has died at age 61. There is no way to go back in time and listen to Blue Cheer devoid of their subsequent context—Black Sabbath, prominently; Sleep, the Melvins and Sunn 0))), less prominently—but it doesn’t take much imagination to recognize that Peterson and his trio were on some heavy shit way before the world was on some heavy shit.
Of course, Blue Cheer played extensively in the Bay Area, including the Santa Rosa Fairgrounds in the 1960s right after Vincebus Eruptum came out, but had even more recent ties to this area. I met Peterson a few years ago when he was living in West Sonoma County, of all places, and playing the occasional blues show at the Forestville Club. He looked exactly like an unsung pioneer of heavy metal, with long hair, a denim jacket and imposing heft. I guess he didn’t stay here long—he died this morning in Germany, presumably of cancer. May he be remembered.
There are many transgressions I will abide at live hip-hop shows. I accept that I will be yelled at for not making enough noise. I know that I will be schooled on some arcane lyric I am supposed to repeat. I can hang with crowd-rocking clichés like left side vs. right side, I’m cool with rappers getting too excited and gruffly shouting their lyrics, and most of all, I have started to swallow my indignation at Serato.
But let’s say you’re People Under the Stairs. You’ve made seven full-lengths. You’ve got fresh beats for days. You’re one of the best throwback hip-hop acts in the country. The last thing you need to do is come out on stage and, before performing any song, try to get the crowd hyped by talking about your new sponsorship from Vans:
“This is a world premiere! Check out dubbayu dubbayu dubbayu dot VANS dot com, forward-slash, remix”—blah blah blah—”an’ if you win, Vans is gonna hook you up! Now San Francisco, are you with that?!!”
I was embarrassed for the Bay when the crowd actually cheered. No wonder the Dodgers are in the playoffs and the Giants are toast. L.A. plays us like a violin. Seriously—we’re such dumbshits that we cheer for a promotional Vans remix contest website URL?
My friend Matt quickly recalled Soul Strut hosting a PUTS remix contest, a couple years back. The prizes included having the winning remix pressed on vinyl, free records for the runner-up, and, for third place, a $10 Wendy’s Gift Card they probably found laying around (“for baked potato or baconator, yo choice”). That same idea co-opted by Vans, who make perfectly fine shoes but have an insidious penchant for swooping in and plastering their name on quality youth culture, is not a reason to throw your hands in the air.
So the starting line was set about 20 yards back, with a lot of catch-up to do. This ordinarily shouldn’t be hard to do for Double K and Thes One, given the enormous back catalog of PUTS jams. Obvious classics like “Hang Loose,” “San Francisco Nights,” “Tuxedo Rap,” “Up Your Spine” and “Acid Raindrops” were all played, but I dunno, something was off. A faded Thes One—one of my favorite producers, who dominates both The Price is Right and Will.i.am—kept messing around with the mic’s reverb by huffing his way through too many acapellas (“Time to Rock Our Shit” faded out, but never faded back in) and the lack of tight pacing showed.
People Under the Stairs play party jams and people love party jams, so there were no complaints from the dozens of girls pulled up on stage for “Hang Loose” (see Fig. 1A, above). Nonetheless, we walked back to the car in a weird daze—”It’s like their crowd changed from beatdiggers to douchebags,” we overheard someone say—and hoped it was just an off night. Carried Away, their new record that comes out next week, is as great as ever. How could it be bad, right? So anyway. Here’s to future days.
If you’re rooting out a jazz musician’s complete discography, Wikipedia is not the place to look. Thousands of contributors are willing to supply page content for, say, Roman Polanski (whose Wiki page is currently locked, natch) but that number dribbles down to almost zero for confirmed jazz heavyweights. How many albums has Sonny Rollins played on as a sideman? Nine, according to his Wikipedia page.
I listened to Reggie Workman last night twice and didn’t even realize it: Once, on the brilliant Takehiro Honda outing Jodo, a Japanese release, and again on the equally brilliant Booker Ervin album The Trance. If I’d have stayed up for another hour, I’m sure I’d have pulled another record from the shelf, randomly, that happened to feature Reggie Workman. How many albums has Reggie Workman played on as a sideman? Eleven, according to his Wikipedia page. (Here’s a work-in-progress discography that lists over 140.)
Trio 3, Workman’s impeccable group with Andrew Cyrille and Oliver Lake, is coming to Healdsburg for two tiny, intimate shows at Flying Goat Coffee on November 3 at 7pm and 9pm. When I profiled Healdsburg Jazz Festival founder and director Jessica Felix in 2008, she mentioned Trio 3 in passing among her favorite groups—and an example of the risk one might take with more obscure, avant-garde booking amongst wine-country tastes.
I applaud the risk, and can guarantee that the opportunity to see these three titans of jazz (collectively, they’ve played with John Coltrane, Art Blakey, Mary Lou Williams, Cecil Taylor, the World Saxophone Quartet, Wayne Shorter, Peter Brotzmann and many, many others Wikipedia does not list) will be $25 well-spent. Add the close ambiance of Flying Goat, and the choice is a no-brainer. While they last, get tickets here.
This week’s Bohemian feature is on Heavy Mental Music, a very amazing, strange record made in 1981 by David Petri and the developmentally disabled clients of the Manual Skills Training Center in Santa Rosa. Pictured above is the “deluxe edition,” with a T-shirt, two posters, three stickers, a photocopied booklet, a notepad and two copies of the record, all housed in a hand-designed box. According to Petri, only 50 of these “kits” were made (most copies of the record were sold alone, or given out to strangers on the bus), and at one point, what you see above actually sat on the desk in the Oval Office.
What strikes me most about this record is that it’s completely ahead of its time, both in concept and presentation. Colored-vinyl 7″s, stenciled T-shirts, photocopied lyric booklets and paper Kinko’s stickers didn’t start showing up en masse until around 1991, and the acceptance of incorporating the developmentally disabled into pop culture—the Kids of Widney High, or How’s Your News?—was years away.
The heartbreaking part of the story, for me, is Petri being accused of using the mentally retarded clients of the Manual Skills Training Center to advance his own agenda. In the time I spent with Petri, he seemed like a sincere, caring person who patiently taught the clients how to play drums and keyboards and who happened to be attracted to the aesthetic of artists like Todd Rundgren and Salvador Dalí. Shades of that aesthetic color Heavy Mental Music, and something tells me that if Petri had recorded campfire folk songs like “This Land is Your Land” instead, it wouldn’t have been an issue.
Anyway, without further ado, here’s “Heavy Mental Music,” written by Jim Weber and performed by the developmentally disabled clients of the Manual Skills Training Center on Lomitas Ave. in Santa Rosa in 1981:
Click the second file above to hear the obscure but no less compelling B-side,”Tour.”
Okay, folks. It’s serious.
The Phoenix Theater in Petaluma is in such a severe financial crisis that Tom Gaffey has been laid off. You might not have noticed, because he’s still working there every day, but it’s true—he’s been taken off the payroll.
“I need to be back on in about a month,” Gaffey told me yesterday, “or I’m gonna be in trouble. “
On the phone last week, Tom tried to downplay the situation, saying that he’s been through thin times before, back when the Phoenix was a smaller operation. “If I could cover the rent, the PG&E and the insurance, then we were golden,” he says. “But now we’ve got some other things going, and the fact of the matter is that stuff is so cool. The music school, the clinic, the art programs, all the extra stuff we do is just so important and so valid. When you see the clinic on Thursdays, it’s absolutely full, a good long line of people waiting to get in. You can’t deny this is a great program.”
To that end, the only paid employee at the Phoenix right now is music program director Gio Benedetti, and even he’s been cut down to half-pay. Executive director Amber Faur, like Gaffey, has also been officially laid off. Bruce Hagen, board president, explains that both are still working at the Phoenix in a volunteer position, and “they’re working as hard as they ever did, God bless ‘em.”
It just doesn’t make sense. Say the name “Tom Gaffey” anywhere in Sonoma County and an air of beloved reverence is instantly conjured. This is a guy who’s given decades of encouragement to teens who didn’t get support from their schools, their families, their social circles. Who’s said yes to starting a band, painting a mural or realizing some other potential when every other adult has said no. Who’s given years of sincere advice in place of nagging, and provided wide-ranging opportunities to kids who’ve only known closed doors.
So how could something like this happen?
For years, the Phoenix used to be run by Gaffey alone, who in addition to booking shows also oversaw a bunch of kids who hung out after school, played guitar, made art, put on plays, edited films, skated and helped each other with homework. When the theater was saved from being turned into an office building in 1999 by a group of dot-com benefactors, it slowly eased into the Phoenix Theater of today—a nonprofit model where all those extracurricular activities are now official programs eligible for grant funding.
Hagen says the theater had banked on getting some significant foundation grants and major donor grants, “but the word we’re getting is ‘You guys look like a great program, you have a pretty solid organization, but we’re not taking anybody on right now.”
The shows haven’t been doing too well, either. Up to half of the theater’s income once came from door receipts, but the Phoenix was forced last year to be overly cautious about booking rap shows, “and as troublesome as those sometimes were,” says Hagen, “they were very profitable for the Phoenix.” (The long-running series of Super Hyphy shows usually brought in at least $2,000 per month.)
All told, the Phoenix needs about $20,000 a month to stay afloat. In addition to funding, the theater is in need of energetic board members, reliable volunteers and “people with skills in administering a nonprofit,” Hagen says. “Ten years ago, we had a situation where the Phoenix couldn’t exist on the model that it had. And now, we’re in a similar situation where in this economy, we can’t get by unless we have a greater level of support from the community.”
Those interested in volunteering time or skills can get in touch with Hagen directly by emailing him here. As for Gaffey? “I’m fine for a little while longer,” he told me, “but I may have to go out and find a job here real quick.”
For those who’ve been inspired or supported in any way by Tom Gaffey and the Phoenix Theater, helping out is as easy as clicking here and making either a one-time or monthly donation. They’re a 501(c)(3) now, so it’s tax-deductible. Now is the time to help out. Countless people have seen firsthand the benefits to having Tom Gaffey at the Phoenix Theater. If enough of us pitch in, we can rescue one of the worthiest causes in Sonoma County. Every bit helps.
I just got off the phone with Adam Theis, who’s still flying high. Christ, he’s got every right to be. On Saturday night, in the middle of his set with Supertaster at a very tiny and very new club called Coda in the Mission District, someone whispered into his ear that Stevie Wonder had just walked into the room. “The rest of the band soon found out,” he recounted, “and we were all looking at each other like, what the fuck?!”
It’s no small thing, Stevie Wonder walking into the room, especially when you’re a band who’s made a habit out of playing dozens of Stevie Wonder songs. It’s no small thing, either, when at the end of your set, Stevie Wonder starts making his way up to the stage with his bodyguard.
You know the rest: Stevie Wonder got up and sang two songs with the Jazz Mafia at a tiny little club in the Mission District. I mean, after Stevie Wonder sits in with your band, what else is there? Does Theis ever need to play another show in his life? “It kinda feels like that, actually,” he jokes.
Here’s an excerpt of Theis’ written recollection of events:
We chatted with him for 5 seconds and decided on the tune “All Day Sucker” which is a tune we used to play a lot in Supertaster and also with Realistic Orchestra for the annual Stevie Wonder Birthday Tribute that we put on. I have to say that when he started singing the song it was beyond goosebumps…the crowd was going completely insane yet being very respectful, the band was playing better than ever and we honestly had no idea that Stevie would even want to sing with us. He did what I felt like was my favorite version of that song ever. As the tune was nearing a stopping point, I leaned over to Bagale and suggested testing the water by playing the riff from “Can’t Help It,” the hit song he wrote for Michael Jackson. Joe gave me a huge smile and head nod.
It was a little weird when I merged into the bass line from “Can’t Help It,” Stevie was still singing “All Day,” and he kinda froze for a second to get his bearings – I was kinda freaked out because I felt like, “I just cut off Stevie Wonder!!” Crap!!” But it took him literally 2 seconds and BAM! one of my favorite songs EVER came to life on stage live.
After it was all over, Stevie hung around the club, taking pictures and chatting with the band, which was both exciting and nerve-wracking. “You’ve got five minutes to hang out with your idol,” Theis explains. “What do you talk about?” By all accounts, though, Stevie seemed genuinely interested in the band, in the San Francisco scene, and in Theis’ recent masterwork Brass, Bows and Beats. And right before he left, he called the whole group together.
“We got in this kind of a huddle, just the musicians, and is voice lowered a little bit,” Theis says. “It was really cool and intimate. He said he liked what we were doing, playing a lot of different styles and taking a lot of chances. He said keep doing it. Do not give up. He said this thing that we did tonight—we did, he said—is really, really important. That it’s what culture is all about.”
Here’s to the Jazz Mafia, to Supertaster and to Coda. And for Theis, a former Santa Rosan who’s done nothing but make a name for himself since he left town, I know he’s on Cloud Nine and probably will be for the next year. “Someone would have to come back from the dead, actually,” he says, “for it to be better than Stevie Wonder.”
Here’s the video:
“He wasn’t one of those people who were the center of attention, but was always one of those people others were drawn to. You know, talented, athletic, funny, compassionate,” says Allen Sudduth. “Bruce was always one of the best and the brightest.”
Sudduth would know. He first met Bruce Barclay in the mid ’60s at Santa Rosa Junior High, and with Sudduth on drums and Barclay on bass, the two locked in step with each other both as lifelong friends and musical partners. Both had known each other in junior symphony and other school programs, but through a series of garage bands with names like the Third Foundation and the Worthy Cause, the two played nonstop at school dances and local venues—even opening for the Buffalo Springfield in Santa Rosa at the Fairgrounds in 1967.
Sadly, Barclay died last year, the result of complications from an auto accident 15 years ago. This Friday, Sept. 25, people from all over the country are flying in—either alumni of Santa Rosa High School or those with a personal connection to Barclay—to participate in a special memorial concert for Bruce reflecting his dual love of classical and rock music, “from the sacred to the profane,” as Sudduth calls it. The first set is classical-oriented with works by Vivaldi, Schumann, Bellini, Grieg, and others; while the second set features songs by Jelly Roll Morton, the Beatles, the Rolling Stones, Steely Dan, Jimi Hendrix, and yes, a few originals by Bruce Barclay.
“He was a phenomenal, phenomenal bass player,” says Sudduth. “We listen to these tapes that we did in the ’70s and ’80s and we’re just stunned at how good he played. And we kinda took it for granted, I guess. But he was always the rock. He was the guy you could always count on. He played better than anybody.”
The Bruce Barclay Memorial Concert is this Friday, Sept. 25, at Santa Rosa High School. 8pm. $20; all proceeds go to SRHS music programs. For more information, click here.