Friday, June 1, 2012

Jackie Vera's Dead (Short Story)

                                      By Bill King
                                

Only eleven people were on hand to pay their respects to slain musician Jackie Vera. They were tabbed the lucky eleven since most of Jackie’s friends, business associates and acquaintances were either dead, missing, in the witness protection program or married. I was on hand and so was Father McQuinty who spoke few words as they lowered Jackie’s coffin in the hardened earth. Even his presence was no more than symbolic. It was like Jackie had ingratiated himself with every person he’d come in contact with even the good Father McQuinty. 


Jackie would drape an arm around the young priest’s neck and croon, “Where The Boys Are” well past the point of tolerance. McQuinty would nervously smile then peal Jackie’s fingers from his garment. Jackie was relentless. The greater the distance McQuinty put between the louder Jackie would sing. By the time the young priest cleared the doorway Jackie would  be dry-humping pals Benny Wathum , Vinnie “ The Geep” or Joey “ The Screw” Romano and sometimes me, Willie “the Monk” Buggatti.


 I never totally figured why I spent so much time in his company other than he could be over the top hilarious when he chose and had this charisma about him that seemed to ignite the most epic of events like the night the three of us showed up to hear Jackie play at this rich Jewish broad’s wedding reception.


Everywhere you turned there where these Hebrew men in black suits dancing shoulder to shoulder in a wide circle with long braided tassels flipping around below wide brim hats like shriveled sausages. They’d never touched any of the women in fact the broads were mostly out of view. Jackie didn’t know any Jewish songs so he faked it. He was so stoned one could barely see the pupils through puffy eyelids - but he was still all smiles. The car ride down Vinnie kept asking “Anything we can ding there?”


Benny would say -”Yeah, the fucking doorbell”. The shit we was smoking made you so horny Joey’s cheery pink lips looked inviting. Man, did he have a large set of soup coolers. You’d never know the dude was a gumba.


Anyway, the three of us show up when this rich bitch opens the door and stares at us like we come to collect furniture for the homeless or something, so Vinnie says,


“ Who you looking at bitch?”


“Oh, I’m so sorry, I didn’t mean to offend, can I help you? She
responds.


Vinnie breaks it to her gently, “Where’s fucking Jackie?”


“I’m sure there isn’t anyone named Jackie here. Perhaps you have the
wrong address.” Vinnie pushes her aside and heads for the make-shift
bandstand.


“Hey, Jackie ? What the fuck’s going on? I thought you said we’ve
been invited to a party?”


“Vinnie, you shit.Where’s Joey and Benny?”


“They’re stuck in the hallway.”


“I’ll take care of it.”


Jackie plunks down the guitar mid-song and heads for the front room. “Joey, Benny, and Willie get your dago asses in here. There is free women everywhere. The “ Dancing Hat’s” got their own thing going on over there just ignore them.” Meanwhile, the bandleader is shitting himself.


“Jackie, you gotta play. You just can’t leave the bandstand when you feel.”


Jackie’s expression hardens “ We’ve been playing this snake charming shit for more than two hours and I’m about to piss myself. So why don’t I take a leak and you pay me now instead of six months later.”



The guy stares at Jackie. “What you lookin’ at ?”, says Jackie. “You want me to drive that clarinet up your ass. Give me the hundred bucks!” The guy reaches in his wallet and pulls our five twenties which Jackie immediately swipes.

 “Look Malcom or what the fuck your name is let me show you guys how to party. I know some songs that’ll get you people together.”

 “Jackie please don’t do that these are my friends. If people hear about this nobody will ever hire me again.”



Jackie ignores Malcom walks to the microphone and announces. “I see you guys are having a hard time connecting with the chicks. I’ve got the right tune to hook you up.” Jackie rips the junior bow tie from his collar and unbuttons the tuxedo shirt exposing a hairless pink chest. Now that’s the peculiar thing about Vera. He had sandy-red hair, red mustache and pink skin. If I hadn’t grown up with the guy I would have sworn he was a mick.


Anyway, Vera drives the Fender amp up to ten and starts doing his best” Wicked, wicked Mr. Pickett” imitation. You know that “Funky Broadway” shit. Jackie always envisioned himself “Soul Brother” numero uno. He then whipped off some nasty blues licks. Vera knew rhythm and blues and played it like the brothers down at those greasy chicken joints in Jersey.  Jackie directs the drummer where two and four is so there’d be no mistaking the groove then the three of us start dancing. The only problem was no one else caught the feeling. So Jackie’s gets pissed off and yells over at Vinnie, who’s eyeing some fine Dutchess and says,” Bring out the Johnson!” Vinnie turns around unzips his fly and drops eleven inches of crotch weasel in front of the bitches. Wham! You’ve never seen such a panic - all squealing and running. Joey pretends like he wants to have one of those “Bride and Groom” spotlight dances with Vinnie. Vinnie then waltzes around with meat swinging half down his ankles with Joey snuggled on his shoulder. I swear it was funnier than shit. I mean the night should have ended there but Jackie decides to marry Joey and Vinnie in this public like ceremony so the two stand before him down front of the wedding cake while Jackie puts on his black beret. I don’t know why he loved that stupid thing - he looked like a fucking chimp in it. He then does that Vinnie you fuckin’ “Geep” shit - I now pronounce you man and wife - then orders Joey and Vinnie to consummate the marriage before us. “The Screw” don’t want no part of this and takes an arm full of cake and pastes Vinnie’s schlong. All the while Jackie keeps egging them on.


“There ain’t nothing wrong with a lover’s quarrel on wedding night,” Vera screams. Meanwhile, the “Hats” return with a couple security guards. Jackie intercedes. ” Look fellows everything’s all right. They’ve got those wedding night jitters. I was trying to get the newlyweds into the bedroom to consummate the marriage. They’ll make up before we hit the street.”


The ride back Joey keeps telling Vinnie he’s going to cut his dick off. Vinnie tells him he’s going to make him dry clean his pants, underwear and every pair of shorts in Chinatown.


 To know Jackie you had to know his parents especially his father Vito who tended bar afternoons in lower Manhattan. Every time we dropped by somebody would get smacked usually Jackie. “Fuck you, you bastard,” Vito would yell. “You’re killing your mother and the good Lord knows you’ve all ready drove a stake through my momma’s heart. What did she tell you the other night?”


“Pops, what are you talking about? The old broad sits at that window all fucking day and night. I can’t walk in that house without her nasty ass blowin’ wind in my face .


"You watch you mouth! That’s mother you’re talking about.”


“Yeah, yeah ,yeah. You should build a cage for her and stuff her in the attic and feed her bats and flies.”


“What’d you say?”


“I said, you should put her to bed early so she don’t stink up the house. She smells dead or something”


“You want me to fuck up that big-ass head of yours - you piece of wasted
shit!”


Jackie starts laughing hysterically. “Pops you can’t waste shit. Shit
is waste!”


“You know what I mean, you moron.”


“So, what’s for lunch? Fix me a hero with extra tomato sauce.”


It was a weird kind of love these two had for each other. Vito got Jackie his first two hundred dollars driving for Benito Anapurno. Every Friday Anapurno sent someone around to collect receipts from his bookies. Jackie got the gig with much help from the old man. Anapurno would say, “Jackie I thought you were studying to be Puccini or something. Your dad says you’ve got the talent but you’re just wasting time singing that colored music. Look at you, you ain’t colored - your pink.” Jackie would take a drag from the ever present Pall Mall, grunt and look ahead. As soon as Anapurno was out of the car he’d light up a long thin stick.


“This is the boo, the real shit. The shit will make you poke death in the eye.” Jackie would say.


Long before Colombians earned a reputation as international gangsters, Jackie was buying pot from them. He knew they dealt the best shit in town and somehow made the connection in Brooklyn. They also sold the “The Blond”, primo hashish from Lebanon.  When he didn’t find the organic shit gratifying then he’d buy China White. Oh man, did he ever like the high. Anyway, he landed this gig in the Catskills with a ten piece show band backing a bunch of dancers and this fucked up black comic named “Lester”. Lester did all those white and black jokes, you know “We’re movin’ to your neighborhood shit”, so Jackie decides Lester needs new material and he’s going to write him a few laughs. Lester didn’t give a fuck cause Jackie was a walk-in clinic. He had Quaaludes, smack , pot , hash and amphetamines. Lester just wanted to get high.


Jackie tells him he’s got to do jokes that piss white people off like “Do you know where your daughter is? Riding my cousin Otis’s, Johnson.” Shit like that. So Lester lets Jackie “Sex” things up a bit. Well, the first night Lester uses Jackie’s material the shit hits the wall. The mayor of New York City just happens to be in the audience. Lester don’t know this but singles the man and his pretty wife out and starts doing this bit about getting head and keeps sticking his fist in his mouth. The mayor signals for two of his aides who wait back stage for Lester then drag his ass out through the kitchen and beat him silly. We never saw him again. Jackie just laughed and said, “He should of tried the jokes out first in Harlem.”



Benny, me and Vinnie rented a double suite. Somehow I ended up sleeping on the fold-up cot. Jackie would come by after the gig to watch television. He was hooked on those John Agar classics where those big titty girls get chased around by a bunch of deformed looking aliens.  Jackie would pull out the Weed , roll a tight one and suck on it like it was a peppermint two thousand dollar bill. He’d nearly lose all consciousness. I’d fall to sleep and he’d still be changing channels at five in the morning.



 I rarely saw him with a woman. As a matter of fact, besides a couple hookers, I only remember that Puerto Rican girl Luba and her skinny friend Dolores share the same bed with him. He hustled them while working up on 85th and Broadway in a joint called “The Palace”. All night he threatened them with the most inconceivable acts bringing terminal ecstasy. He also got them high on that aphrodisiac weed and invited them back to my apartment. Jackie lived at home. He’d never think of sex around his grandmother – she’d post some of those Catholic demons around his bed.


“Willie, why don’t you put some music on while I warm the bitches up,” he says winking at me.


“ Jackie, what do you want to hear?”


“Marvin is the right man for all night love Willie.,”he's say in a low dangerous tone.


Meanwhile the girls are sweating sex, lying all around my bed with Jackie in the middle.


“Willie, tell them why they call you "The Monk,” Jackie says.


“I don’t know - why Jackie, you’re the one who started that “ Monk”
shit.”.


“Well, maybe it’s because you look like a fucking tree monkey. How tall are you?” Whenever Jackie liked to humiliate me he’d bring up my height or lack there of.


“It ain’t how tall the tree, it’s the length of the branches that count,” I say.


“If that’s the case, I’ll have to save some of this sweet nectar but you realize there’ll only be drippings left ”. The girls giggle and purr about Jackie’s chest.


I try tuning them out but the smell of potent weed and heavy breathing nearly overwhelms then out of the corner of my left eye I see Jackie mount the short one then get off as fast as he could prop her legs up.


“ What’s on TV you fuck, he yells at me?”


“Kirk Douglas in Spartacus ,” I say.


“Willie, you ain’t shitting me? Kirk Douglas? Come over here and take care of these broads for me. How long you think the flick’s been on?”



The next thing I know I’m in this sticky ass bed with two horny love toys jousting about and Jackie’s totally focus on this fuck’in chariot race.


Benny Wathum scared Jackie. He was the connection with the Remo brothers, two greasers from the Bronx who’d snuff their mother for a veal sandwich. When Jackie took things to far Benny would roll a fifty dollar bill and slip it behind Jackie’s ear then say, “ For another fifty I’d rip both your lungs out and feed them to the homeless.” Jackie never pushed to hard on Bennie, just made sure he got the first hit of the Colombian.


Benny turned Jackie onto the stretch limo. Jackie saw Benny riding around in a Chrysler Imperial big enough to carry a half dozen Rockettes, wigs and all so he put money down on a mile long Lincoln. It was painted a sparkling coat of dark green with black leather interior. Although it was five years old the upholstery was immaculate. Parking the tank was a bitch.


Jackie would pick us up around noon and we’d still be driving at four in the morning. It was that kind of ride - soft and smooth. Vinnie would ask Jackie why there were never any broads in the car, and Jackie would reply, “Don’t want no bitches stain the leather.” Then he’d laugh that stupid horse laugh of his.


Jackie had this chin that looked like a pig’s ass. It stuck out beyond the rest of his body usually the first thing in your face when he looked at you. A piddly ass thin strip of flaming red moss hung like a third eyebrow above his upper lip. That matted sparrow’s nest of kinky red hair would puff up as the day wore on making him look like he took a wrong turn into a “Looney Toon” or something. He never stopped the ribbing or as he would say, “Fuckin’ wit’ you.” That was the real test of survival in his company.



I remember Joey sister’s twenty-first birthday party. I had this date with this new chick in the neighborhood, Rosie Tucci. She had thick black hair, tits the size of cantaloupes, nice ass and plump red lips. I mean she looked sex. I didn’t even have to take a taxi we just walked over to the Romanos.


 Young Stephanie looked radiant. Joey’s old man bought her a new MG convertible. He totally worshipped his daughter. The two of them sounded like a couple of cooing pigeons. Joey didn’t take that shit to well. Stephanie was always kissing on the old man - the longer the bouts the greater the gifts. You tell me the girl wasn’t working the sorry bastard. Joey would warn her about that incest shit but she’d just laugh it off and flash a handful of twenties in his face.


We arrive before Jackie and have a couple sips of grape when we hear all this commotion at the front door. Mrs. Romano draws the Venetian blinds and there stands Jackie with two black hookers dressed like traffic cops. I’m embarrassed for him, the Romanos and for what is about to transpire. Mr. Romano says” Jackie somebody here didn’t pay a parking ticket?”


“No, nothing like that ole man. I brought these kittens to play jail with us. Want me to get them to arrest you?” Romano don’t know what to make of the silliness but lets Jackie and the girls in.


“Hey, fuckin’ Willie, where’d you find those ruby lips?” Girls, stay away from Vinnie, he’s going queer.” Mama Romano I could smell the pasta up in Queens. Stephanie, twenty-one, just the right age for uncle Jackie.” Meanwhile Bennies watching all this from a corner chair when Jackie yells,” Cuff him girls.” On cue the two slide over and abruptly clamp the bracelets around the wrists locking the three of them together.


“Jackie , tell the bitches to take the cuffs off. Nobody puts that shit on me,” screams a less than amused Watham.



“Benny enjoy it they’ll do more than that if be nice to them.”


Ole man Romano don’t know what to make of all this, tells Jackie “ Maybe you should do as the man says and uncuff him?” Jackie looks back and says, “Bennie’s never been laid. Tonight he gets double fuckie.”


Romano goes hysterical, “Get the fuck out of my house you two bit piece of shit and take your
friends with you.”


I’m trying to make a connection with Rosie while all of this is going on when Jackie walks over and whisper’s something in her ear.


“Jackie leave her alone,” I warn. Rosie stands, slips on her taffeta coat and heads for the door.



I’m stunned!


“Rosie what’d he say to you?”


“I can’t repeat that!”


“What’d he say to you?”


“He said you have herpes!”


I reach for this large brass ashtray and smack Jackie dead center the forehead. Blood spurts everywhere. Then I climb up his overcoat and kick him repeatedly in the balls. The Romanos start pushing everyone through the front door on to the street. Man, was they ever screaming. You couldn’t decipher the profanities from the good lord Jesus’s. 


Jackie and I became friends after the death of my father. Dad worked as a valet at this fancy midtown hotel then one day this van goes berserk and crushes him against a utility pole. Mom and I were devastated.  Dad was kind of a cool sort of guy who knew everyone even those theater people. His favorite was Angela Lansbury who'd stay at the hotel when she did one of those long Broadway runs. Dad was no more than five three but his head made him look near six feet.



 I was about eleven at the time and I’d take the D train into the city and walk the streets in misery when one day I meet up with these punks from Brooklyn. The big red headed one looks at me and says,“ Man, I know you. I saw you in the movies? I swear I’ve seen you in the movies.” I look at him like he’s crazy.


“ Aren’t you the star of “ Monkey Boy?”


I don’t know how to react to this shit so I say, “Wasn’t your momma screwing the “Tidy Bowl Man" before they drowned in your toilet?”


The guy walks over and punches me in the face. I’m to startled to fight back, so I say, “If I’m ” Monkey Boy” you must be “Sheena, Queen of the Jungle”.


The dude cracks up, nearly pisses himself.


“Monkey Boy says I must be Sheena Queen of the Jungle. What’s your name little shit?” We exchange names, addresses, telephone numbers and all that crap. “Remember my name, Jackie Vera. One day you’re going want my autograph when they make me Prince of the Apollo.” I say to him, “but your white. No, I take that back, man you’re pink. No pink boy going to win any contest at the Apollo!” He just laughs.


Jackie had four years on me so he could slip into all of the good clubs. The guy had talent. If Howlin’ Wolf was in town Jackie would sit three feet from him and study his finger positions. He’d do the same to B.B. King and Steve Cropper. One day we hear about this new ”King of the six string” from England named Eric Clapton so I cop us a couple tickets to hear his band at the Cafe A Go Go. I tell Jackie they call themselves “The Cream” and he’s got to meet me by eight so we can get a front row seat. Jackie hesitates then says,“ What kind of name is that ?” I remind him they are British and everybody knows British musicians are part queer. Well, Jackie don’t show until past ten. I’d been holding these choice front row seats when I look over my shoulder and see Vera come stumbling between the benches. I’ve never seen him this fucked up.


“Willie, where’s this mother fucker?”


“Jackie shut up, they’ll be on again in a minute. Where the hell you
been?”


“ Getting fucked up so I can see this pasty ass Brit fuck up!”


“Jackie , I’m telling you the guy can play. He can probably smoke
your ass.”


“ Nobody smokes Jackie Vera’s ass unless his pockets full of primo
shit.”


“ Jackie, shut up!” I insist. Jackie don’t give a shit, keeps on yelling while Clapton , Jack Bruce and Ginger Baker walk back on stage
decked out in buckskin. I mean these guys looked like Wild Bill Cody’s daughters.


“ I thought you said these punks were blues musicians. They’re fuckin’ gay buckaroos”, Jackie announces.


“Jackie, you’re embarrassing me, just shut up and listen.”


Clapton and Bruce strut in front of this stack on monster size Marshall amps enough to wipe out all humanity then strike this bombastic chord. The impact hits Jackie like a truck of exploding dynamite inciting him to stand, then yell, “Clapton, you suck! All you phony British pussies suck”. Vera then pukes all over himself - three seats in front - freshly dry-cleaned my Nehru jacket then falls backward and passes out. I’m so disgusted I run to the washroom and clean the shit off my jacket and leave the bastard laying half in the isle.



I don’t speak to the creep for two weeks. I don’t know what it was was but shit was sure boring without Jackie so I was the first to make the call. Jackie’s grandmother answers,


“Jackie’s gone to hell where he belongs.


“Yeah, yeah, yeah grandma Vera , can you put Jackie on the
telephone.”


“He’s going to ruin you like he ruined his mother. Jesus wants to beat him and hang him on on a rugged cross”


“Can I please talk to Jackie?”


“Your a stupido too!”


It was past one and Jackie was still in bed. I could hear the screaming, the” Fuck yous”, then Jackie yell, ”Why don’t you fill the tub with water and a can of Drano and drown your ass for me! Willie, where you been?”


“ Jackie, what do you mean where have I been? You embarrass me!”


“ I know, - it was the junk and gin - should never mix the two.”


“ Jackie that shit’s going to kill you.”


“ The weed wasn’t bringing me to Jesus.”


“ Jackie, do you have to see Jesus every time you get high?”


“ Who should I see, fuckin’ Oral Roberts?”


“ Jackie, you ain’t listening. You’re twenty-six and you’re going down
fast.”


“ Willie, tell me where I fit in.”


“ Jackie meet me at Sal’s in an hour, let’s talk.”



I show up at Sal’s, no Jackie. Two hours pass, still no Jackie.I call Joey, Benny and Vinnie, none of them spoke with Jackie. We meet at Jackie’s dad’s bar but the old man was out too so we hang around until to nearly six when the both come stumbling in.

 “Jackie, what’s going on?, “ I ask . “I was hanging at Sal’s all day waiting for your sorry ass.”


“Willie, I was telling my ole man someday you’re going to be a jockey. I can see it- the first monkey to ride a winner in the Preakness.” The two of them nearly smash their heads on the bar in laughter.



“ Jackie, you ain’t got many friends left.”


 “What’ll you mean. I’ve got you, Joey, Benny and my main man Vinnie. Ain’t that enough?”


“No, Jackie! You’ve got that shit in your veins. That’s your best friend. Jackie’s ole man, looks up like someone zapped him with a stun gun.


“Jackie, you doing that evil shit again? I’m asking you, are you fuckin’ up all over again?”


“No, no,....Just playing.”


“Get the fuck out of my sight you unworthy bastard.”


Like on cue, the four of us pile into the big Lincoln again.


“ Jackie, this shit ain’t fun no more.” Vinnie says.
“Vinnie, you know the trouble with you. Your dick’s underfed. You should carry some pussy in a plastic bag,” says Jackie.


“Shut up Jackie. That ain’t no way to talk to a friend.”


“I ain’t speaking directly to your dick, am I?” Jackie laughs. Suddenly , it was like old times.


Jackie wasn’t getting many gigs anymore. The reputation he earned as a first call rhythm guitarist was replaced with that of ” Persona non grata fuck up”. Consequently, he was driving more for Benito.  Bentio paid him well as long as he showed up on time and delivered the goods. If he had any inclination Jackie was hooked on the powder he’d drop his ass faster than Cassius Clay. The last night I spent with Jackie was at a stag party thrown for Vinnie who finally got engaged to his childhood sweetheart, Ida Padrino.



The Padrino’s didn’t have big dollars but borrowed enough to give their only daughter a three star wedding. Vesuvio Padrino, Ida’s father offered Vinnie a decent job mixing cement in his construction firm. Vinnie seemed resigned to the fact that his carousing days were numbered and recognized destiny. Benny and Joey were nearly thirty and feeling heat from their families who wanted them to get on with their lives. Vinnie’s stag was to be the ultimate break for all of us but Jackie would have none that. 


  We rented a penthouse room at the Essex and invite every wop in Brooklyn and hired about twenty hookers. Everything’s going along just fine until Jackie shows with ten drag queens. Whatever possessed him to bring this shit to Vinnie’s big night is beyond me. Vinnie hated queers let alone a bunch of guys prancing around in duck feathers and G strings.


“Jackie, where’d you find these faggots?” asks Vinnie.


“Vinnie, you know I love you but I think you better try some of this before you settle down,” says Jackie in a mocking tone.


“Jackie, are you fucked in the head? If Ida’s family hears about all these "Puffs"  at my stag party, they’ll disown my ass. Get that shit out of here.”


“Come on Vinnie, these are my friends, be a man.”


“So this is what you’ve been doing Jackie. No wonder you don’t want no women in your car, you’re a flaming faggot, aren’t you?”


“Vinnie, you don’t understand. These guys can be women too.”


“Jackie you’re all high on that shit aren’t you. Get the hell out of my sight and take the boy’s club with you. You’re a sick mother fucker.”

None of us ever suspected Jackie to be light in the boots but it kind of answered a lot of questions. I felt sorry for him and I suppose relieved. There was little affection in his life. If these guys gave him the love he never really experienced then I guess its best things turn out this way. I guess to each his own but dammit the thought just makes me want to puke.

 Jackie’s activities became subject of rumor and wild tales. He’d call on occasion all fucked up on smack - voice sounding no more than a low drone. I had little patience for that shit. Most everything he said was incomprehensible. Vinnie and Joey refused to speak with him.

They’d never talk to any man they suspected of sleeping with another man - that would fuck with their masculinity. And Benny, he never said much anyhow. Nearly three years pass when I get the news of Jackie’s murder. It was murder no doubt. Maybe even a hit nobody really says.  It seems Jackie and his” Fairy princess” were selling dime bags of smack and cutting them with talcum powder. Several leather boys entered their apartment and stripped them of the drugs. It seems Jackie’s drugs were fronted through some transvestites he knew in Queens. When he couldn’t cover the losses they sunk a bullet in his skull and cut his lover. It was a sorry ass mess making page one on the New York Post. I can’t say I feel any love or much emotion for the Jackie, he kind of shit on everyone, but man when he was around, shit happened. It’s hard to believe Jackie Vera’s Dead!

Sunday, May 20, 2012

The Lionel Hampton Jazz Festival 2003 - a Musician's Log



Tuesday   February 18



The past few years I’ve been curious to what the Lionel Hampton Jazz Festival is all about. Hampton and Idaho seem such a far stretch yet there is a prosperous history dating back to 1985 when Hampton first performed and donated $15,000 towards a music scholarship program.



This is the festival’s thirty-sixth year and eighteenth since being renamed for it’s favorite patron.

Over 293 schools and 10,000 students from Alaska, California, Colorado, Idaho, Montana, Oregon, Texas, Washington, Wisconsin, Wyoming and British Columbia compete in the festival.



For nearly a decade festival publicist Virginia Wicks has kept me present with each roster change - add on performance and ceremony. I’d planned attending last February but became immersed in organizing the first National Jazz Awards, which unfortunately coincided with the event. This time tickets arrived well in advance and preparations made in timely order.



I love traveling but am apprehensive about making the first move, sort of like dress rehearsal before for a major performance. It’s during this period I battle anxiety. Once in flight I tend to settle in.

This morning was no different.



It’s been an unforgiving winter in Toronto where temperatures the past five weeks have nose-dived well below zero much of the time – minus twenty-five centigrade with wind chill. Combine that with an ever-present layer of dingy snow and granite like ice - too many days absent sunlight and you’ve got the ingredients for mass despair - hopeless depression. Not yet factored in the equation - long lineups and US Immigration.  



Check in was little more than a blemish on the day as I faced an hour and half baggage tote and pull through what seemed a six mile maze of numb bodies all striving to reach one immigration officer. Security is thick and prevalent with questions to the point and probing. This I don’t mind considering the current state of international affairs.



Next up, two hours and ten minutes holed in the cabin of my US Air flight waiting for a cue to exit. Seventeen planes lie ahead facing a rigorous deicing. The flow of air inside the cabin fluctuates between dead hot to slightly breezy. I had totally forgot packing necessary paperback and magazine in computer pouch and finished reading the Toronto Star morning edition with plenty tarmac time to kill.



A good twenty minutes pass before we get a solid bath clearing the wings of snow and ice. Just as we begin taxing to position the Captain cuts in to say we’d be returning to our original gate due to a malfunction in the nose cone. If it was as dry as my nose cone I figured a good lubing was in order.



Two hours and ten minutes pass before we taxi back in position and lift off. I love a good send off but this one only welcomed anxiety.



Throughout the flight to Denver I wondered if a connection to Spokane would be in the cards. No such luck. As quickly as I exited I was directed to the Customer Service counter to find half of the six-mile lineup waiting to reacquaint themselves. Another hour passes before a miracle occurs - I actually secure a seat on the 5:10 to Spokane and an additional five hours to will away.



I don’t know if it was the comfort of hearing those words or a sense of security moving in that made the unsettling anxiety dissipate. I think it was also the ten-dollar calling card and warm call home.



Once in Spokane, I find myself standing at a stilled baggage ramp begging for that big black case with all toiletries and clothes to come rushing forth. Not a chance. Lost!



I take a deep breath, fill out the necessary documents and meet several young faces sporting signs pointing to Moscow, Idaho and the Lionel Hampton Jazz Festival.



Within the hour I meet drummer Jeff Hamilton, a few side musicians, and vibraphonist Terry Gibbs. Now, if you’re making an hour and half drive in deep darkness a bit frayed and confused, Gibbs is the guy you want riding shotgun.



At seventy-eight the man is a live wire capable of firing up a community twice the size of Idaho. Throughout the drive Gibbs told some wonderful stories, reminisced, laughed, talked of his new label, favorite recordings and wondered if there were any vibes around to do a bit of practicing.



Welcome to the Palouse




I’m always curious about the landscape of any given destination. To know I was in the Palouse region somewhere in the Idaho panhandle invited curiosity.



The Palouse is located in Southeastern Washington and North central Idaho in an area ripe with rolling fields and forest lands. The word Palouse originates with a large village of Palouse Indians and is from the Sehaptin Indian word for village and large rock. The village was located at the junction with the Palouse and Snake River.



Many communities lie within the Palouse region. Pullman, Washington and Moscow, Idaho are the main hub cities, with many smaller surrounding towns nestled among wheat, lentil and dry pea fields and natural forestlands. The Palouse Hills have unusually rich soils that produce high yields of wheat, barley, dry peas, lentils and canola, which supply an international market.



The University of Idaho enrolls nearly 12,000 students from across the country and more than 60 foreign lands.



Moscow




After settlers arrived in 1871, the town became known as “Paradise Valley.” In 1877, Samuel Neff filed for a postal permit under the name of Moscow because the area reminded him of his hometown of Moscow, Pennsylvania. Moscow grew with the arrival of the railroad in 1885.



Wednesday – February 19




The big discussion early morning was concerning the future of the Lionel Hampton Center.



With five million committed - an architect, advisors and site secured - supporters of the Lionel Hampton Center remain a great distance from raising $40 million to erect a center to house a national jazz archive, twenty million in scholarships and endowments for the festival, 1200 seat performance hall, classrooms, in an effort to bring jazz and education under one roof. With an economy nose-diving near recession and the great Hampton now a bold figure from jazz’s illustrious past, the ambitious project may have to linger until the economic residue of 9/11 has been cleansed from the system. The Dotcom philanthropist is no longer a potential donor going the way of the last receding Ice Age.



I met publicist Virginia Wicks promptly at ten a.m. to be carted to a morning workshop given by the instrumental quintet Five Play lead by Buffalo native and drummer Sheri Maricle.



Virginia is the international media voice in raising awareness of the event. Wicks was long time publicist for vocal great Ella Fitzgerald and trumpet icon Dizzy Gillespie. Her ties with the American jazz community are extensive and endearing.



The Sub Ballroom of the University of Idaho served as center stage for Five Play’s performance and question and answer session. The room was three quarter filled as Maiacle led the quintet through tidy versions of “Sentimental Journey, Just in Time, No Greater Love,” climaxing with “Caravan.”



Maricle on her own is a seasoned pro possessing all the given attributes a well-rounded jazz drummer needs to power an ambitious ensemble. Front line players, saxophonists Karolina Strassmayer and Anat Cohen played it safely down the middle pretty much the same temperature throughout. Bassist Nikki Parrot rolled nicely with Maricle as did pianist Chihiro Yamanaka.



The question and answer period in some ways was more compelling in that each woman comes from a country far beyond this continent - Austria, Japan, Australia. Each painted a different portrait why they chose to relocate to live the jazz dream on these shores.



Next up - University Auditorium and sixteen year old phenom - pianist Eldar Djangirov.



The young Russian has been in the United States barely five years yet he’s consumed much of jazz’s history. His solo segment attested to that.



Djangirov began with Chick Corea’s marvelous “Armando’s Song” which in many ways sounded very much like the original down to the soloing. The same could be said for Oscar Peterson’s “Nigerian Marketplace,” Duke Ellington’s “Love You Madly”, Bill Evan’s take on “Body and Soul” and Monk’s “Bemsha Swing.” All were reverently played - neatly colored with the master’s harmonic and melodic preferences. Which brought me to question where is Eldar in all of this.



Djangirov played one original “Perplexity” and finished with Wayne Shorter’s “Footprints” which in itself begged closer observation.



Djangirov has piano technique light years beyond most practicing players even many of the current icons but lost in the long exercise is a personal statement - room for interpretation. Some of his most original moments were in the harmonic restructuring of “Body and Soul” which Eldar performed later with Claudio Roditi and Slide Hampton at clinic number two.



Roditi plays a rotary valve trumpet whose history can be traced back a hundred years and is a popular instrument with Europe’s great gypsy musicians. Here again the music was safe, guarded and familiar.

With Hampton and Roditi probing standards “Body and Soul, Speak Low and Milt Jackson’s “Bag’s Groove” pianist Djangirov was freed of his devices and asked to think his way through solo passages. This he did with greater creativity.



During the verbal exchanges with students Hampton spoke of humility - John Coltrane’s great humility and that music is the most important thing and it should be absent ego. He also attached a dream context to the standard ”Speak low” informing everyone that it was originally sung by the beautiful big screen actress Ava Gardner in a movie.



The evening all star concert billed as the Pepsi International Jazz Concert was high on talent but short a couple headliners - Paquito D’Rivera and pianist Hank Jones both were hindered from making the trip due to the east coast blizzard of 2003.



Even without both parties the show went ahead as scheduled and as musically structured as the daytime presentation.



We arrived to catch the remaining moments of Russians - saxophonist Lembit Saaesalu and pianist Leonid Vintskevich. Next up a splendid quartet featuring pianist Benny Green, guitarist Russell Malone, bassist George Mraz and drummer Lewis Nash. The quartet played a seamless version of “East of the Sun” which gained momentum through the heated soloing of Malone concluding with a riveting display of virtuoso technique and thoughtful soloing from drummer Nash.



While settling in for what was perceived a full set of material from the headliners, pianist Eldar Djangirov slides in to do a lengthy intro to “Caravan” then rides the rhythm section through a energy filled performance.





Thursday    February 20




We took a break from day-long clinics to travel the countryside to the Lapwai community –home of the Nez Perce Indian Nation. Throughout the hour and half journey I couldn’t help but marvel at the terrain – the long hilly slope of the land, the steep valleys – land absent foliage other than a few evergreens providing shade over a few distant farmhouses.



At one time there were more than fifty bands of Nez Perce Indians covering an estimated seventeen million acres of land in northeastern Idaho, southeastern Washington, and north central Idaho.



Lionel Hampton and side musicians had made the exchange trip since 1996 entertaining school children from elementary through high school. The students gave him a feather and made him an honorary chief of the Nez Perce tribe. With Hampton’s passing tradition was carried on by drummer Wally Gator Watson and quartet. 



After an hour-long excursion through jazz and rhythm and blues a few students of Lapwai elementary performed the Iron Butterfly dance in traditional dress supported by tribal drums.

These were moments Hampton cherished. It’s a credit to festival organizers such connections remain in tact.



The evening concert billed as a tribute to the late great jazz bassist Ray Brown proved to be a first class affair.The night featured splendid duets between guitarist Russell Malone and pianist Benny Green. Performances from trombonist Bill Watrous, saxophonist David Fathead Newman and a wonderful version of “The Nearness of You” from the flugelhorn of Roy Hargrove sitting in for Clark Terry.



There were varying degrees of ability presented as four student vocal winners showcased before the large crowd along with a student big band playing a heated version of “Straight No Chaser”.



Friday    February 21




We were back at Sub Hall for an extraordinary vocal workshop with Roberta Gambarini. I found an opportune location front left facing a large speaker. The next hour Gambarini proved why she is the rarest of rare talent competing for space amongst the Diana Krall’s and Nora Jones. Gambarini is perfection. Throughout verse and course on “Lush life, Triste, Deep Purple” and other choice standards Gambarini sang with great warmth, clarity in large full-bodied tones. Each vocal phrase was delivered with purpose and just the right degree of emotion.



This was also a terrific learning session for pianist Eldar Djangirov. Accompanying a singer is vastly different proposition from playing solo. There were times the young pianist had difficulty separating himself from advancing a tune for his own purpose to that of allowing the singer free rein to guide the action. As time passes and experience comes to play Djangrirov will hear the rhythm and delivery as a silent metronome and be able to follow each vocal line with the most appropriate harmony and pacing.



Later that afternoon the Roy Hargrove Quintet were set for what would prove to be one of the grand highlights of the festival – a clinic / performance.



Surrounded by pianist Ronnie Matthews, saxophonist Justin Robinson drummer Willie Jones the Third and bassist Duane Burno, Hargrove and company soared through an original “Circus, Freddie Hubbard’s “First Light” a gorgeous read of the ballad “The Very Thought of You” and another self-penned excursion  “Promise”. All the players fielded questions about attitude, the difference between east and west coast playing, and learning. Bassist Burno and pianist Matthews reminded students that the best education for playing jazz was still on the streets. Each discussed the limitations to curriculum jazz.



The evening became a joyous occasion with the appearance of James Moody. Moody began with a brisk take on the old jazz chestnut “Cherokee” playing with great virtuosity on flute. Moody then switched to tenor saxophone and was teamed with trumpeter Claudio Roditi on “Tenor Madness” before performing his signature “Moody’s Mood For Love.” Singer Roberta Gambarini joined in to bring the tune to a rousing finale. Throughout Moody kept the humor content high even making a reference to ex-heavyweight champion Joe Frazier being in attendance after which he’d caught everyone’s attention then delivered the punch line; “Oh, that’s not the champ. I’m sorry about that lady.” The lines have been used hundreds of time and are familiar to musicians but one can’t deny the timing. It’s still terribly funny.





Singer Ethel Ennis, longtime Hampton sideman trombonist Benny Powell and Bill Watrous provided additional highlights before more students were featured main stage.



Saturday    February 22




Saturday afforded time to check out the “Celebrating Hamp and Ray” photographic retrospective downtown Moscow.



The day was bright and sunny and air as pristine as cool mountain water more than conducive for a long walk.



Destination? The Prichard Art Gallery midway down Main Street.



Moscow looks much like the renovated outlying farming communities that surround Toronto making the gallery a natural component in the cultural fabric of the populous.



I’d met curator Grayson Dantzic, son of famed jazz photographer Jerry Dantzic in Toronto a couple summers past during the outstanding photographic exhibition of jazz images., Mid Century Jazz at the Stephen Bulgar Gallery. I’d hoped to connect and involve myself in some of the striking photos once again. No such luck.



The exhibit was presented in a dark upstairs area far above the main floor arena of pop art. The images were soft copies of the originals in some cases resembling RC prints.  The young lady manning the telephone had not a clue a photographic exhibit inhabited the premises or the whereabouts of Grayson Dantzic. So much for the visuals.



Mid afternoon with vocal giant Ernie Andrews proved more compelling. I traveled with Andrews from the University Inn to Kenworthy Performing Arts Centre. I’d brought Andrews to the Beaches International Jazz Festival in Toronto nearly a decade earlier. At seventy-five he’s the last of a handful of frontline male jazz vocalists still working. If there were a comparison to be drawn it would suitably be to the late Joe Williams. In fact, Williams spouse and that of Al Grey sat by each other during Andrews somewhat confessional session.



Andrews exhibits a bit of swagger and deep blues roots which surface often throughout the sequence of material. He’s totally convincing whether singing an all out blues shout of crooning a favorite jazz standard.



Clinics are not his forte. This one played more as a reflection on a career – good choices bad choices - the children and beyond. There were lapses when Andrew’s musings neared melancholy – almost like an aging prizefighter facing his estranged manager.



The rhythm section of the Lionel Hampton New York Big Band backed Andrews. The marriage didn’t exactly take - in that the hard vein of blues that pumped life into the music had little influence over the backing unit.



Andrews fared better during an evening slot in front of the Lionel Hampton Band with bassist/conductor John Clayton at the helm. This was something to watch.



Clayton fired up the ensemble on “Lucky So and So.” If you’ve never heard the marvelous version with the Gene Harris Big Band then you’ve missed the very best of Andrews.



Clayton ruled the band with a smile, cup of the hand, rhythmic body language and brilliant instincts. Andrews for his part jazz stepped himself center stage – right to left with immense style and grace. The voice rang strong and impressive.



Before Andrews surfaced Lou Rawls did a nifty bit of bouncing blues.



Rawls has it all – huge hits, radio, television, big dollars, large arenas everything that comes with universal popularity. He’s calm, smiling and seriously comfortable in the limelight.



A few bars into a vintage blues it became apparent what a terrific talent he’s always been. It’s the blues that brings him into the light. This is the sound from which his distinguished career was launched and one abandoned along the way for soft pop. The murky choices have in some ways diminished the potential catalog of memorable recordings.



The evening also showcased the “Hampton Trombone Factory” with the Lionel Hampton School of trombones and special guests.



Spokane     February 23




Here I am once again facing Homeland Security.



I empty every possession into various trays and separate twenty spent rolls of film of which should never be radiated. An officer takes them aside and individually wipes them down and places a cloth in what looks like a Zamboni, which actually is some kind of ionizer. The process goes on an eternity as each roll is smeared with the pad. Another officer takes my shoes away to be x-rayed while another scans my backpack, jacket and body. Lord, help us!



It’s at this moment I smile with anticipation that Canada is but a few hours away.



Reflections in jazz.



The Lionel Hampton Jazz Festival is a special event unlike any I’ve ever attended. The hospitality and organization is first class much like the imported talent. Treatment of the press and photographers was a welcome relief from that accorded us by the jazz festival organizer in Barbados.



It’s hard to be critical of a situation that comes fresh as a spring breeze and a community that embraces it so passionately. Hotel rooms for next year’s event are already accounted for. The persistent cheering for every solo and formidable performer led me to question whether I was really at a jazz happening or an N’Synch concert.



A special thanks to Lynn Skinner, the crew, the performers and Virginia Wicks.  Everybody’s efforts made my stay a pleasant affair.



Bill King




Diana Krall - early career interview 1998



Diana Krall’s emergence as a popular jazz artist didn’t occur overnight. Year’s of study and terminally long engagements helped shape her sound. Recently, she collected her first Grammy award for Best Jazz Vocalist and two Jazz Report Awards; Female Vocalist of the Year and Musician of the Year. Her current recording When I Look In Your Eyes has passed double platinum sales in Canada and moving quickly towards Gold status in the United States.



Bill King: Can you pinpoint the moment when everything just seemed to fall in place for you?


Diana Krall: It was when I realized I had the creative freedom to be the artist I really wanted to be without worrying about compromising what I had to do. I worked really hard commuting to a gig in Boston while living in New York for about four years. Even with a recording out, I was still doing it.


As a new artist, I was struggling to make a living, but it was an opportunity to keep learning and playing especially since it was a seven-hour gig per night. It was hard schlepping through the snow and the long train rides, but I wanted to stay in New York.


I was talking with someone the other night who was congratulating me on my success. I told them one of the most important things about success is that it allows you to be a creative artist and to grow faster.


B.K: Like so many Canadian musicians, you suffered through weekend gigs like  Meyer’s Deli, in Yorkville, where orders for corned beef sandwiches and Hockey night In Canada drowned out the music at the other end of the room. Soon you were able to move downtown to the Underground Railroad where you attracted a listening audience. Did these experiences help clarify the need to bypass gigs that didn’t advance your career?


D.K: The Underground Railroad was about two people. John Henry and his wife. They believed in what I wanted to do and gave me an opportunity. I was talking with John Clayton about this at the International Association of Jazz Educators’ conference. We were discussing the importance of recognizing an individual’s ability and giving them a good environment in which to grow.



I look at the situation at the Underground Railroad like that. John and his wife were kind of like a mom and dad to me. I wasn’t thinking about career advancement at the time.



I’m never one to put down any genre of music because I listen to all kinds. I realize that many other people are just as serious about their music as I am about mine. Just because you are playing in a band in a hotel lobby doesn’t mean you are not serious about your music.



I also believe you should want to make people happy with what you are doing. Rather than bypass certain gigs, I created the kind of work that would help me grow as an artist even though at times I was compelled to eat in a cafeteria and not fraternize with the guests. I was directed to go downstairs and drink my cup of coffee with the hired help. That wasn’t respectful to me as an artists, but I’ve always decided to make each place my own and hire the best musicians possible.



B.K: Canadian women have had an unprecedented impact on the international music scene. There’s Anne Murray, K.D. Lang, Shania Twain, Cleine Dion, Sarah McLachlin, Amanda Marshall, Jann Arden, Renee Rosnes, Jane Bunnett, Ingrid Jensen and yourself. Why do you think the masses find these artists so alluring?

D.Krall: I don’t know. I’ve been reading Karen Kain’s autobiography, which is completely inspiring to me. I look at her as a woman who went through similar experiences to me, but in a totally different art form.

I’m inspired by Joni Mitchell and many other Canadian women who I see as my mentors. Besides Karen Kain, there’s Renee Rosnes. She moved to New York and was just fine. It’s like the comedians. Why are there so many great Canadian comedians. I don’t know the answer to that.

B.K: What was your first entry point to the United States?



Early on, I was able to study with Jimmy Rowles and Ray Brown for three years in Los Angeles. That was a goal I had to apply for. I had to plan out my project and submit to Canada Council. In the end they came through. It would have been very difficult with a Canada Council grant.