Archive for the ‘Music’ Category

JP tries Porchfest

July 20th, 2014

Jamaica Plain did a fine job copying other such events in its first JP Porchfest yesterday. 50 or so groups performed at 35 venues, most of them quite literally porches.

I careered among many venues, playing a speed-listening version of the Odyssey. To my ear, there was a little terrible music, but most was good and some superb. With so much simultaneously in the works, no one was stuck anywhere. Here’s hoping this becomes annual.

As a disclaimer, several shots here are of a group where my wife sings and plays. I’m prejudiced. They jam weekly and perform as features on occasionally, largely bluegrass. Their road group has taken to call themselves Still Here.

Among some of the gems I found was Damn Tall Buildings, Rebecca Hope, and Outrageous fortune. As an indication of the event’s diversity, they play respectively bluegrass/blues, up tempo ballads, and swing. Click over to the event site for a list, many of which have videos.

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Avery ‘Montana’ Ballotta of Damn Tall Buildings dtb2
rhope1 Rebecca Hope
A couple of the Outrageous Fortune gang fortune3
stillh8 Still Here’s mando player, surely the best gurning of Porchfest
My uxorial unit for Still Here. She’s the primary family musician. stillh2
stillh6 Of course Still Here had the mandatory bluegrass components, including dobro…
…and a banjo stillh7

Fiddles and such in JP church

November 23rd, 2013

Nothing like a coffeehouse, except there was coffee and tea in the back room, but as concerts in UU churches go, JP’s version worked well last night. We heard first Cat and the Moon, and then The Bombadils.

There’s more folk, bluegrass, acoustic, Celtic and such concert coming up. Some are listed at the notloB site. The next one at First Church JP is a kind of battle of four string quartets on Dec. 7th, Saturday.

Here’s a few snaps from yesterday. The lighting was grim. Only a few were usable. We had positive memories of the space though. Two of our sons attended Kids Arts there for years after school.

These concerts are enjoyable, easily accessible and inexpensive ($13 in this case) evenings.

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The fiddlers were clearly the hits of the evening. Each band featured one. Here The Bombadils’ Sarah Frank blends strings and vocals. bombsara
catricky Cat and the Moon’s Ricky Mier on banjo.
The Cat of Cat and the Moon is Kathleen Parks. catcat
catcatbow
She’s a Berklee student who started with Irish music as a kid fiddler and does all and sundry now.
Sarah Bombsfrank
bombevan The Bomadils are from various parts of Canada. Here bassist Evan Stewart plays.
If I had to pick, I think Sarah was having the most fun. Bombsarahf

cateamon
I think this is Eamon Sefton, of Cat and the Moon. Another Berklee student, here he went from his acoustic guitar to an Irish drum.

Squeeze Your Honker, Somerville

October 13th, 2013

OK, kiddies, the annual, multi-day Honk! fest in Somerville MA is pretty damned good. It’s not the Lowell Folk Festival, but it’s intense, different and just as fun. Plus, we can go by bike or subway from Boston.

We did the biggest, longest day, Saturday this year. Even with intermittent mist, we didn’t regret it. In fact, the dampness led us to two visits to Five Horses, where I’d been numerous times, but Cindy never. Our youngest works in the South End, Boston, version.

We can be as provincial as New Yorkers, but really, really Boston, this free fest is mandatory. Also is chipping in $5 or more into the donation buckets. Get real. Get grateful.

Some of What We Saw

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Band links: The Honk! list routes to all the bands.

Minor Mishap(Austin) all flashed my favorite color.

mishapblow


balaansinger Drummer/vocalist from Brass Balagan (Burlington, VT).
Big heads from Bread & Puppet Circus Band (Glover VT) await skulls and shoulders. breadpuppet
allseeingtuba Tuba bulb from Gora Gora Orkestar (Boulder) sees all, shows all.
Gora Gora was rife with horns. goeralips
forwardblades I see your pathetic glockenspiel and the Forward! Marching Band (Madison) raises you saw blades.
Minor Mishap had lots of brass. minorhorns
goradance Introversion was not the order of the day and many, most women danced to any and every band.
Many kids saw adults at their freest and joined in. balagansway
dja DJA-Rara (Brooklyn) did amazing things with modified found objects.
The amazing drummer for Brass Balagan had everyone hopping, stomping and clapping.  balagansticks
 chesterbubbles  An extra was gigantic bubbles seemingly in time to the music.
Balagan’s flag lady worked harder than the musicians.  balaganflag
 2ndbone A bone player for the Second Line Social Aid and Pleasure Society (local)
The nomadic belly dancer did her thing with several bands and seemed to befuddle kids.  howtoenvy
 minordrum The longer Minor Mishap played, the more enthusiastic they got.

 

 

 

 

 

 

 

JP Music Fest Tunnel Down

September 8th, 2013

Why was I surprised? I commented again, as I have for the past four years, on the annual Jamaica Plain Music Festival.  I love it, but I am not a slavish schmuck who will defend it in every aspect against all critics.

I thank UniversalHub for its one-sentence citation that produced a thousand or so hits on what was fundamentally a photo spread. Yet, the few commenters who went on and on about how I had no right to dare criticize the audience can stuff it. Sorry, kiddies, I lived 21 years n JP, saw it swing to hipster-lite, and do damned well have that right.

Here’s a word or 12 to the anonymous sorts at UH, come over here or even stay on UH and leave a email. We can deal with your issues.

Regardless, I had a busy day yesterday and didn’t really comment on the third or so of the groups we heard and saw. For a recap, let me spew:

  • Red Dog, was not ready for even minor league. It’s a garage band, heavy on bass guitar, that is strong on beat and very low on lyrics. Try again.
  • Allison Francis. She does good deeds and has good politics, but there’s a reason she was at the top (lower end) of the bill. Her voice is so-so and lyrics predictable.
  • Afro D All Starz. were super hot. Theywere a relative big band with a variety of instruments, voices and words. Expect to hear more of and from them. We loved them.
  • Jesse & The Hogg Brothers. We found them entirely forgettable. As Southerners ourselves, we were stunned by their simplistic, clichéd words and sentiments. This was like someone making fun of New England Yankees. No. They exceed the limit of cute.
  • What Time Is It Mr. Fox? Shtick or not, these guys win. They have good costumes and far better music. They went far beyond clever, blending camp and good to great music, both instrumental and vocal. We’ll buy their stuff.’
  • Peter Sykes. Tinny and under-amplified harpsichordist was perfectly adequate for recital-classic tunes. He was not right for an open venue to engage a large audience.
  • Hobo Chili. A fun group came in with lots of horns and other instruments and a variety of vocalists. They were totally fun, but no way would you say they were your weekend listening choice. They are really strong on horns and can likely develop.
  • Coyote Kolb. They are better on their website than at Pine Bank. There’s a Black Keys pretense that they did not deliver in JP. I like their recorded tunes, but their JP Fest showing was bland.
  • The Michael J. Epstein Memorial Library. This was a big hit of the afternoon, both musically and visually. We were amused by the sexy librarian conceit but more pleased by the solid performance and lyrics. Their CDs are well worth the price.
  • Merrie Amsterburg. She has a tinny voice, worthy of a student broadcaster on WERS. Nuff said.

Overview of our afternoon, is that we got a lot for free, but not everything was a gem. Do come…every year…and expect fine entertainment. If your go to the Lowell Folk Festival at the end of July, you’ll return with some keeper CDs and at least two new favorites you wondered how you didn’t know before the weekend. The JP Music fest might produce one or two on on great year that are spectacular.

We can do the you-get-what-your-pay-for jive. Lowell is far better, but, hey, JP is free, is local and easy to get to.

 

 

 

 

 

JP’s Annual Day Party

September 7th, 2013

It’s no Lowell Folk Festival, but the Jamaica Plain Music Festival is a quarter to a third a good, jammed into much time, not requiring hustling among six venues, and for us very parochial Bostonians, does not make us travel out of town.

[By the bye, you have truly missed it of you haven't done the LFF. We've been there almost every year since it was the American Folk Festival. It's annual for two and one-half days, blues/folk/world/more...and free, free, free.]

While only in its fourth year the JP thingummy stays pleasing to the eye and ear, and with its hipster vendors — designer cupcakes, God’s doughnuts, Indian, New Age fruit pops, food-truck sammies — for the nose and mouth. We did it again. Here’s some snaps and comments on about a third of the bands and a few of the spectators.

Look at me! Look at me!

If you go next year and haven’t been and haven’t lived or spent a lot of time in JP (I lived there 21 years), steel yourself. Many of the locals are full of themselves, but not in an aggressive and obnoxious way. They are more vain and egotistical. They know they are hip.

weehipMany men and children and a few women wear Trilby-style hats, often in straw instead of felt. They may even dress their tots in them.

Having raised three, I know how much fun it is to dress up kids before they can object. That surprises all of us ex-boys who didn’t grow up with dolls.

Today, as always, there were a couple of hacky-sack guys. Late teen or early 20-something hipster types near the stage for everyone to revel in their splendid skills, sexiness and such. They are terrifically silly but have no idea they are. They go shirtless and foot the toy up, around and laterally for an hour or more, give each of us lesser mortals the pleasure of watching their posturing and posing. Yawn.

JPplank3This JPMF had an extra though. A couple was in the middle of the Pine Bank fields, again so everyone could benefit from watching them, for two hours or more doing acrobat, yogic stuff.

There may have been some Tantric connotations, as the guy stayed on his back with his arms and legs supporting the woman. She’d plank and twist and twirl and do a handstand on him. They were slow and far from flawless, but insistent.

They didn’t watch us, but knew we were watching them. For God’s sake, they were literally in the middle of the field, being exhibitionists.

They went on and on and on and on.

Far less visually intrusive were various promenader types. It still is summer, sunny and warm, so the déshabillé young women were common, in all senses, and benign enough. In their Danskin or similar tops, they showed themselves off to all genders, ages and orientations. No foul there.

In an unfortunate variation, a few badly aging men joined the hacky-sack types but after their shirtless prime. For example, one I recognize from the West Roxbury Y weight room is 45 or so. He must believe he is still 17 and prime. Instead, he wore only shorts and shoes and showed his fairly muscular arms, his big, honking beer gut, his very shiny scalp, and his pale blue tats. Some chum should let him know he’s a chubby, wrinkled baldy who should dress for public display. Sigh.

A far better display came from several hundred dragonflies. The fields are normally for soccer or softball. Today, the dragonflies were chowing down on the likes of gnats and mosquitoes. Some spectators didn’t seem to notice, but many from toddlers to blue hairs gawked. When we arrived just as things started noonish, the dinosaur-era critters far outnumbered the audience. Even as the fields filled with maybe 400 folk, the dragonflies kept relentlessly eating the pests. Bless ‘em. I only regret that they flitted nonstop, did not land, and moved so fast I couldn’t get a single shot of them.

The Musicians

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Allison Francis was early up and a good example of the occasional solo performer. She is a politically solid local who is a Midway regular. She was fun but not a great singer. allisonfrancis
AfroDshunguclose Probably the hit of the afternoon was Afro D All Starz, a big group with driving hip hop and funk. The head dude (emcee, leader, trumpet and vocals), Pete Shungu.
Christopher Huang was violinist and per song fiddler. AfroDHuang
AfroDFriedman Adam Friedman played flute.
Steve Mossberg bend over the keyboards. AfroDMossberg
AfroDshungu Shungu alternated trumpet and voice duties.
I think this blissed out guitarist is Reid Angwin. AfroDDavenny
Foxfuries A deceptively fun group was What Time Is It, Mr. Fox? (named for a Brit kids’ game). The backing vocals were from five women, collectively the Furies.
Lead is 3rian (sic) King. FoxKing
FoxCohen3 Nathan Cohen was on fiddle.
Another equivalent of a big band was Hobo Chili. There were a bunch of them, replete with brass, strings and voice. Leader Steve sang and trumpeted.  HoboSteve
 HoboDougorAndrew  I’m not sure whether it was Andrew or Doug on guitar.
 Lance on trumpet and Geoffrey on tenor.  HoboGeoffreyLance
 Library Prize for name did not go to Mr. Fox. Rather The Michael J. Epstein Memorial Library got the thematic drama queen/costume non-award.
 The eponymous leader was definitely the least librarian-esque of the bunch.  LibraryEpstein
 Librarysing The sexy-librarian conceit worked well for the women band members. Their lyrics put the lie to the sweet melodies. Civil Engineering Blues was my favorite, a riff on Seinfeld’s yadda yadda, with lines like, “and nothing they do will solve any of this
so they may as well just smile
and they may talk a lot, but it’s la la la”

 

Here for the Music

January 30th, 2013

At 8 PM, the Cantab’s performance space was so quiet we could have heard a caterpillar crawling. By 9, with the opening act half way through their set, the me-me-me birds so overpowered the amplified voices and instruments it was a pantomime.

Straining to hear Hoss Power, then accepting defeat, I thought of the sighs, moans and worse of my musician friends who play in bars. I also climbed into the WABAC machine in a flash memory of when I angered a singer in a New York nightclub.

Last evening was the predictable. By 8:30, the scheduled start, the small room filled, almost entirely with 20-something college sorts. Cantab does a good deed on Tuesdays in bringing in two bluegrass bands for only the price of a passed tip hat and your swilled booze. Being cheap and bluegrass being current hipster fodder, the room, then the adjacent standing space were jam-packed.

…but not for the music.

Da utes were there to socialize and toss back $5 beers and wines. They bellowed and brayed. Some never looked up from their smartphones. A small subset in chairs closest to the stage were clearly there for the band. There were smiles and waves; maybe their were all friends of the group — a lot of folk, mostly women, with a fiddle, mandolin, two guitars, banjo and upright bass. As many as there were hip to hip on the small stage and with working mics, they were no match for the increasing chatter.

Management is used to this and surely the bar had no objections to the non-stop hand signals for another round. We drank a couple ourselves.

alina

In the big-kid world of performance halls with pricey tickets, folk who talk endlessly and in increasing volume over performers doesn’t work. Abutters and staff hush them or remove them. My muse-I-can chums assure me that’s not the way in most bars. Customers are all about themselves. The band is coincidental.

It suddenly reminded me of my own issue many years ago. I pissed off Sesame Street’s Olivia, a.k.a. Alaina Reed.

Before her long stint with Big Bird, she was already a singer and actress. Her blues were powerful and convincing.

I was single and brought a female companion for the show. I also brought my new 35mm camera (decades before digital photography). I was considerate and discreet — no flash and only a few shots. I prided myself in being considerate.

Yet in retrospect, I was different only in degree from the clods at the Cantab last night.

After her long set, she stopped by our table on her way out of the room. She looked fiercely into my face and told me  how rude I’d been. She said that the several shutter clicks had tested her concentration.

To me, the noises were so few and faint that I hadn’t considered them a problem. I immediately apologized and iterated that several times. She was decidedly not placated. She stood there and kept at it.

Surprisingly, she did accept my invitation to have an I’m-really-sorry drink with us. Cocktail in hand, she relentlessly scolded me. Naively, I had assumed that the double social lubrication of apology and alcohol would ease the anger. …not at all.

She must have told me 15 different slight variations on how difficult it is to maintain focus as the sole singer in a room and how my selfish noises had challenged her focus. My and my date’s praise for her show also had no obvious effect.

Eventually, she finished her drink and seemed to tire of verbally slapping me. She never once smiled nor showed the slightest indication that anything was forgiven.

The testiness of artistes is the stuff of legend. Alaina Reed was at once right and self-righteous.

Last night, Hoss Power’s musicians plugged away as though everyone could hear them and was listening to the music not each other. They left the stage smiling and were pretty good. No one learned any lessons from them about how to behave in public.

Different people, places and times…

 

 

White Squirrel Singing

September 8th, 2012

The 2nd annual Jamaica Plain Music Festival stepped up nicely. Last years had a lot of indie groups that sounded like garage bands — as in several cats trapped in a garage. This time, the range and quality of sounds was fine.

Here be some snaps:

The ghost of the white squirrel which used to inhabit Jamaica Pond inspired the t-shirts (disclaimer: I own and wear one), as well as the graphics for the festival.
The squirrel appears now in several versions of banners too, several above each of the two stages.
Above each stage was a stuffed toy version on strings.
Fest staffer had both a squirrel stuffy in a pocket and a hipster, Trilby-style hat. Several other in the crowd had the hat, but they were to a one 40 or 50 somethings (mid-life crises?).
Morris and the East Coast’s drummer never stopped or even slowed.
Thick Wild, a.k.a. Amelia Emmet, really belted her self-written tunes, solo, and overpowered her banjo.
The fest had tons of activities for breeders, including hula hoops, water balloon tosses, drawing stations and lots to keep the kiddies perking.
A cardboard slide the length and depth of the sugar bowl kept kids and parents squealing.
A petting zoo let kids and adults play and play with a wide variety of musical instruments.
Sweatshop threw out rap, hip hop and rock.
The new JP Symphony Orchestra sent its brass section to introduce their classical versions.
Later, more reps from the well-established Cambridge Symphony Orchestra were classy and dressy as well as talented.
Cambridge’s strings do not chill like rock musicians while awaiting their time.
The lead for Riding Shotgun did his Springsteen dance.
Big folk got to use the petting zoo of instruments too.
One of the Pepe Gutierrez mariachi band (regulars at Tacos El Charro) grokked the indie rockers.
Gracious Galamity (Kate and Kit) were soft harmonies among hard rockers.
Babies and tots abounded.
Lauren DeRose show off the best emo and tattoos.
This is a very manageable festival, in the hundreds of listeners/watchers.
The rest of us scruffies in tees and shorts didn’t cut it in contrast to the Cambridge Symphony Orchestra crew.
Small tats, big tats…here’s a shoulder gem.
Riding Shotgun’s drummer loved his job.
Sweatshop’s MC Catch Wreck.

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Felder Bares Bernstein

April 30th, 2012

Loath as I am to stand in applause (seemingly the norm at every performance from kindergarten through Broadway), Hershey Felder as Leonard Bernstein had me up and flapping. Last evening’s nearly two-hour, one-man show also deserved the overused and usually hyperbolic tour de force.

Note that this is an ArtsEmerson show at the Paramount and runs through May 20th. Hie thee. Maestro: The Art of Leonard Bernstein is far better done and more memorable than any play you’re likely to see this year or any musical with women wearing spangles and rhinestones.

At its most basic, this show is a chronological biography. Badly written and performed, that could surely be tedious. This is riveting. No one coughed or rustled papers.

Note too that Felder is creating a career out of these musician shows. Following Bernstein, he comes on with black hair starting May 30th as George Gershwin. Previously, he’s been Chopin and Beethoven. He takes his shows on the road and somehow maintains his energy with one or two a day and transitioning among characters and musical repertoires.

And music…

Felder plays and sings, the former stronger than the latter, but certainly in the role of conductor/composer, his voice is fine and does not distract from the story. He plays enough Beethoven, Wagner. Copeland, a few others, plus parts of his own work. Intriguing is his early efforts and parts of his major works. Yet an apt leitmotif that does a fair job of tying his story together are a couple of songs from West Side Story, Somewhere and Maria.

Key tensions in the tale start with his unapproving, gruff father. Over his objections, Bernstein pays for his own piano lessons, studies with several leading mentors, and makes a seeming success of it all. Underlying are problems most of us who saw him conduct or perform and explain on TV forgot or did not know. There’s his finding, marrying and having three children with Felicia, his professed great love. Meanwhile, he longed to be known as a composer, to be among the greats in this country and historically. Along the way, he had homosexual affairs, including one for whom he left his wife for a few years. He returned and nursed her as she died of cancer.

A long, pivotal scene near the end has him beseeching the audience to sing any of his arias or recall even a few bars of his serious work. He knows no one can and in the end seems to accept begrudgingly that West Side Story will be his piece by which people recall him.

The show carries the biography from childhood to death surprisingly smoothly. Felder stays in character, or characters, as he voices the father, mother, various mentors and more. This artificial cast of characters allows for development and aging and struggles one-man shows tend to lack.

He also manages to deal candidly with issues, such as the gay affairs, without becoming salacious or silly.

The show had no pauses, no awkward or forced segments, and nothing contrived. It is brilliantly written. The steady rhythm of intense performance performance and then casual conversation provided great focus and framed each example of development memorably. Felder was more than capable at the piano and the musical selections illustrated both how Bernstein progressed, and regressed, professionally, and supported the thesis of a tormented would-be great composer.

Felder’s view seems to be, as the program reads, that it is too soon after Bernstein’s life and death to judge his oeuvre. His superb version of the life does not judge either. I left the Paramount with a much fuller and more personal sense of the musician and person. Again, this show brought me to my feet.

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Yes, Too Late

April 6th, 2012

We can wait too long. That should surprise none of us.

This week in New York, I got that lesson, in the mortal version, yet again. Going to, going to, intentions, intentions…yet when I actually called and tried to visit an old chum from our previous lives, he was dead.

Tomorrow will be the fifth anniversary of Reginald Charles Obrecht’s death. I won’t be talking to Reggie, unless it’s like a Bluetooth fool ranting solo.

A woman with whom, as we Southerners are wont to say, I kept company for several years and I lived a few floors above Reggie, his son, and second wife on East Ninth Street on the Lower East Side.

I was on the iPad trying to figure out why his long-time phone number was “NOT IN SERVICE” when I found only vestiges of his musical life. When I returned to Boston and hit up the Social Security Death Index, I got confirmation. Then I was a bit disappointed seeing no Obrecht obit. It seems like the Times or somebody should have been aware that a lesser figure in early rock and R&B died.

Setting aside for the moment his delightful personality and wonderful stories, consider that he gave us boomers earworms and love songs. He wrote, arranged, and played the music for the likes of The Coasters, The Bobettes, LaVern Baker, and Ruth Brown. His Reggie Obrecht Band was on many of the late fifties tunes. He sometimes got credits too under a stage name, Reggie Chase.

Purple Cow

He had his Gelett Burgess mixed blessing as well. While that art critic/author/editor was overshadowed by his throwaway poem The Purple Cow, Reggie had Mr. Lee, sung by The Bobettes. Unlike most of the rock and doo-wop songs of the era, this did not get everyone and his uncle throwing his name on to get possible revenue. Reggie had to take full blame for what he acknowledged was a really stupid song. Yet, we sang and hummed its stupid lyrics. I bet he continued to get residuals from it to the end.

Reg was young then and made what was for him a fair amount of money. He was in on the early days of Atlantic Records. Like most recording groups, bands, composers and such, he got screwed out of much of the revenue in a dirty business. Yet, he squirreled away enough cash to suit himself.

The way he told it, he fixated on chess. He grew up a poor black kid and chess was both intellectual and classy enough to please his new self. He devoted several years to becoming a good player. He spent a lot of time with Grandmaster Nicolas Rossolimo at the latter’s Greenwich Village chess studio. He says he memorized the requisite 2,000 games to be able to win most of the time.

When I met Reggie, he had married again. His first had become a junkie and produced their son Marcus, who was non-functioning autistic. She went away and died young. His second wife was Marjorie Saunders, adopted daughter of the long-time head of the Colgate-Rochester School of Divinity.

Reg said the Rev. Dr. Wilbour Saunders was none too pleased that his only daughter had taken up with a black many of uncertain prospects. Reg was never above laughing at himself and spoke of the first weekend the three of them spent at the regal homestead in Rochester. Like any period sitcom, there was another black person, the maid who clearly disdained Reg and Marcus. Reg was so concerned that Marcus would disgrace them with primitive eating, he sat beside him constantly ready to correct and help. When the servants brought roasted half chickens, Reg was in a near panic. Marcus meanwhile was mirroring the others around him and doing just fine. In his distraction, it was Reg, who knocked him bird into his lap.

Marj was a public-school teacher and a sort of precocious New Ager. Those became relevant as she turned to Marcus. She refused to believe he had to be institutionalized as all doctors and teachers pronounced. She put him (and them) the Feingold Diet (no artificial anything) and a regimen of vitamins, minerals, whole grains and such as barley stew with bones of a chicken or two boiled until they dissolved in it.

All those seemed to work. Marcus was a giant at 12 and had disconcerting self-absorbed traits like climbing on my shoulders and sitting when I sat. He was not what we call normal, but Marj made a huge improvement. He was at the point of low-functioning normal by the time he came of age and left.

Eventually, Marj and Reg separated and I think divorced. I heard she headed off to Denmark to teach English, but that was decades ago.

Last Chat

Reg called me years ago, perhaps six years. He sounded pretty good and we had our usual long, light chat. He called for a reason though. That woman who had been with me on East Ninth had lent him $50 many years before. He said he had heart trouble and wanted to repay her, just in case.

I had figured to see him again. When I got to the City, I intended to call him and get together.

Spending four days in Manhattan this week, I did call him. Anywho and other online directories list his number and address as the last time we spoke. Only this time, when I called that offensive tone was followed with “THAT NUMBER IS NOT IN SERVICE.”

I found out why and shouldn’t have been surprised. He did warn me he had a heart ailment. Yet, I deluded myself as we all are likely to do. On occasion, I’d see that he was still listed and think he was perking along. Only he wasn’t.

Draw your own inferences. I’ve been pretty good about tending to parents, friends and other relatives. I can’t say I did not come to peace with anyone I loved. Still, Reg is a good soul. I do regret not making the extra effort to visit him a few more times.

Bagpipes Don’t Like the Cold

March 4th, 2012

Cycling in the chilly AM today, I heard a bagpiper on my way to the nun’s gas tank in Dot Bay. On the way back, the piper was still at it and I had to see why.

Well, of course, the sounds were coming from Florian Hall, the Firefighters local 718 facility. A drummer (Rick) was with piper (Brian) in front, as a clot of middle-aged men chatted while seeming to appreciate the pair.

I thought this might be a Sunday ritual that I had just never timed right, but Rick said it was a special event. He didn’t recall the details beyond it having to do with a union and a few Boy Scouts with their flags. They’d play outside before the event and then lead in the Scouts at the beginning.

Always the snoop, I asked what Rick he kept in has sporan. He chuckled and said, “Whatever you want.” The he admitted it was often keys, including the drum key. He said pipers are supposed to keep spare reeds as well.

Meanwhile, Brian alternated a tune with a little tuning. Rick said that the pipes didn’t like cold weather, so they needed regular adjustment.

Pix note: All pix are Creative Commons-Attribution. Do what you want with them. Just give Mike Ball credit once.

I have always depended on the skirl of strangers.