Days of Lore

Rock ‘n’ roll pneumonia
I think I’m coming down with something. Over the last month or so, I just haven’t been my normal rock-’n’-roll self. In fact, aside from the great rock-’n’-roll, half-off, going-out-of-business pilfer at a record store in Ashland this weekend (Dungen’s Tio Bitar; The Thermals’ The Body, The Blood, The Machine; and Nada Surf’s Karmic EP for 18 and change!), I haven’t really been rocking as hard as I normally do.

Don’t worry … I still rock, but I’ve been listening to something a little more soothing as we enter these dark winter months … a warm bowl of soup for my ears, if I may. May I?

Miles … and Miles
Long-time CN&R contributor and all-around curmudgeon Miles Jordan has a nook set off from his house around the corner from his backyard kegerator. It’s a cramped little space, filled with wall-to-wall vinyl, cassettes, CDs, books and old newspaper clippings—not to mention posters lining the walls and ceilings that document performances from Coltrane, Davis and Monk. Yes, a visit to Camp Jordan is like going to school … except with an endless flow of beer, which matches the steady flow of names being dropped, like the trumpeter on that obscure Coleman Hawkins recording, or the guy who played the triangle live with Jelly Roll Morton in 1904. OK, a slight exaggeration, but not far from the truth.

Now I don’t have a large collection of jazz, but I’ve been on a bit of a jazz kick of late—in particular the recently released box set of Miles Davis’ The Complete On the Corner Sessions. The six-disc set is loaded with songs from Davis’ more funk-influenced output pulled from the sessions for 1969’s Big Fun as well as On the Corner and Get Up With It, both released in 1972. I also dusted off a few other records: 1956’s Workin’ With the Miles Davis Quintet; and two of my favorites from John Coltrane—A Love Supreme from 1964, and 1957’s Blue Trai.

That’s about the extent of my jazz knowledge—pretty pathetic, huh? To find true knowledge, one must befriend an old curmudgeon with an extensive record collection … and a kegerator.

Getting a good vibe
Of course, there is always plenty of local live jazz—33 Steaks, Booze & Jazz and Johnnie’s Restaurant offer live music damn near every night with the latter featuring the Deric Binyon Jazz Quartet on weekends from 7-10 p.m. No eating and listening! Listening only!

And if you like your jazz a little dirty, Seattle’s Das Vibenbass is making its way down to Café Coda Sun., Nov. 4, with locals Red Giant. I actually saw Das Vibenbass recently at the Jefferson State Pub in Ashland—and the four-piece was tight—an incredible rhythm section (upright bass and drums) accentuated by tenor sax and vibraphone. The group’s record Fodakis is good, too (with nice cover art from Brooklyn artist Daria Tessler), and surprisingly holds up well to the live performance. Remember: It’s all about the vibraphone. Get a taste of it here: www.myspace.com/dasvibenbass.

Do the things I say
I am going to have to revert to my rocking ways Fri., Nov. 2, for the CD-release show for Erin Lizardo’s new record, You Should Do the Things You Say. Her voice absolutely melts me. And the show at the Crux Artist Collective should be quite an event: Not only will she be releasing the new record, but she’ll debut a video for “Water Next to Wine,” which was directed by local documentary filmmaker Andrew Burke. Lizardo will also show some of her art work in her Amulette exhibit, featuring pieces she made “to cope with the uncertain and overwhelming properties of this modern life.” Sounds heavy.

And if that’s not enough, she’ll debut her rock band Petticoat (with former members of deerpen and Squirrel Vs. Bear), which will play with a couple of newer bands, including Mute Witness, Spacious Parlour (Arrangement Ghost guitarist/vocalist Jason Willmon’s new project) and Holger Honda. Whew! The art reception goes from 7-9 p.m., and the rock will start promptly at 9:30. Essentially, if you’re not there, you are dumb.