Sunday, February 5, 2012

Remembering My Friend, David Hall

By Peter Rodman




I'm not here to write an obituary; I'm sure you can find that somewhere else.  I'm just here to try to share a very personal story about some of the crazy, disconnected-but-connected  events that led two very unlikely strangers from completely different parts of the country to somehow become "friends for life."
And to do that I'll need to ask your patience, as I'm apt to ramble through my grief.

This-here's a fresh wound.

But if you'd like to save a lotta time, and you just need to know right now what exactly the point is here...

Here's the Short Version: 
It's that we are all basically children, at heart.  And when you can find the child behind a friend's eyes, then you've really found that person. 
[End of Short Version. Read on at your own risk...it's long.]

I have always believed that almost anything we do as 'adults' is complete and total fakery.  I've never met a man at any kind of business meeting that wasn't puttin' on airs. Not once.
And all too rarely do you ever meet a man who's willing to shed all that pretense, and just concentrate on sharing his humanity. So it is in that context that I invite you to share in just a little bit of the unfettered joy that was my friend, David Hall.


Dave grew up in Murray, Kentucky…about an hour outside of Paducah toward Nashville, but you wouldn't exactly drive it that way. You might have to back-track some, and (these days) get on the interstate.
He was raised to be humble and he stayed that way--happy just to be an All-American boy who loved baseball, rock ‘n’ roll, and yes...apple pie.  Probably millions of other kids Dave’s age shared the same heroes and aspirations, but not so many followed their dreams with such a quietly accurate, easy-going compass.

I grew up about 30 miles from Yankee Stadium, in a town appropriately named “Plainview,” on Long Island.  But it might as well have been 1,000 miles away--just like Dave's hometown was--because we never much went to 'the City' anyway. (To be fair to my Dad, he did take me to see a couple of games during the iconic 1961 season...but we invariably left early, to "beat the traffic.")

The point is, whether you were stuck on Long Island or stuck in Murray didn’t matter at all.
All that really mattered to anybody we knew as kids were two people:
1.) Mickey Mantle.
2.) Roger Maris.

Done. That's it.

Nothing else seemed to matter, on those long summer days with baseball gloves and whiffle balls, marking the outer reaches of imaginary 'Yankee Stadiums' in the dirt, hoping to hit the ball over that line just once--and if you did, to trot around the bases affecting Mickey’s trademark hop-a-long limp as if it were your own, which was how you took a bow, whether in Murray, or Plainview, or Peoria, or any other town you choose.

Little boys everywhere knew the name “Mickey Mantle.”
They knew the number 7 then, and they can still tell a fake jersey from a real one (no serifs on that '7', man) and they knew that if you wanted to be like Roger Maris (#9) you had to crop your short shirt-sleeves way up high, to show those goofy 9 year old “guns” of yours.

When the 'game' was over, either your Mom or Grandma would have sandwiches ready, and if your 4th grade homework was done and it was still light out, there just might be time to go flip some baseball cards--a case study in childhood gambling, yes--but also to pore over the details on the backs of those cards---so that by the end of the day, you not only knew who Enos Slaughter and Moose Skowron and Bobby Richardson and Hector Lopez were, but what they batted last year, how many triples they’d hit, and precisely where they fell in the latest Yankee lineup.
And darn, if those Yankees didn’t keep on winnin' every year!
That should put you in the general time-frame of our childhoods. 

It was right about then that David Hall of Murray, Kentucky decided he was going to be a lifelong Yankee fan.  After all, Mickey Mantle himself grew up in Oklahoma, a fact known by every kid in the South.  (Surely, little David had no idea that if you drove due-west on Rural Route 60 from Murray and you just kept on going for about 8 hours, you'd land plumb-in-the-middle of Mickey's boyhood neighborhood, in the little miners' town called Commerce.) 


But that was the thing:
For most kids, Mickey Mantle didn't really live anywhere...except in dreams. 
And that was right where we wanted him to stay.  
Life was good.

Few things outside of baseball ever got the attention of a 9 year old, back then--certainly no ‘current events,’ which was the term for news, at the time. 
But all that changed on November 22, 1963, with the Kennedy assassination.
That was the first time (for most of us) that the headlines ever came crashing into our living rooms, with a force we could not ignore.
Our parents did everything they could do, to make Christmas of 1963 a good one--but a definite pall hung over the whole nation, as though not just the President, but youth itself had been shot and killed.  And now, some 'old man' took over as President--so here we all were, stuck kind of growing up, but not really there yet.

Most of the ‘playing’ that a kid could do in western Kentucky during that winter involved imagining yourself as an astronaut, or The Man from U.N.C.L.E., or maybe ‘My Favorite Martian.’  That
December and January were even chillier than usual, in Murray. It got all the way down near zero a couple times. 

Baseball seemed far off, and the grey skies and hard dirt didn’t offer much for a kid “to do” outside anyway, except get hurt and come back in crabbier than you were before. It was like chasin' your own tail, and not a lot of ‘extra’ goodies came around, unless there were some cousins in from out of town, or a very occasional matinee movie.

But there came a day--and Dave could tell you this, and his eyes would light up when he did--when the skies opened up, and everything became clear again.
Like so many millions of kids in towns all across America, David’s life changed on February 9, 1964.  I don’t even have to tell most of you what happened on that date, but from the very first note they played on The Ed Sullivan Show, the Beatles seemed to reach right through those round, black-and-white television sets, and into our living rooms. They called it 'the British Invasion,' but in a very real sense, nearly every kid in America was abducted by rock 'n' roll aliens that night.

Our parents were somewhere between flummoxed and dismissive…but that made it even better!

Within hours, every boy who’d seen it was standing in front of a bathroom mirror, quietly combing their hair the opposite way, to check out how this Beatle haircut might look on them. One can only imagine how many parents stood outside the door on that particular Sunday night, demanding to know "What's going on, in there?" 
David Hall's house was no exception.

Those Beatle records would arrive in our local stores soon enough, and promises were made ("Please, Mom! I've got to have it!") allowances advanced, and deals struck--if only to have a copy of “I Want to Hold Your Hand” b/w "I Saw Her Standing There" inside the house, to call your very own.
Not being able to afford more than one or two 45s at first, David Hall found himself glued to his transistor radio.

They were staying where? Which one had tonsillitis? Who wrote “Roll Over Beethoven?”
Studying the backs of album covers eventually replaced studying the backs of baseball cards. David was hooked; not uncommon, this. 
In fact, it was about as ‘All-American’ as it gets--and it would suit David Hall just fine, to hear that.

Never sure this newfound fascination with music was a ‘career’ thing per say, he eventually graduated high school and enrolled at Murray State University, near enough to home to honor his family roots and look after his obligations as a devoted 'only' son. Then too, MSU was just ‘gone’ enough, for him to look around and see what else the world had to offer.
Unlike many kids, he didn’t seek to travel the world, or amaze anybody with his accomplishments at all. David didn’t even really have a ‘major’ that first year, anyway.
All he knew was that he had fallen in love…with music.
All those nights listening to his transistor radio at home had seen David learning the names of radio big-shots from St. Louis and Nashville, and sometimes Chicago, if the weather was right.
The best thing about Murray State was that it had an actual radio station!  He inevitably gravitated to it, putting in his time as a volunteer, until the fateful day when he  very nervously switched that microphone to“ON.” They’d even been thoughtful enough to hang an electric ON THE AIR sign, over the door.

"One of the first things I ever said on a 100 thousand watt FM radio station came right after Jack Buck said, 'We pause 10 seconds for station identification. This is the St. Louis Cardinals baseball network,'" David recalled. "I opened the mic in our rarely-used-for-anything-live FM studio and said, 'WAAW-FM, Murray, Kentucky.'"
That was "it" for David Hall.
There’d be no more looking back.


His polite manner had more appeal than he ever knew, and not being one to assume anything, David really didn’t pursue the girls or the party life that much--at least not with near the gusto of his rowdy freshman friends. Oh sure, he’d tag along…but if you wanted his opinion, he’d damn well make sure it was safe to share it, one-on-one, and even then he was not one to cause a controversy, if at all possible.
It just wasn’t in his raising.


David Hall, Peter Rodman, and Fred Buc
of Lightning 100, at Boulder Falls--August, 1994.
I got to show them around my old hometown,
during a radio convention there.

 All that stuff was other peoples’ fire; his only burning desire was to be on the air and start playin’ great music for all the great people he was sure must be ‘out there.’
Only in that place did David Hall finally find his own voice--and only there, could he make the world the way he wanted it to be.
Others were slaves to fashion, drugs, or danger--but only talking to “that one person out there” brought any real sparkle to the lanky hometown guy, in that faded ol’ Yankee t-shirt.
 
David Hall was a great son and an only child, whose many cousins today mourn the loss of a childhood pal and confidante, but all would agree--especially Dave--that he was truly ‘born’ on the day he first switched on a radio microphone.
At first imitating the jocks he’d grown up with, he eventually found a voice he liked, listening intently in headphones (a practice he continued throughout his career, always tweaking the sound to perfection) and it was more self-assured than anything he’d ever heard himself say or do before.
He had truly found his home, 'on the air.'


Not that he particularly aspired to any great ‘career heights.'
He wasn’t at all intent, as so many radio dudes are, on jumping from town-to-town just to get ‘bigger’ in bigger markets, until he was ‘King of the Hill.’
(Don’t get me wrong; those are admirable goals indeed, but they weren’t Dave’s goals.)

David Hall’s goals were as simple and as humble as Dave himself:
To be able to touch one listener;
To share as much of the great rock music he loved with as many people as possible;
To avoid insult and controversy, while providing a righteously safe ‘haven’ for his fellow music freaks, known and unknown;
…and perhaps most of all…
To find in his own voice that trusted and steady hand he could believe, himself.
It was David's great gift to everyone he knew and loved, that he worked hard enough to actually become that man.
By the end of his life, he had achieved it all, in full...and yes, "what you heard was what you got."
Never ‘cool’ in that amphibious way that FM DJs can be, but never ‘hot’ in the grating manner of a controversy-seeker, David Hall on the air just seemed to want to be friends.That may account for why so many hearts are broken today, in Nashville and Western Kentucky, and beyond. Even casual listeners felt like they had a friend in David Hall--and the truth is, they did.

If he had an exclusive interview or a brand new record to debut, his manner was never in the realm of “Here comes my Exclusive!”

Rather, it was like your best mate sharing something because he loved you.
“…I just got something very interesting in the mail, this morning…what’ll you hear this!”
He could barely contain his excitement, yes…but it had nothing to do with self-aggrandizement.  In fact, to know David personally, you'd hardly guess that his tenure in rock radio was the all-time longest run in Nashville history.

No wonder he loved his job so much.
David Hall dealt with the music he loved, every single day of his life. And if you asked him about his job, he’d tell you, in words that almost seemed to echo Lou Gehrig's, “…I feel like the luckiest man on the face of the Earth.” 

See, it wasn’t about money or fame--nor even getting close to the famous.
That wasn’t Dave’s thing.
It was that thing that he’d first found with Yankees and Beatles, but which later extended to Van Halens and Stones, and much later, into making musical discoveries of his own, and going on the air to present them to his listeners--be it Drew Holcomb, One EskimO, or any other great new act.

A digression, if you will...


In 1993, after several years of living here part-time, I finally packed up and moved to Nashville full-time. I’d been on the radio for two decades already, and (call it a mid-life crisis) after years and years of hiding my first love (songwriting) during interviews with other writers and celebrities, I decided to try my own hand at performing again.
I was merrily going along with my Bluebird CafĂ© gigs, when one day I got a call from Ray Skibitsky, my old boss at Boulder’s KBCO.
“Peter, I’ve got a guy you should meet in radio, there in Nashville.”
“Why, Ray? I’m retired from radio.”
“Listen, I told him you’d call him. Just do it. You don’t have to do anything, just call him. He wants to meet you.”
That was in the late spring of ’93, and by year’s end, we’d come to an agreement. I would revive ‘Sunday Night with Peter Rodman’ exactly as I had done it for years at KBCO, with no limits or interference, as a contracted show, leased to the station on a one-time basis each week, retaining full ownership of any content I'd created.  No taxes, no meetings, no "employee," no answering to anyone but the owner of Lightning 100. 

In other words...as long as I didn't have to play 'grown up!'

[End of digression; thank you for your indulgence.]


I was scheduled to begin doing SNPR on 'Radio Lightning' on February 7, 1994--30 years (to the day!) after the Beatles had landed in New York City, an irony not lost on me at all.


Then, in early December of 1993, Frank Zappa died.
Ned Horton (Lightning’s co-owner) and myself decided that we would move my start-date up, to accommodate some sort of 'Frank Zappa Tribute'--which I would hastily assemble from existing interviews I’d done with Frank, over the years.
All well and good, but I hadn’t a clue as to how to work any of this new radio station’s equipment!

Ned asked around, and there was only one guy curious enough to volunteer to ‘train’ me, while we cobbled together something that would both introduce me to the listeners and suitably honor Frank, for all his (notoriously rabid) fans.


Lindsey Buckingham
(of Fleetwood Mac) with David Hall
That guy was David Hall.
As we nervously shook hands and got started, David graciously and gently began to ‘show me the ropes,’ and helped me work the unfamiliar machines, and we tried to sort through the many Zappa interviews I owned, some from a full decade before.
At some point during the process, after at least an hour of sweating in an airless, windowless production room full of tape recorders, we “lost” all the work we‘d just done.
Poof!  Gone.
The looks on our faces were of complete horror, knowing we’d have to start all over again, from scratch.  
But within just a few seconds we both began laughing hysterically, irreverently pretending to talk to the deceased  ‘interviewee’ right then and there (“Come ON, Frank!!!”) and before long, these two guys--who’d met only once before, and knew nothing about each other--were uncontrollably howling, in that sort of 'silent-scream' laughter that makes you hold your sides in pain, getting up and walking away and sitting back down again, just to try to control your bladder--almost dancing around the room, like lunatics!
Neither of us had ever had so much fun in a radio production room, before. 

The laughter had brought tears to our faces, and the notion that those poor Frank Zappa fans would never know what went on in there is probably all for the better, looking back on it. (In truth, from my experiences with him, I’m betting Frank would’ve been on our side, here!)
Anyway, the radio special got done--in no small part due to David's dedication to helping some guy he didn’t even know, a guy (me) who walked into that studio a stranger, and walked out a "friend for life."

From that day to this, we had an unbreakable bond.
And now, almost 20 years later, I am humbled and grateful just to say that David Hall was my friend.
Okay…I’m gonna have to stop soon.

I actually thought this would be easier than it’s turning out to be. But if you’ll bear with me for just a few more paragraphs, I’d like to recall another few tender moments that signify so much about the man I knew and loved.

Though he was never one to show too much affection at first, I watched that change over the years. This past Christmas, Dave dropped by my home to hand me a card personally…and right before he left, he gave me a big bear hug, and said “I love you.”
To be honest it took me back for a second, and I wondered if everything was alright. But I finally decided it was just another of those 'surprises' that shouldn’t surprise me at all, knowing David.
I have lots of stuff around here that he just gave me out-of-the-blue, and he has the same from me.  We didn’t actually talk all that often, but we didn’t really have to.  We were always 'one-upping' each other with little surprises, tickled to know somebody else was tickled by all the same exact 'stuff.' 

If I was in New York, did you think he wasn’t going to get something directly from Yankee Stadium?
If he had tickets to see ‘The Concert for George,’ did you think he wasn’t going to ask me along?
Just last night, I found a CD he’d produced expressly for me about five years ago, called 'Surprise, Surprise’--a compilation of the very best Beatles pressings and masters available, back then. It must have taken him hours to find just the right tracks off the right discs and LPs.
He was so enamored of my annual Christmas compilations that for years he’d send me suggestions ("...for next year's disc?" he'd write).

That is who Dave was:
“How can I make YOU better?”

And when I made a serious blunder (read: brain fart!) on a Facebook 'Beatle post' last year, Dave very gently reminded me that “Don’t Let Me Down” was the flip side of “Get Back,” not “Hey Jude.”
I was mortified!
It meant a lot to me that I not make such a basic, doofy mistake in front of Dave--but he actually turned it around to make me feel better, writing “I actually knew you knew that, but I kept checking and re-checking my records, just to make sure I was right--because I was sure you’d know some clever little secret that I might have missed!”
Nope.  Not true, Dave!
But in that, I did learn another little secret:
I learned how far you would go to protect me--more than once.  I’ve only given little examples here, but there are others, believe me.
When I claimed (on facebook) that the government had been paid back in full for the GM bailout, David (correctly) corrected me. Yes, though few people knew it, David Hall kept up on the minutiae of politics with the best of ‘em!
Most peoples’ interests probably intersect somewhat; ours were a virtually-identical lock.

This will be inartfully put, I know…but I never knew how deeply David cared about me, until I began finding e-mails that said, “Check your windshield," and there’d be an amazing package containing some CD he’d made 'specially for me, out in my driveway on a rainy night.
His wonderful wife Trish told me just yesterday, about how Dave actually drove her by my (nothing-special-to-look-at) house one time, just to show her where I lived.
“Why didn’t y’all come in and say hello?” I wondered.
“Oh, I don’t know," she said, "he said he just wanted me to see it.”

Paul Simon was another thing we had in common, and of course it doesn’t hurt that the guy wears Yankee caps a lot, either. David marveled at my stories of meeting Simon & Garfunkel as a kid, and we'd even gone to see them reunite, a few years back. 
But again, we rarely picked up a phone…we just liked to surprise each other.

So last summer, David sends me a message:

“You busy this Thursday?”
“No…why?”
“Well, I might be able to get Paul Simon tickets…”
Turns out, he had talked it over with Trish, and she had graciously said, “You guys oughta go!”
I showed up at Merchants an hour beforehand, per our tradition, and after a drink and some food he said mischievously, “GeeI hope these seats don’t suck!”


Now we were virtually race-walking toward the Ryman…like…well...like two little kids, on the way to the ballpark!
“Hey,” I said with my 'adult' faux-confident air, “Don’t worry about whereever the tickets are! There’s not a bad seat in the house!”
We might as well have been 10.
“We’ll see about that!” David said, feigning pessimism.
I wondered why he’d even care about what seats we had at all--that wasn’t like him.
Pretty soon we were inside, being ushered down toward our seats:
Not in the first few rows...Not even in the first row!
No...ours were among a group of about 12 folding chairs--set up, center-stage--

in front of the first row!!!

I’d been to dozens of Ryman shows before, believe me--but I never suspected we’d be lookin’ up Paul Simon’s nose the whole night!
It was to become the best concert in a lifetime of concert-going, for me.
He’d known all along where the seats were; it was all a part of his sneaky little 'plan!'
We were so close to the stage, I felt too guilty to even use my camera or my fLiP very much--because poor ol' Simon could see little else but us, in front of the footlights!

And even though I later gave Dave several framed 8x10 photographs I'd taken of Simon that night, I was blown away to see one little item he'd scanned for his Facebook page, as another kind of memento: 
  With Dave, it was all about the gift; he knew what mattered was just the act of kindness.

Watching this masterful performer at the very top of his game (and I’ve seen every Paul Simon incarnation, believe me) was a marvel. We must have nudged each other a hundred times, remarking about everything from the arrangements, to the half-dozen 'guitar techs' moving stealthily about, onstage. To see us from a fly-on-the-ceiling view,  you’d think you were watching two kids, giggling with utter delight--just about the same way 10 year old boys might, if they ever got close enough to see their baseball hero ‘hit for the cycle.’
It was that special.
As the show drew to a close, I took one last picture of Dave--still sitting less than ten feet from Paul Simon, for cryin' out loud!

In it, you can clearly see Rhymin’ Simon’s sweat-soaked delight (at far left)...and to the right...that's the Kid from Murray, 
Kentucky right there--beaming with pride, not over the show so much (although he truly loved it), but over the surprise he'd just pulled off, and the joy he’d just brought to a friend.
Because, hey…that’s what it’s all about, isn’t it?
What good is music, if you don’t share it?

Vince Gill once had an album called The Things That Matter, and I always thought that was a great title.  Well, David Hall seemed to specialize in "the things that matter."
Like everyone else that night at the Paul Simon show, I was awestruck and wrung out at the end.  Just after I took this picture, I said, “Dave, I don’t know how to even begin to thank you. You really got me, this time! Yankee Stadium, next month!  On me!!! Come on, man. At least Wrigley...”
“We’ll see...sounds great!”
“I can’t believe you did this for me..”

With that, he turned to me and patted me on the shoulder.
“Why wouldn’t I, Peter? You’re my best friend!


Words I shall never forget.


_____________________________



My heart goes with Trish, Sean, and the rest of David’s extended family. I've written too many words I know, but in truth, no words can describe this loss for them. My prayers are with you all, and always with Dave.
Also, to the staff of Lightning 100, past and present, as well as all of Dave’s other radio friends and industry pals, listeners, fans, and admirers from afar.

Your affections were never wasted; David would want you all to know that.
When it comes to being truly humble and doing the right things for all the right reasons, we can all take a lesson or two, from the David Hall playbook.
David Hall ROCKS, Y’all!


________________________
Copyright 2012 by Peter Rodman.  All Rights Reserved.




__________________________________________________

Here's a clip from the 1962 movie Safe at Home, familiar to all Mantle & Maris fans, which brought our Yankee heroes to the Big Screen: 


And the Beatles' historic debut on 'The Ed Sullivan Show', just as it aired on February 9, 1964: 
Life-affirming moments we both loved, for sure...

__________________________________________________________
This next song has gotten me through a tough couple days, trying to sort through some of life's unanswerable questions. I guess the lesson must be that sometimes it's okay when you don't have all the answers, to just sing "la la-la la, la la la..." So do yourself a favor...turn this one up, and just go with the "la-la" thing. 
Rest in Peace, David.
                         


Thursday, December 8, 2011

"Dear Alec Baldwin..."

By Peter Rodman





Dear Alec Baldwin:

I’m a big fan; always have been.
And guess what? I’m from Long Island, too!
You Massapequa?
Hey…me, Bethpage!
Who knows?
I might’ve actually wrestled you!
(Well, actually…no…that can’t be. See, I went undefeated--as a freshman, no less--on the Varsity Wrestling team, but that was simply because no other school could find an 85 pound kid--including Massapequa.)
Anyway, the point is…I like you!

You’re a comic genius, an acting legend, a master of timing, and a thoughtful, articulate liberal (although I must tell you, nobody out-liberals me!) and yes, I even bought the hardcover book you wrote, about your divorce.
(You know, the one every guy who’s ever had a divorce wanted to write--about how terrible the court system is, for guys getting divorces.)
Believe me: I related.
I also related, when your surreptitiously-taped personal phone messages to your own daughter were (viciously, I thought) released to the general public, and then broadcast on national television….exposing only the common temper tantrums that people who truly love each other (Who hasn’t called their kid ‘a little pig?’) might engage in.
Seriously, though...I thought it didn’t prove anything about anything--except a man’s thorough exhaustion and frustration, with a system he felt entirely trapped by, and a marital war that tore his heart apart.
I got it, man.
I got it all.

I also got how amazingly you transitioned--with the considerable help of Lorne Michaels--from a serious leading man to a comic 'straight man'--those were brilliantly stone-faced routines even you probably didn’t know you had in ya!

The transformation was incredible--although I must say, my first inkling (that something might not be 'right’ with you) came when, in your book, you actually blamed your (very typical) middle-aged weight gain (or as you described it, a decline in your fabulous looks) on your ex-wife, and the stress she ruthlessly administered in your direction. 
"It seemed that the ability to care for myself, to make any effort to maintain my appearance in line with the normal rigors of show business," you wrote, "began to seep and, eventually, spill away." 

That probably should have been a clue for me--because at around that age, I sorta beefed up myself.  I just didn't blame it on my ex-wife, Alec. 
Elsewhere in the book:  "If you think I wrote this book in order to settle a score, you are wrong."
I should have realized that...hmmmmm....maybe there’s something a little “off" here.

But you continued to write semi-brilliant columns (yet another talent!) for the Huffington Post,  (each one attempting to settle another score) as a passionate liberal, championing our various issues of the day.
Bravo. 
All of this conspired to create in me a staunch “Alec Baldwin Defense-Mode.”

So whenever anyone--be it Bill O’Reilly, or some dopey relative at Thanksgiving dinner--attacked your veracity, I’d state (with great fervor) my belief that noooo…this was not some privileged guy slagging off right-wingers for the mere fun of it…

This was an extraordinary thinker, a man of compassion--a fellow Long Islander, for God sakes...and whatta Tony Bennett impression!!!
This was a dude who bucked every trend in his working class upbringing to not only make it, but to bring along with him a crazy fingerbowl of brothers (whose combined talents fall far short of his own), and still hold up an unlikely combination of east-coast machismo, with a dash of west-coast compassion.
Who ever brought as much fame to Massapequa?
Oh, that's right...Seinfeld.
But how many Long Island men have grown up so in touch with their inner-Alan Alda,  beseaching their fellow testosteronic creatures to seek out their own 'softie' like Alec Baldwin always seemed to--in his columns, at liberal charity events, and at every critical juncture, since he became nationally visible?
Good on YOU, I always thought!

Well, Alec…we need to talk. 
See...I have a problem with this latest round of publicity.
A BIG problem.

You know what I'm talkin' about:
The one where you threw a hissy-fit on an American Airlines flight sitting on the tarmac, called your flight attendant “a ‘50s gym teacher” and slammed the bathroom door so hard the pilots on your flight (who had no clue what was going on, when you did that) actually freaked out inside the cockpit, not knowing what had happened, or who was causing the disturbance--and subsequently (quite rightly) booted your ass off the airplane entirely.
Wow, man.

One thing I should probably mention here:
In addition to my radio, TV and newspaper work, I was an airline crew member myself, for nearly 30 years. 
In your defense, even as I write this, other crew members (all over the internet) have been debating whether or not you actually have a point, about 'electronic devices’ being restricted, during those long sits after the aircraft leaves the gate.

NBC Nightly News--"Electronic Devices on Airplanes"-- December 8, 2011
NBC Nightly News ran a decent piece (click the above link and listen to BOTH segments) describing the 'whys-and-wherefores' of what goes into devising such a rule--and yes, it can be frustrating, for us all--both passengers and the reluctant, low-paid ‘enforcers' you were so quick to put down.

But ya know what?
None of that--none of the logic behind the whole 'electronic devices' rule--none of that means anything.
Because the truth is, Alec...
You were a jerk.

You acted in a way that would have gotten anyone--star or not--kicked off my airplane, I can assure you of that much.
The sad thing is, I never--ever--wanted to oppose such a prominent, articulate proponent for so many great causes I believe in…but you’ve left me no choice.


Alec Baldwin, Tina Fey, and Tracy Morgan
...on the set of '30 Rock'
The entire basis of your credibility as a comedic television star, thus far anyway, has been the beautiful irony--that a man who looks so macho and uncaring could actually be so compassionate, in real life.
That a guy who plays such a cad--such a thoughtless jerk of a “boss" on TV for laughs--is actually nothing like that, in person.
Like that TV commercial, where you try to take the controls of the airplane, assuring the pilot that you know what you're doing, because you say to him (while winking at us), "It's okay...I've played one, on TV."
Funny stuff!
We always laughed along with you, no matter how convincing a brute you played.
See...he’s Alec Baldwin, for God’s sake!  He laughs at himself!!!
That’s the very thing that makes it so funny, when he mistreats the ‘little people’ on 30 Rock!

So yo, Alec:
You see what I’m drivin’ at, here? 
Mano a mano, do you have any conception of what this does going forward, to every time I ever see you on TV again, "acting" like an jerk?

Even Michael Richards remains tolerable as Seinfeld’s sidekick, in reruns--because we all kinda knew his tactless onstage rant was a blip, a mistake--that he was a good-hearted guy, whose blurted-out ‘n word’ never really reflected his heart--or his act, itself.
But then again…he didn’t play a racist.

You actually play a jerk who abuses working stiffs.
And you didn’t even have the good sense to shut the hell up, after the fact.

When asked for a comment after finally arriving
 in New York, Baldwin said only , "You're in my way." 
You had to go and use Arianna Huffington’s liberal bully-pulpit, to call in your carte blanche status and settle one more petty score--gratuitously slamming the working woman onboard that airplane whom you clearly owe an apology.
You may not have liked "her tone" that day, it‘s true.  But hey: Maybe she was having a bad day! 
And maybe--just maybe--she was doing her job.
From what I’ve heard, you were already pissed off, by the time you even boarded the airplane.  You weren't exactly having a good hair day--that's obvious in the pictures.
So let’s just assume you were both having the proverbial 'bad hair day,' shall we?

But that "50s gym teacher" crack?  Come on, man.  If Rick Perry had said it, we'd all be in the Huffington Post, exposing an obviously disparaging gay reference.  Chris Mathews would be salivating even more than usual.  So the question becomes, "Are you above not just the FAA law, but also above your own clearly expressed principles, regarding prejudice and racial or sexual slurs?"
Let's talk about this lady, for a moment.
Does your complaint about her mean that she should somehow be more responsible for her “tone” in performing her required duties than you should be for yours, when you acted like the guy who plays a jerk might actually be a jerk, on the airplane?
I’d like to give you both a break here…but I keep going back to the fact that you--not her--actually went on to use my favorite political outlet, Huff Post, to make us ALL look bad, the next day--while she (the flight attendant in question) hasn't been seen or heard from (at this writing) since the incident. 
Aren't you essentially giving more 'ammo' to the right-wingers who claim that all 'Hollywood elites' preach one thing, but practice another?   If the other three guys weren't so bad, I'd actually move you down a couple o' Baldwins, for this one.

You’ve embarrassed not just yourself.
You’ve embarrassed me--a fellow liberal, and one of your biggest fans--who may never be able to watch you play an a-hole again, without thinking, “I know where this comes from.”
Or worse yet:
“Maybe his ex-wife was right all along.”
 
You’ve always been a guy who pushed the envelope, Alec.
This time, though?
...a little too far.

____________________________________________
Copyright 2011 by Peter Rodman.  All Rights Reserved.
____________________________________________








NOTE:

I received several comments about this column earlier today, so let me address them:

* 90% were complimentary--so first, thanks to all of YOU!

*As to the matter of my saying "Who hasn't called their daughter a pig?" (in parantheses, for effect) I was being  facetious, I assure you!  It was to demonstrate just how much I'd been giving Mr. Baldwin 'the benefit of the doubt,' before it all began to implode.  I was using the quote as a simple step, a literary device, in the gradual unveiling of my current displeasure with Mr. Baldwin, in order to better highlight all the elements that led up to it.  

*Speaking of parentheses, a comment was made about my "poor grammar." 
I are taking that under consideration. 

* MOST importantly, I wish to address those of you who objected to the reference to how any similarly unruly passenger would be summarily ejected from "my" airplane.
Clearly, some of my respondents have no idea what a Federal Air Regulation is, but (despite the 'coffee, tea, or me' image) your crew is in full control of the airplane--like it or not--once you leave that gate. 
This tradition goes back hundreds of years, beginning with ships.

Ever notice how you can't even bring a Diet Coke from home, on that cruise ship?
Guess why:  It's because the rules are different there.
It is a serious violation of Federal Law to disobey a crew member's orders.
Mr. Baldwin's action may yet result in prosecution. 
There are thousands of pages of documents on this--each member of your crew carries them, at all times--and I could quote them for you now, but I just don't feel like it.   I'll simply say that, yes...I do understand some of your frustrations with snippy flight attendants, but that is not what we were talking about, here.  For both safety and security reasons, a certain level of decorum is essential, to protect us all--otherwise you'd end up with bar fights in the air!
But they don't take place, do they?

...know why?
It's precisely because --as Alec can now testify, first-hand--you WILL get thrown off  'my' airplane, for slamming doors around the cockpit on on taxi; being out of your seat; defying the direct orders of a crew member--especially concerning a safety item, such as electronic devices; or (Duhhhh!) cursing out any of the flight attendants (or anyone else, for that matter)...as did Mr. Baldwin.
For any of these things, you'd be gone in a hurry.
Promise.

So please, get over the "my" part...it's a proud professional term, contained in every flight report ("my" trip, "our" airplane, "my" first class passenger who stars on 30 Rock, etc.) --and that same sense of professionalism/responsibility/ownership would very likely save your shirt, in an accident. 
It's just airline lingo, mostly used behind the scenes--nothing more.

Finally, I'd like to thank the majority of you, who complemented me on this column--especially
Roger Ebert, whom (I am told) tweeted it, this afternoon!!! 
That probably accounts for my newfound (albeit brief) status, as a blog-comment moderator!
I say 'brief,' because I've decided to pre-screen any 'comments' in the future--a couple obscene ones were enough for me.
My apologies if your comment disappeared (they all did, for some reason) during the 'settings adjustment' process.  I really did appreciate them all, and you are welcome to try again! 

Meanwhile...thanks again, y'all!



Tuesday, November 1, 2011

New Music from Old Friends

By Peter Rodman


I pretty much stopped doing record reviews the minute I could, which was...well, many millions of minutes ago They were my first 'way in' to the newsprint business, and very soon after that, I began doing feature stories on personalities as disparate as I could wrangle--or as I used to like to tout it, "from Ali to Zappa."
But you grow older, and now there's no room for an old fool like me on the radio, TV, or in newspapers (do they even exist?) anymore...so, like many folks my age, I do this just for fun now.
That's why some of these blogs run a little long--Hey, no editor to take a hatchet to my work!!!  And that's why I'll even drop an 'f-bomb' now and then, just to remind myself I can.
So, no...Peter Rodman doesn't do record reviews.
It's beneath him.

Okay.  Scratch that.
Maybe I do; yet another lesson learned.
Not one, but three old friends (and killer musicians) have recently issued CDs I thought you might like to hear about.  For one thing, I can relate--because although each is a bona fide working/touring musician, I get the distinct feeling these CDs were each made just because they felt like it.
So here are three fresh CD reviews, from a biased observer, who considers each of these guys a world-class player and a real friend, but who--remember, now--doesn't do record reviews.
___________________________________________________


Be careful around Steve Conn.
In case you don't know him, he has eyes that look right through you. Some folks might find that scary about him, but the truth is, he's no 'bird of prey' at all--just "a soul who's intentions are good," as the song says, but one who's suffered the slings-and-arrows of every known scam and slight the music business has to offer--and after 40 years or so, he's a no-bullshit, no-compromises kinda guy.
His personal charm is in there, but again...you might not see the 'sweet spot,' if you don't look closely enough. 
Oh.  Just a second...I'm sorry!  I was talking about my friend Steve Conn, not the musician Steve Conn.
Forgive me.  That's all wrong, what you just read. 
Well...most of it, anyway.
Because within his music, you will find not only everything he wants to express, but a whole lot of what you want to say, too.  Watch one of his shows, especially from the front few rows, and just...listen.
You'll feel none of the aforementioned trepidation, only a welcome bath of stuff (charm? no, something deeper) that washes over your soul, in ways not too much new music does, these days. 
But before I get to his new album, Beautiful Dream, let me review a little personal history. And I'm not gonna bother googling anything.  It's just stuff I know, or I think I know, and it informs my view of this music in, hopefully, some way you mightn't have thought of, without my help.  

I first saw him back in the late '70s in Boulder, Colorado. He fronted a band of authentic gypsy players (no, not actual gypsies...dammit--bear with me, here!) who themselves played in other outfits around town (and elsewhere) for the money, but for whom "Gris-Gris" (Steve's band) became a musician's band. 

A refuge, if you will.
These days you see that a lot, especially here in Nashville--lotsa guys allegedly 'slumming,'  in what can only be called dressed-up 'tribute' (or oldies) bands, in conglomerations "outside of their regular gigs," that have somehow become their regular gigs. 
In some ways, it's become 'the senior circuit' for great players who couldn't figure out how else to coax their 50+ year-old friends off the couch and outta the house anymore, besides playin' other peoples' oldies.
But this is where Steve Conn's always been a little...well...different.  (For example, he calls his 'record company' Not Really Records.)
See, he was onto this "Let's just play some great stuff we like" thing, decades ago--not as an old man, but as a young man.  Or an 'old soul'...not sure which. 
Well, actually, I am sure which.
Infused with his Louisiana roots, Gris-Gris brought flavors to Boulder that even some seasoned music veterans (okay...I) hadn't yet seen, at that point.  


'The Mezzanine' at the Hotel Boulderado
That's the piano, beneath the second window.
For much of his decade-plus residency in Boulder, Conn manned the piano at the Hotel Boulderado's 'Mezzanine' bar --a classic, turn-of-the-century edifice that made Aspen's more fabled Hotel Jerome seem almost like a dump, by comparison.  And a funny thing happened along the way, during that punk/new wave/reggae/rowdy country-rock time:  
'The Mezz,' as we then called it, became a destination all its own, strictly because of Steve Conn. 
A place to hear something real
It was a place to put aside the trendy, remove your cowboy hat, forget about Elvis Costello for a minute (something even Elvis himself hadn't thought of...yet) and simply breathe out.  
You went to the Boulderado to let Steve do the drivin', and he'd deliver something different, every single night.
He only had a few 'originals' in his repertoire back then, but you got the sense there were lots more, in his pocket--they just hadn't made the cut.  (Apparently, those critical eyes work on him, too.) 
So, for six nights a week, he sat there--and basically ignored the few drunks from outta town on business, until the local scenesters began to drift in, for something beyond the beyond.  His between-song patter was kept to a minimum, invariably self-effacing, and just this side of cynical.

This was a man who knew who he was, even then--sitting at a piano, pouring his energy into nothing but the music, rarely even making eye contact, and busily crafting something you simply could not find anywhere else, with his eyes closed--and who knows, maybe even 'with one hand tied behind his back.'
He was that good. 
Folks like Bonnie Raitt and Beau Soleil knew it, but on a snowy Tuesday night in downtown Boulder, most of the action was down the street, at Potter's or the Blue Note--not up here, overlooking a hotel lobby. 
Still, this guy just showed up and played--and then he showed up and played some more, and he kept showing up, until he built a hard-core of followers (mostly those swoonin' wimmenfolk, for some-odd reason), until he'd outlasted them all.
Watching him sing or speak, it almost seemed like Steve knew something we didn't know  ("Thinking in Tongues" is one of his new titles, and that fits...) but some three decades later, I think I finally may have figured it out:  It's that history will select its winners, but those of us with our ears and eyes open will find the really important stuff. 
For Steve Conn, opportunity may have knocked a few times, but it didn't seem to have the secret password.  A rare few in this world are willing to forego the camaraderie of a large community of artists, to paint alone.
And that is how I always pictured Steve.


Photos of Steve Conn by Jack Spencer
Fast-forward to now.  We've both been here in Music City goin' on 20 years or so, and on those few occasions when I can coax him into my one-and-only party of the year, at Christmas time, he'll share a knowing glance, as the discussion turns to music. I've been out to his country home in the boonies, and it's everything you need, if you've decided to stop playin' the game, and do things your way.  

Fifteen years ago, I thought Steve Conn had already made his definitive album.
River of Madness was a disparate collection of original songs, which contained the requisite 'hit' I could persuade my programmers at Lightning 100 to play ("Mardi Gras Morning") and enough other good stuff to say it was definitely a keeper. But like the album title suggests, there was a disturbing quality to it all, as if to say, "I'm not really settled yet. This internal war I'm having isn't really over."
Ten years later, his "Katrina Christmas" single came out, with some seriously venomous lyrics about "hangin' Brownie from his toes" that, despite its jolly New Orleans gait (and my fervent agreement with its message) made it impossible to include, on my annual Christmas CD collection.  (Note to Steve: I do have elderly Aunts, you know...)
Anyway, I've only seen him a couple times in the past few years, but I must say, he seemed more at ease, and more affably bemused than offended, by the creaks of age.  And if his new collection of songs is any indication, he's more comfortable in his shoes than I've ever known him to be.  (My copy of the new CD came with a personal inscription on a "Viagra" post-it notepad, that says "Viagra...step up to the plate.")  

Most of us have enough music in our stashes now, that anything "new" had better say something we haven't already heard before.     
Steve Conn has achieved that and more, on the magnificent Beautiful Dream.
His inner dialogue (I always knew something was goin' on in there!) runs through every song, like this bit, from the radio-friendly "Trouble": 
"Should I mow the lawn?/Should I save the planet?" 
(As Dave Letterman likes to say on his show when he's just heard a great band, "That's all you need, right there.")
But it's the very next couplet takes it somewhere else: 
"Should I lose some weight?/Sometimes I wonder, 'What difference does it make?"
What starts as a simple reflection on one's place in the world, works its way back to mortality itself being your very best reason to let go and continue the slog-- i.e., enjoy this life, best ya' can. 
Don't let go because you're sick, or you're leaving, or you're bitter...just let go because you're still here, and all that other stuff simply doesn't matter anymore. 
This theme runs through much of the material on Beautiful Dream, but with melodies as pretty as "It's Just Not the Same," Conn has achieved a new level of beauty, not at all far from Randy Newman's best recent work.
"The Earth spins/the wind blows/the sky is blue/it's just not the same here, without you..." could stand beside almost anything I've heard in recent years, by anyone.
The first track I heard from this album was "Let the Rain Fall Down," recorded a couple years ago. I remember being pleasantly surprised at the whole piece--no, the whole peace--of it.  But as good as it was/is, I hadn't expected so many other new Steve Conn songs to come along and match it. 
Somebody's been busily 'holed up' out there in the sticks, writing what amounts to his definitive musical manifesto.  Conn's old mate Sonny Landreth is along for the ride on slide, as is a perfectly understated ensemble you'll hardly notice...until you do.  (The late Dennis Taylor appears on sax, as well.)
 
 
Key tracks: "Trouble," "It's Just Not the Same"
"Let the Rain Fall Down"
You can give this music a listen
 (and even, Holy Smokes, ORDER IT!) at:
http://www.facebook.com/#!/steveconnmusic
This is a man in full--finally, and almost gleefully expressing his melancholy, without bitterness or even pedestrian resignation. Nobody's gettin' hung by their toes anymore.
It's wisdom, man...that inadvertent reward that (hopefully) comes to us all, after enough burns on the proverbial stove.  
Conn's always had it, more than most--but as a pretentious dude who likes to think I possess a little of it myself, I must say, I've found more than a few 'teachable moments' on Beautiful Dream.  It's good enough to humble ya.  

My favorite albums of 2011 have almost all been by classic songwriters, updating their old material--Jimmy Webb, J.D. Souther, Jackson Browne, Ray Davies--each presenting freshly introspective readings of their best-known work, with arrangements better suited to older ears. 
Steve Conn's Beautiful Dream sits alongside any of them on my "best of" list--and that's with all new songs, not remakes.  That it can stand beside the aforementioned giants is indeed something.
This is not just a 'keeper' (I've always expected at least that much, from him)--it's an essential musical friend, added to my already-crowded collection of friends, which has now been welcomed into my life, for the duration. 
This is his very best work, and it's one CD you should definitely own.  When I first put it on my computer, the program described him as "Unknown Artist."
If that's ever going to change for Steve Conn--and it should--Beautiful Dream is about as good a reason as any.
A must-have.
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I guess I first met Russell Bizzett around 1974, when he was playing with the late guitar legend Tommy Bolin, in Boulder.  Back then, his perfectly sculpted 'fro was impeccably round, yet somehow--like Russell himself--elegantly understated.  
He always shared the stage with legends, and sometimes each of those legends would lose their cool...but never Russell.  Be it Freddie Hubbard, Bo Diddley, Bolin, Billy Preston, Jimmy Smith, Robben Ford, you name it--Bizzett's confident sweeps, from cymbals to toms, laid down a solid platform for them to leap from.
But as soft-spoken as he was, there were times during every show, when folks in the audience would stand aghast at some audacious move he pulled off, that nobody expected.
It was like, "Where did that come from!" 
This guy was clearly schooled in drums.  

There's no doubt that Boulder in the '70s was a musician's paradise, but to be honest, there were very few drummers allowed to paint with more than a few musical colors, back then.  There'd be your showy, country-rock stud; the jam-band wannabe; the rock-steady social climber, you know--they were all around, everywhere you looked.  But somewhere in there, Russell managed to ferret out the few who had an interest in something larger, something that might last beyond a single evening. (Truth be told, many Boulder evenings  all too literally stretched into another evening for some lesser players, back then.)

Any band in Colorado would have gladly had him, if only for his unusual reliability and professionalism.  But that was never the point.  Why prop up some lesser players, even if the money was good, only to support lesser music? 
Behind his casual front, this guy was serious about sound. 
All of the brightly colored hair feathers and guitar gadgets in the world wouldn't have kept Russell Bizzett's attention for a nano-second, had there not been an intriguing musical journey to join, with Tommy Bolin. 
There was, and he did.

When I think of Bizzett as a musician, I think of the word "standards."  Not in the classic sense, like songs that are standards...but more as in "standards you set, and achieve."
Bizzett's every appearance onstage, even back then, seemed to set a new standard.  I can remember his fellow drummers standing with me in sound booths at the back of a club, truly reveling in the joy his touch provided, from behind the kit.


Order Russell Bizzett's latest album at:
http://www.russellbizzett.com/DreamSt.html
Still, Boulder could not hold him.  Not only was the scene waning by the mid-80s, but it seemed Bizzett had bigger things in mind.  His personal journey had begun in Sioux City, Iowa--growing up near Bolin and many other eventual greats.  I won't recite his bio here (for that, you can visit www.russellbizzett.com), but his heart belonged to the musical legacy he'd heard throughout his family.  By the age of 20, he'd already backed up Chuck Berry and Muddy Waters.
Here's what's funny:
I always sorta knew he loved John Coltrane and McCoy Tyner, and all the other nitty-gritty greats everybody pays lip service to, but few really know.  I knew this, because when Russell was upstairs at The Good Earth (3rd floor) doing an afternoon soundcheck with Tommy, I might go upstairs, or he might come down, because my afternoon radio show (on KRNW, 2nd floor) often coincided with the load-in.
So when Bizzett showed up, he'd more or less gravitate toward our massive jazz collection (on vinyl, you'll remember).  That, plus more than a few musical hints, told me Mr. Bizzett's affinities and talents were not being fully mined, in the foothills of Colorado.

Enter L.A.; enter San Diego; add 25 years, and stir.
The Russell Bizzett Trio has just issued the marvelous Dream Street, which puts his compadres through their paces in fine fashion.  Pianist Joshua White has the light touch of Tyner and the chordal ghosts of Oscar Peterson well in hand, and bassist Rob Thorsen plays prodigiously (and fast) enough to remind me of the old Richard Pryor routine, wherein a guy in Patti LaBelle's band plays his ass off, but keeps urgently nodding to the rest, as if to say (in Pryor's words) "I'm witcha, M&tha f&%kas!" That, he is.


Bizzett has fashioned a highly listenable collection of challenging but satisfying stuff, which I like to call "Sunday music."  It's precisely what I like to listen to, on a beautiful Sunday afternoon, with sun streaming in the windows, leaves falling outside, and a warm cup of tea to accompany a nice, long article...kinda like this one, mebbe?  Okay, mebbe not.

Bizzett's few solos aren't showy at all, but I dare anyone with less than his 40+ years at it to try any of it.  The trio's take on Irving Berlin's "Anything You Can Do" is nothing shy of brilliant.  I have no doubt that, were we still a listening society, this would be up there with anything that ever came out of the late '50s. 
These guys are sublime.
If you like jazz at all, novice or not, this should fit the bill...a perfect bass/drums/piano outfit, touching on, but never imitating the greats, because they're too busy creating something great, all their own. 
Highly recommended.
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There are certain characters in life you might never expect to get to know, but once you do, they bring something so unique to the table, that you realize you couldn't possibly replace that human being with anyone else. 
Jay Patten is one of those guys.
Oh, sure...he's got the resume.  After over 30 years on the road as Crystal Gayle's musical director, Jay's pedigree has taken him all over the world.  
Like all band leaders, he seems able to instill confidence even in the most under-rehearsed, unwieldy group of players--as he has, at every single Bluebird Cafe anniversary and Christmas show, for over two decades. 
For some reason, with Jay at the helm, everyone shines.

What's fascinating is that he could have made it just as a sax player, had he chosen that route.  By that I mean, he didn't have to be a band leader, at all--he's easily one of the best players on his chosen instrument, in the whole world.  And I don't say that lightly.

To sample or order tracks from Crystal Nights, go to:
http://www.cdbaby.com/cd/jaypatten4
But the thing about this guy, is that you really need to watch him for a whole evening (or more) on stage, before you can even begin to figure out what it is about him, that grabs you.
Once you do that, you'll realize that this fellow would be a great candidate for the back page of a Reader's Digest: 
"My most unforgettable character."

His ever-present fedora belies a very un-casual approach to life.  Jay's an unsatisified soul--always thinking about the next gig, the next tour, the next arrangement, the next song.  
And while he loves a good joke, he's not one to laugh hysterically at all.  In fact, Jay always seems to be deep in thought, when he's not performing.
It's almost as if he'd feel guilty if he let go--because there's work to do, and dammit...somebody's gotta do it.   
In person, he has a slight hunch to the posture, as if he so loved Sinatra's saloon songs, he took on their every burden. 
And that's just it.  
Jay Patten's unburdening comes in only one place:  On stage.
He escapes all of life's trevails, and suddenly the guy you guessed was droopy or droll becomes twenty pounds lighter, thirty years younger, and in all honesty, pretty much timeless
Yeah, there's plenty of schtick:  Wife jokes, one-liners, and head-scratchers--like including the Elvis bathos, "Can't Help Falling in Love" on the current album, complete with an in-studio "Thankyouverrrymuch" at the end.
But Jay Patten without schtick would be like a Brown's hamburger, with no ketchup.
The sheer breadth of his own compositions is impressive. 
That's evident on the title track to Crystal Nights,  even as a few of his more croony efforts, like "Finally" and "Sinatra Sang our Song," take you to another whole time and place.
Offstage, though...he has perfected that "I'm just another schmo" attitude, almost as though everything else in life is simply the unbearable wait, until that next show.
I've made no secret in the past about my belief, that Wednesday nights at Brown's Diner are the most musical thing you can do, in Music City.
(Here's a link to the 19 minute video I made, documenting Jay's remarkable combo at Brown's Diner, on a typical Wednesday night: http://www.facebook.com/video/video.php?v=1633464679537)
In a dive bar that holds dozens, not hundreds, 'the Jay Patten Four' hold court, from 8:30 to 10:30, and there's no admission charge at all.  Every player in the band is extraordinary.
And if Crystal Nights doesn't embody the full bouqet of his live act, when it comes to Jay Patten's talents, it's certainly an album that'll make you feel better. 
It'll cure what ails ya.
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This article is Copyright 2011 by Peter Rodman. All Rights Reserved.