Friday, July 4, 2014

The Pursuit of Happiness: Drugs



Part of an ongoing series. Next chapter: fitting in.


The Pursuit of Happiness: Drugs

“The moment that you feel that, just possibly, you’re walking down the street naked, exposing too much of your heart and your mind and what exists on the inside, showing too much of yourself. That’s the moment you may be starting to get it right.” – Neil Gaiman

Ah, chemical indulgence and its aftermath. How many meetings have I sat in where fellow survivors retailed their horror stories, their brushes with death and dismemberment, with a perverse undercurrent of pride?

And it’s true that I share that survivor’s arrogance. Often we talk of only switching our addictions to an addiction to recovery, of the obnoxiousness and upstaging, overbearing nature of our self-righteousness, as though we were veterans of a war we waged against ourselves, memorializing like Henry V presages at Agincourt: “Then will he strip his sleeve and show his scars./And say ‘These wounds I had on Crispin’s day.’” But, like I’ve said before, I’d rather hear you pompously hold forth on your sobriety than keep your hair out of your face while you puke.

This discussion is fraught with perils. Me writing about this topic, or declaring my ever-recovering status, is seen by many as a violation of a key principle of anonymity in the recovery community, particularly if such writing is a play for public approval, or for the gain of influence, or for financial reward. I firmly reject any and all three of those possible outcomes, which are pretty damn unlikely anyway, based on my track record.

I hope to make amends as well, though – not just to the many individuals I have damaged, worried, alienated, or pissed off down the years. I hope to expiate my thoughtlessness, my bad behavior, to raise the pall of oblivion that hung over me for decades, to the universe at large. I can do it because I have a gift for expressing myself. I hope to convince you, if you ever feel tempted, not to start bad habits or to drop them, somehow, if you can. I can only tell my story.

Like most people, I had absolutely no intention of winding up here. There is a marked genetic predisposition for addiction in my family, passed down on both sides. My father drank himself to death, basically, and cigarettes accompanied my parents from morning ‘til night, including at the dinner table and on long car rides with the windows rolled up. I was steeped in booze and smoke from birth, like an indolent whiskey keg in some bar’s basement.

This is no attempt at an excuse. Any apology that is followed by a “but” is not an apology at all. Given the example that ground away at all of us every day growing up, I should perhaps have been more resistant to alcohol than I was. I know I swore I would never drink or smoke.

And, beyond isolated trials in high school, I did pretty well. My college roommate basically ran a major distribution point for marijuana on the Lower East Side from our dorm room, but I stuck to the straight and narrow.

It wasn’t until I finally entered the real world via massive nervous breakdown after college that I began to drink and do drugs. My unprepared soul’s collisions with reality, my nightly climbs onto the stage to feign outgoing sociability as a comic, my confrontation with absolute poverty and life a step from sleeping in the alley, all pushed me into the arms of Morpheus. Here’s a basic rundown of abuse, by category:

Tobacco: Disgusting, but tempting. The pain, inability to breathe, and periodic bronchitis didn’t stop me from this affectation for decades, until long after my father’s chain-smoking antics were curtailed by Mr. Death. There is something so assuring and sexy about the cigarette! Blame Bogie and other black-and-white film stars. Too bad it kills you. I smoked, in turn, a pipe, cigars, and cigs. Favorite brands: The tasty Balkan Sobranie, Camels, and a horrible discount, now-discontinued brand called Barclay. It was all about the look . . . and the way it kept me from swallowing my anger, snapping and lashing out at people.

Stimulants, club drugs, dissociative drugs: Nope. Never appealed to me. No painkillers, downers, uppers, anything. I took speed once while working an all-night shift at Yellow Cab. It worked fine until I came down, whence I fell into a fit of suicidal depression. Somehow I have saved my life to date by not taking anything that could kill me IMMEDIATELY.

Cocaine: Same thing. Tried it twice. Each time, I felt like Superman for 10 minutes, then nothing. It was so expensive at the time (the ‘80s) that I considered this is a swindle. Also, my penis shrank to an almost undetectable size (I mean even more than usual).


Inhalants: No, but I knew a lot of people who liked amyl nitrate. Tried it once. It was painful, a heart attack in a vial. Yikes. Nitrous oxide? Helium? Spray paint? Just weird.

Opioids: Fortunately, I numbered among my friends a few survivors of heroin, and their testimonies, along with my marked aversion to sticking anything into me, especially something pointy, kept me miles safely away from ever contemplating heroin, opium, etc.

Hallucinogens: Well. It took a long time for the doors of perception to open for me. When they did, I was fortunately in good company and under friendly supervision – although spending my first night on them atop a wind-swept microwave transmission tower overlooking the Front Range with no safety railing was probably not such a great idea. I always treated them as journeys unto themselves, not accompaniments to a night out or a social occasion. While not indulging too much in either acid or ‘shrooms, I think that the experiences did leave me with at least a marginal benefit, an ineluctable and lingering sense of the positive interconnectedness of all life, and an awareness of a larger universe, for which I am grateful. What they did NOT do, for me at least, was provide specific insights that had portability into non-altered life. Like so many other supposedly creative people, the reams of notes I would take while tripping would, on examination in the cold light of day, be either incoherent or banal. Plus the experience was awfully wearing on me. Psilocybins are mellow and gentle, lasting only a few hours; LSD, vastly more dangerous in my mind as it is manufactured by humans and therefore completely untrustworthy from batch to batch, is a hard-edged taskmaster that scoops you up and works you for a dozen hours at least. In both cases, you are trapped in the experience once you begin – no sobering up, no stepping off the moving vehicle. (I became the go-to babysitter for people who were having a bad trip or who were, God forbid, dosed as a prank, back when that was considered funny and not a crime.) Both kinds of trips were exhausting, and I ended up feeling like I lost something proportional to whatever it was I gained.

Weed: As, yes. My favorite. If there was anything designed to fit my neural receptors, it was marijuana. It relaxed me, it made me funnier, more spontaneous, social, outgoing, empathetic. I could live and work in the real world with calm and assurance. I thought. It was a part of our rebellious young culture growing up, a brotherhood, a common sacrament. It was cool. Did it save me? In some ways. Perhaps. For a time. In fact, it pushed my fear away but did not diminish it. It preached oblivion to me, lowered my resistance to other drugs, kept me stupid, froze me to change. I had my own foot on my own neck and didn’t realize it. For decades, it was a daily part of my life, all day long. (I found out later this is common for only about 2 percent of the population, and about half of all smokers nationwide). I was addicted. I was not OK without it. My life revolved around its acquisition and use. Now, of course, it is available everywhere – an irony not lost on me that makes my occasional craving for it all the more pathetic, and makes my arrogant little pride about not going there anyway more precious. When I finally stopped, all that fear reared up and bit me in the ass, and it took a great deal of time to get over that. However, I could remember my dreams again, in more ways than one.


Booze: The killer. I feel worse about this than any other, as I should have known better, based on family history. I learned that the human capacity for self-deception is boundless. I became a wino. I wound be being able to (or unable not to) drink a bottle in about 20 minutes; a magnum was a challenge not a deterrent. The brands got cheaper and cheaper, the drinking started earlier and earlier. A huge side effect was a zone of amnesia that would envelop the time before, during, and after drinking, to the extent that there are now huge empty patches of memory in my life. I have potentially almost killed myself, my companions, even my children; I will never know for sure. My apologies and amends continue to this day and stretch to the end of my foreseeable existence. This was by far the most difficult thing I ever accomplished (TO DATE: never ever ever say that you are cured or a former alcoholic; I have seen many many people prove the adage that you are only one drink away from being back in the shit again).

I don’t know how I did it. According to the 12-step program I have followed, I didn’t do it at all. My simply willing to stop never changed anything. It was only a surrender of a kind that made it happen. All I know is, I stopped feeling like a victim. I stopped figuring I deserve to get wasted, since life sucked so hard. I took responsibility for, not the choice I made to use, as having a choice implies that I was or am in control, but for forgiving myself for being stupid and scared. It was only when I got real about feeling worthless, incompetent, and unlovable that I realized that I was none of those things. It’s not all about me; it’s not about me at all. I got out of my own way.


Now I live one day at a time; under stressful circumstances, an hour at a time or five minutes at a time. I avoid the past like the plague. I am never interested in the hazy good old days. I stay out of bars and cocktail hours. I avoid crowds. I read, I write, I work in yard. I love my kids, my wife, my family, my friends. I feed my soul with art, music, baseball. I have the strength to take care of myself and make choices that won’t harm myself or others, to the best of my ability. I found a God that works for me, and I pray a lot. It makes some people uncomfortable. Tough shit. I am still only beginning to figure out who I am and making sense of my life. Tough shit! I laugh at myself, and go on.

And life is bearable. It still sucks sometimes. I am still an idiot. But when I think something, I remember it, and I am capable of transmitting to others. When I feel something, I am really feeling it. I can help other people now.

There is no shortcut to enlightenment. Maybe there is no enlightenment. But I am really here. Right now. I am part of life, and it’s all the more precious to me because I almost destroyed it. Cheers!



Monday, June 2, 2014

The T-shirt story

So, I’m standing in the megastore waiting for my wife.

That is not a complaint, for the record.

A man about my age is walking towards me, pushing his half-full cart. His eyes are on me, jaw slightly slackened. He seems intent on making personal contact. With me.

Immediately, I begin to panic. You see, I’m a crazy-person magnet. In life, in love, in oh-so-many ways I am insanely attractive – to the insane. I am a lodestone of lunacy. If a psychologically damaged person walks into any space I am occupying, they fly across the room and stick to me. That’s how bad it is.

I have cleverly designed various stratagems over the years for dealing with this phenomenon. None of them work.

The guy stepped closer. I prepared for the onslaught. The opening conversational feint that turns into an unstoppable flow of information about how the cracks in the surface of the highway emit radio waves that control our thoughts, or how they were sexually assaulted by a Weimaraner and a dwarf simultaneously while they were performing with Up with People, or why I should vote Republican.

“Nice T-shirt,” the guy grinned. I looked down.


I was wearing my fabulous Ween “Bludgeon Yer Eye” T-shirt my wife bought me! Immediately I began to babble to him about how I loved them, had seen them many times, how I loved it when Gene, I mean Aaron, went off on this long, pseudoIslamic adhan that spun into gibberish at the Ogden that one time, until he and we were all laughing our balls off; how Dean, I mean Mickey, was one of the most gifted guitarists I had ever heard, how "Spinal Meningitis" and "Mister, Would You Please Help My Pony?" always bothered me immensely, how I was convinced for years that they indeed did huff Scotchgard during the making of "The Pod" . . .

The guy started to move away from me, warily. “Good times,” he murmured, obviously wishing to get the hell away from me as fast as possible.

“Yeah,” I summarized, weakly. “Yeah.”

My wife walked up as he rolled away. “Who was that?” she asked.

Thursday, May 1, 2014

A musical memory: together and transcendent

Here's a great arts memory I had to share -- I thought of it last night, and I would hate myself if I never wrote it down. Linda, you came with me to a symphony concert several years ago to hear Gilbert Kaplan conduct the Mahler Symphony #2 (Kaplan is an 'amateur' who conducts only the Second; lots of people think he’s a poser, but I don't care -- I've heard much worse from supposed pros, and I really heard new things in his interpretation that I hadn't in countless other listenings . . . so if you don't like him, bail now.)


As the fourth movement, the beautiful Urlicht, began, you took my hand in yours and rested your head on my shoulder, and we stayed that way, clasped together, not moving, through the end. We were just friends, and we never talked about it after, and there was nothing romantic about it – but more that was LOVING about it than practically anything I’ve shared with anyone. The music pulled me up out of myself, and I felt a beautiful sense of peace, and oneness with you. I would give much to live through that again, and that memory still makes my heart pulse profoundly. I don’t know if I ever thanked you. Thank you, Linda; thanks, Gilbert . . . thanks, Gustav!


The English translation of the lyrics:

Primeval Light
O red rose!
Man lies in greatest need!
Man lies in greatest pain!
How I would rather be in heaven.
There came I upon a broad path
when came a little angel and wanted to turn me away.
Ah no! I would not let myself be turned away!
I am from God and shall return to God!
The loving God will grant me a little light,
Which will light me into that eternal blissful life!
—From Des Knaben Wunderhorn

Wednesday, April 30, 2014

Eargasm: Terry Riley's piano, unbound

By BRAD WEISMANN

The Harp of New Albion
Terry Riley
1986
Celestial Harmonies

Defining music can be a fatal pursuit for the subject and its listener. We are addicted to boxing things up, creating compartments where none are necessary. When we think of art as product rather than process, we cheat ourselves of a little glory.

Case in point: a recording from 27 years ago that I grabbed out of idle curiosity and can’t stop playing (a little brain-softening from the after-effects of the ‘70s? I assure you these musings are grounded in sobriety). Composer Terry Riley’s freeform, loosely structured keyboard meditation “The Harp of New Albion” is based on the wistful idea that explorer Sir Francis Drake left behind a harp on American shores, which shamans set up above the water’s edge, leaving the winds to play it.

Drake’s harp in this case is a piano retuned with the idea of just intonation, as opposed to the equal temperament normally used in Western music. Hours of research on this topic left me none the better able to grasp the difference – it’s beyond me currently, so I will take the composer’s word for it. What results are 11 movements, lightly structured and containing room for improvisations, each based on differing tonal centers.


He states in the program notes that “Although The Harp of New Albion is improvised throughout, each movement contains structural or composed elements which determine the overall shape the section will take. In a concert performance the order of the movements may vary and ideally, new movements will be improvised spontaneously.”

The abandonment of compositional norms leads the listener into an entirely new territory. What begins as a calm procession of Debussian chords morphs into nearly an hour of tremendously exciting exploration in sound that varies in pulse, attack, harmonics, and colors – a bold adventure that redefines for me of what the instrument is capable.

Riley escapes definition as a composer through pieces such as this, although he is commonly and sometimes contemptuously thought of as a “hippie,” a drone/trance artist, and/or minimalist. Like other supposed outcast composers such as Charles Ives and Harry Partch, there is a mystical yearning in his work, but here it’s balanced by an almost scientific curiosity about what can be summoned out of what he terms “the emerging energies that flow through both instrument and performer”.


The best way to hear this is in complete silence or at least through headphones. The overtones extend for several octaves in both directions, and the strange juxtaposition and interrelation of sounded notes creates unearthly harmonies that seem to crack and claw at the limits of aural understanding. Voices woody, human, brassy surround and transcend what we process as a typical piano-string vibration. It takes a multitude of listenings to even begin to hear some of what is going on here – and since my personal definition of what a classic is is something that offers new revelations with each exposure, a classic it is.

If I’ve whetted your appetite, be patient with it – there are passages that skirt close to vamping or noodling, and some quite familiar kinds of ostinatos that can madden. Don’t worry if some vertigo ensues . . . stay with it.


And what kind of music is it? Like the work of the Monks (Thelonius and Meredith), like that of Gavin Bryars or Brad Mehldau, this work transcends classifications and sweeps us into a place where it seems that anything, again, is musically possible.

Tuesday, April 22, 2014

The Pursuit of Happiness: Applause

1987, when I was rather amusing for a living.
By BRAD WEISMANN

The first of a continuing series of thoughts about the crazy mainsprings of my life. Up next: drugs!

What would possess anyone to get up in front of others and try to please them, entertain them, grab their attention, dare them to laugh and inspire applause?

As far as I can tell, from personal experience, pain of compulsion. Need. Does it matter why? I have the usual balance of mental illness and addiction in my genetic heritage, which helps. As the old saw says, nobody got into comedy because they had a happy childhood.

On the other hand, Art Pepper put it better than anyone, ever, in his autobiography “Straight Life.” He wrote, “I think it was ten months that I was being analyzed. I began to understand my parents. I learned why they couldn’t get along. I understood why my mother didn’t want a child; it was a hopeless situation. I realized that. And I learned all this, but it didn’t change my feelings.” There is no cure for it, not even stark realizations.

So, years ago I stopped trying to figure out why I had to shoot my mouth off, make faces, dance a jig on the sacred altar, and pull down my pants in front of God and everybody. From whence comes that cussedness that makes me see the underside of every dirty setup?

Two key things: from early on, I knew that something was wrong, something that bothered me, something that made me want to say something about it. Comedy was a way to do that without getting censured . . . too much. A laugh forgives subversion.

And something about needing to be in charge. Not being willing to take orders, never being able to internalize those commands for long, not being able to just sit still and relax and wait for those in charge to decide what I should do, who I am, how I should feel, what I should think, . Couldn’t stand it. Made me crazy. It’s not surprising, really. There have been lots of preachers in my family . . . and what are comedians but preachers who tell dick jokes, de-inspirational speakers that try to pry minds open?

And then, all the art. Blazing through the local library. Devouring the books, music, movies. Comedy. Chaplin. Keaton. Marx Bros. Fields. I wanted to be as amazing as them. I emulated. I could do that. I could do that.

Pretty much the nadir of my entire life was when I saw “The Great Dictator” when I was 8 or 9 years old and decided I would try to restage that balloon dance as well. Caught up in my imagination, I asked my parents downstairs to watch me cavort in the basement. I went through my moves, they stood there in uncomprehending silence. After a few minutes of rising frustration, I finally screamed, “Never mind! Go away!” I stayed downstairs and sobbed.

Why does this stay with me? Why is it such a black, black moment? I don’t know. Maybe because at that point I thought, I will never perform for anyone ever again unless I know what I am doing, unless I maximize my chances for success.

I would have found this out sooner, eventually, but the 3rd-grade play accelerated the process. I must have had some kind of aptitude the teacher who cast us saw – big gestures, loud voice, some kind of vividness I suddenly took on when pretending. Somehow, I was the star – Winnie-the-Pooh himself. Being in front of people didn’t scare me; I loved it! My grandparents drove all the way out from Iowa to see the show. I was hooked.

Long before then, I was soaking up comedy as well. Bill Cosby and Bob Newhart’s first albums were in our record cabinet. I listened to them over and over again with fanatic focus. I soon had them memorized, down to the timing and intonation, and I would be happy to recite any or all of them to anyone who might or might not care to listen. A big fan of impressions, too, I worshipped “The Kopycats” on TV in 1972 – Rich Little, Frank Gorshin, Marilyn Michaels, Fred Travalena, Charlie Callas, Joe Baker, and George Kirby – and began building a repertoire of over 100 voices, practicing listening to myself using a cranky, creaky old cassette deck I got for my birthday.

Unfortunately, my biggest audience wasn’t the older kids but the grownups. The kids had no idea whatsoever what my stolen routines were about, and couldn’t recognize my impressions of Clark Gable, Stan Laurel, Jimmy Stewart, or Moms Mabley. This incomprehension by my peers has pretty much continued unabated to this day.

And, truthfully, I found kids my age pretty damned uninteresting. Add to this other factors – such as my incredibly thin, and puny child-body, which disqualified me for any activities that might have made me one of the boys (years of verbal abuse from my elementary-school gym teacher didn’t help). My severe near-sightedness wasn’t even diagnosed until the beginning of third grade, long after my inability to see much of anything branded me as a “retard.”

So I clowned for the adults. I was a funny guy in class, but never got listed as the class clown – my humor was far too dark and pitched to the teachers and not the kids. I was a smart little guy, or at least I was a master at test-taking, and through school I kept cranking out As. I kept my head down. I hid in the music and theater departments. They saved my life.

Thank God I could sing! (I was told we didn’t have any money for instruments.) The universe that performing music opened up for me will take another essay to treat; suffice it to say that it was a vital source of spiritual nourishment for me. Likewise, my clowning needs made me a natural for the stage. Although I bore no resemblance to any leading man, my skills put me at the top of the list for stage roles in school.

Plus, we had a place to be. The cavernous stage of our high school held flyspace, a cyclorama, a costume loft, a makeup room, and all the tools and techniques to create productions on our own, with a minimum of funding. We would gather there and entertain and instruct each other, or pick up info from several very talented but completely unstable theater teachers, two of whom could have been charged easily with statutory rape, and another who showed up drunk and played cocktail piano during rehearsals.

I lost all consideration for a backup plan. I didn’t want to have a “real” career. I had to perform. I auditioned for training at NYU – the furthest place from home I could apply to. Astonishingly, I got in! After one crazy, enlightening year (another story for another time), I returned to face disintegration, in my family and in my head. I dropped out, worked subsistence jobs, and started to get involved in the local theater scene.

Except I didn’t want that any more. I was beginning to figure out the JOB aspects of creative life, and that creative projects were just as fraught with idiots, maniacs, and the life-hating just as much as any mundane occupation. As an actor, I felt held hostage by the director, the skills of those around me. It wasn’t good enough.

So how about comedy? Standup is the narcissist’s Valhalla. It’s all on you. That many-headed beast the Audience lurks in darkness. No props (unless you’re that lower form of life, the prop comic), just you and a mike and whatever drugs you are on, if any. You literally walk out there into a spotlight, cold, win over the drunken audience in seconds, sustain their attention, and make those bastards laugh. There is incontestable, immediate, relentless feedback. You kill or you die. There is NO MIDDLE GROUND WHATSOEVER. So for me, a perfect setup.

As an “actor,” I started taking improvisational comedy classes as well. And it turned out, I was vastly better at that than standup, and loved it much more. Given the extremely high caliber of most of the people I worked with, I was able to do amazing things on stage that I never could have done in any other way. So many aspects of it fit me perfectly – the need for encyclopedic knowledge, intense listening skills, a fast mind, the grace of being fully present and alive on stage, and fearlessness. An art form that doesn’t just welcome audience participation, it DEMANDS it. I was unkillable, unstoppable, never at a loss.

Improv comedy and standup move in opposite directions. In improv, you are training yourself to continually erase the slate of preconceived ideas in your head, and constantly working up your mental agility and balance so that you can capitalize on any given stage situation. If you're lucky, you find others that aren't afraid to pass on the easy gags and try for something more substantial. At its best, it's raw creation live -- pretty damn exciting.

Standup is the patient accumulation of effective bits. There is a reason why a comic's work is called a routine. First, one successful joke. Then 2 solid minutes, then 5, then 10, 20, 30, an inevitable (hopefully) evolution into a closer. Individual gags are worked into sets on various topics, which are then woven together. Repeated night after night, honing them into material, meanwhile crafting a persona that the audience wants to spend time with. At best, a great standup goes beyond just entertaining folks; he or she can spout life-changing insights, and craft a vibrant, astonishing comic universe. Well, unfortunately I HATED repeating myself, and I didn't really care how "I" went over. 

So for 15 years, I lived for doing improv, and forced myself to continue doing standup, all the while as a single parent of my sweet little eldest child doing whatever I could to make money – lots of clerical work, phone sales, late-night delivery driving, waiting tables, and even a particularly nasty stretch as a financial broker, the last of which made me feel much worse about myself than any other thing I did.

So why did I end it? Many reasons. First and foremost, I was not that fucking funny. C’mon, folks, let’s get real. The market’s dictates are brutal. If enough people laugh at you, you ARE funny, even if me and my pals standing in the back of the club at the bar know you’re a hack. The crowd did not confer the title of world-beater to me, and after 15 years, even I could see that.

Second, it was painful. I was well on my way to crushing my soul flat with drugs and alcohol (another essay), I wasn’t making enough to live on – and I hated every single aspect of performing that wasn’t actually performing. Didn’t like the travel. Didn’t like hotel rooms. Didn’t like staying up all night. Didn’t like hanging with comics. Didn’t like the lowest-common-denominator mentality of the club owners.

And, finally, didn’t like the crowds. And when that happens, you better find the exit light and head toward it. I lost the need to get at least that form of approval, in that context. It not only wasn't enough -- it wasn't worth the effort.

And, hey, maybe I had something serious to say. Not gloomy, not self-important, just something that didn’t end with a punchline sometimes. I had stuck myself in a situation in which I had to please, once again. Now I was too serious-minded to be a comic, and too funny to be taken seriously or to take anything seriously. The stage was struck, and it was time for me to sit down and start writing.

Still, I don't regret it. We were all pretty much crazy and screwed up and whacked out, but there was a camaraderie unlike any other I have found anywhere. Where else could you find such an exciting group of super-intelligent misfits who were not afraid to articulate their insights, to act out in public, to intoxicate each other with inspiration and sheer stubborn love of life, stripped of hypocrisy and bullshit? Comey was my university, my combat experience, my unfinishing school.

20 years now after quitting I still joke compulsively, reflexively, to the consternation of many. My kids roll their eyes. My wife sighs. I don’t care. In some godforsaken corner of my soul I will always be a comic.

There are a few batshit-crazy people who want me to perform again, or who think the kids should see it, once at least. Fuck no. I do not miss it.

"I forgot everything, and everything came out. I played way over my head . . . I searched and found my own way, and what I said reached the people. I played myself, and I knew I was right, and the people loved it, and they felt it. I blew and blew, and when I finally finished I was shaking all over; my heart was pounding; I was soaked in sweat, and the people were screaming; the people were clapping, and I looked at Sonny, but I just kind of nodded, and he went, 'All right.' And that was it. That's what it's all about." -- Art Pepper, "Straight Life"

Monday, March 31, 2014

'With the Wind and the Rain': Small-scale dynamo

With the Wind and the Rain
Joshua Breakstone
Capri Records
2013

By BRAD WEISMANN

For me, small combos are jazz heaven. I love the sweep and complexity of the great swing arrangements, but more limited ensembles give me a chance to really hear each line, to truly gauge and weigh the contributions of each individual member.

This kind of work is the acid test for musicians as well. Bringing so few instruments to bear, flaws are exaggerated . . . and if it doesn’t flow and pulse, there’s no help for it. Fortunately, such is not the case with Joshua Breakstone. It’s been 10 years since his “A Jamais” CD became a welcome part of my listening rotation, and “With the Wind and the Rain” shows both development in Breakstone’s expressive techniques and a surer, more penetrating focus.

However, Breakstone is not accomplishing all this in isolation. He’s supported by his long-time accomplices Lisle Atkinson on bass and Eliot Zigmund on drums. Their rapport seems founded on a common love of strong, clear line. If Breakstone were a visual artist, he would be a draftsman. His notes are placed with exactitude, moving with an old-school “vocal,” almost narrative clarity, through each piece. Zigmund’s clutter-free tattoos gently underline the rhythmic path, and Atkinson gets to romp through several pieces composed by bassists on the album.

Part of the reason for that last factoid is that cellist Mike Richmond is on the ride for 4 of the 9 numbers on the album. The emphasis on strings pushes the album’s foundational trio into a quartet for these tracks, and Richmond’s abandonment of the bow keeps the notes hammering out, the tempos crisp and the musical ideas flying without hindrance.

The overall effect is one of understated intensity. Inside the deceptively small-scale dynamics of “With the Wind and the Rain” are a constellation of fascinating thoughts and feelings that bear repeated listenings.



Friday, March 14, 2014

'The Ordinary Acrobat': Letting the circus run away with you


By BRAD WEISMANN
  
The Ordinary Acrobat
Duncan Wall
2013
Alfred A. Knopf
New York

The remarkable thing about Duncan Wall’s circus memoir/history “The Ordinary Acrobat” is how deftly it marries the personal and the global, the macro and micro. His quest to understand the history, structure, and process of the art form is married to his personal desire to join the circus, or at least train at the Ecole Nationale des Arts du Cirque, seven miles east of the center of Paris.

The result is an immensely readable, perfectly paced alternation of personal saga and an exposition of the circus’ past, present, and future. The indefatigable Wall plows across Europe and North America, taking in the scene from the rattiest street performer to the steel-and-glass complex that houses Cirque du Soleil, the monolithic “entertainment company” that turned circus into big business again. (Wall even-handedly surveys contemporary developments, looking askance at Cirque du Soleil’s corporate stylings, reporting but not endorsing the opinion of artists who call it a “factory” or a “Walmart of circuses.”)

Wall’s passion invigorates the narrative. No George Plimpton, he is not a hobbyist nor a “participatory journalist.” He is rigorously honest about both his achievements and shortcomings in the ring, and his attention to the physical, mental, and emotional details of what it means to the perform “feats of activity,” as they were once charmingly called, makes the achievements of big-top stars only more impressive. His travels take him into the heart of circus culture, and trigger a multitude of fascinating discussions with the outsize personalities who keep the art alive.

The book is an immensely powerful starting point for understanding the circus. Wall’s pocket history of the form and its primary disciplines (juggling, acrobatics, trapeze, clowning) gives any interested reader a laundry list of names, and descriptions of acts, that will drive the curious to do more research . . . and maybe even inspire the next Grock, Wallenda, or Rastelli.

Given the circus’ ephemeral nature, its off-and-on popularity, and its sometime disreputable past, many sites and stories have been lost forever – at times, Walls’ quest seems bereft even of ghosts. The ultimate, comforting impulse that pushes the writer to devour all this information and relay it to us is one he finds embodied in Pascal Jacob, circus historian, who donates his collection of memorabilia to circus-friendly Montreal. As Wall helps Jacob sort his historical treasures, he realizes: “The world couldn’t be bothered with circus history. This had been proved to me time and again. Pascal’s passion was a response to this destruction of the past. He was on a mission to gather together what had survived and keep it safe.”

Thanks to Duncan Wall, a vibrant portrait of the art and an author’s relationship to it, is safe.


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