Division Alt Guitar & Junior Brown

Junior Brown
Junior Brown at Aladdin Theater Pic from Balcony

Junior Brown plays an inventive, alternative guitar: method, form, and style. Brown is a rockabilly virtuoso, as in jazz guitar, Joe Pass was expert, where skill matures into virtue.

Junior plays a custom designed and built two-neck guitar that he plays behind a stand rather than hanging from a strap around his shoulder. The setup looks like a piece of railway wheelhouse. The top of the instrument is a six string, Fender style neck that’s affixed to a body that melds below into an encased eight string lap steel slide guitar. He doesn’t exactly play both necks at once, though there may be some looping going on, but the two neck setup allows him to quickly switch back and forth from one neck to the other – seamlessly, is the word.

And he switches necks while singing a couple of octaves below Hank Williams and half hidden under a Tom Mix style ten gallon cowboy hat. If Brown simply sat in a chair and played, he’d be something like classical masters Segovia or Julian Bream, but Junior Brown is a showman.

Saturday night, at the aged Aladdin Theater in Portland, Junior was backed by a stand up bass, a drummer playing only a snare and a single cymbal, and an acoustic rhythm guitar. The instruments were miked through large vintage Fender amps and mixed through the Aladdin’s speaker system. The instruments were clear and not too loud, but Junior’s voice sometimes had that muffled loudness button on sound from a mike set too loud, but that could have been where we were sitting in the small hall, about six rows back eye to eye up from the stage left big speakers.

I’m working on a reverse bucket list. That’s a list of things I’ve done but don’t ever want to do again. High on the list is attending an arena big concert. And small venues should play like, well, small venues, which means turn off the loud button. Other things on my reverse bucket list include working a jackhammer, climbing up on the roof to scrape off the moss, and worrying about how my academic colleagues might judge my writing.

We arrived at the Aladdin as the doors were opening, double lines divided north and south of the alcove entrance beneath the marquee. We had just disembarked from Line 4, the SE Division St bus, having walked a mile or so south to pick it up and another 1/3 of a mile across the old train tracks and the new Orange Line Max tracks, past the dozen or so level grade crossing bars, along the new custom walkway through safety gates and fencing, following the pedestrian pavement guides, where SE 11th and SE 12th merge into Milwaukee Avenue, and crossing big Powell Boulevard, where traffic gears up or down for the Ross Island Bridge across the Willamette River. A kind of new dividing line now emerges in one’s understanding of the changing cityscape, signaled as the difference between old bridges like the Ross Island Bridge and new bridges like Tilicum Crossing, the 135 million dollar “Bridge of the People.” There’s no less friendly pedestrian crossing than the Ross Island (indeed, it’s not that friendly to cars and trucks crossing), while the Tilicum accommodates only pedestrians, bicycles, buses, trolleys, and light rail – no cars, no trucks. The Tilicum is like a giant sailboat compared to a tugboat Ross Island.

Division Street’s Line 4 is much slower than Belmont’s Line 15, people on and off at nearly every stop, the traffic on Division as slow as a mournful church pipe organ. If you want to see a neighborhood in transition, from vintage and standard to gentrified and cantilevered apartment-ed, from dive bar drinking dens to posh diva dressed restaurants where mayonnaise is called aioli, and where even the food carts serve amuse-bouche appetizers, and all a kid needs to feel amused is an outside bench and a tall-boy PBA, check out SE Division between 52nd and 11th.

Kory Quinn with full band opened the show ahead of Junior Brown. We were somewhat divided on our first hearing of Quinn, his songs, banter with crowd, and sound. I thought the band was tight, listening to one another, the songs well written and orchestrated, but the overall system sound mix did seem a little full at times, the lyrics difficult to catch hold of in the loud medley of sound, some subtleties overwhelmed. That may say more about my old ears than about the young band. But if you like standing on the rails, a train of country hill delta musicians coming down the track all rattling away at once at full speed and volume, this is your band. Sorry I didn’t get nor can I find all the musicians’ names, but we heard an excellent harmonica player, good harmonized vocals, great lead guitar work from Michael Howard, solid bass and drum foundation, plus pedal steel. Kory Quinn’s band was mulit-task-talent party on.

But speaking of party on, back on the bus back on Division Street, the last weekend of 2016 spring was in full bloom. Folks hopping on and off the bus, standing in line to get a beer, an ice cream, a meal, hang out, listen to some local live music. There were possibly more people in line for the new Salt & Straw ice cream scoop shop as we found waiting to get in to see Junior Brown at the Aladdin. LA Larchmont district here in Portland via SE Division Street. Not quite, of course, but hyperbole is close friends with curiosity. And what’s curious about SE Division Street these days is where it might be going, and what it might continue to divide.

Junior Brown puts on a show, and while he might mimic sounds and styles, he does not lampoon, though he is open to satire. Late in his show, he played a haunting and halting blues piece after which he named Albert King as his inspiration. And he played the surf medley and some “Apache,” though Junior’s version of “Apache” sounded not so much like the Joe Pass versions. Junior finger and flat picks at once, slides with a metal tube, winds his strings up and down for effect, coming back in tune every time. He fidgeted with one of the amps a bit, not sure why, gave the vocals over to rhythm guitarist Tanya Rae Brown, highlighted his snare-drummer and bassist, came back to a standing ovation for a lengthy encore of songs.

There was no encore on SE Division as we headed back east on Line 4 after the concert. Everything seemed closed, places all shut down, the sidewalks clear. We had thought of jumping off somewhere to get a late bite to eat. We walked into the Woodsman Tavern, but were turned away by a benevolent waitress who explained the kitchen was closed but suggested we try the Landmark Saloon up the road a piece. We walked into the Saloon to a full tilt bluegrass band. But what’s remarkable about Landmark Saloon is the open patio space with food cart, where folks were just hanging out at the picnic tables, in front of a tall-boy PBR, a sweet smelling outdoor fire keeping a group around a small pit warm and friendly. But alas, we were still a bit late for food from the cart. He was still open, but the list of things he was out of was longer than what he had left to still serve up. We enjoyed the patio for a few more indecisive moments, then continued walking east to North Bar.

I’m not sure why North Bar is named North Bar since it’s in South Tabor in Southeast Portland. Well, it’s north of Larchmont, anyway. And a good place for a brew, but probably not a late bite, so we headed north up 50th to Hawthorne, rounded the corner, and ducked into the Sapphire Hotel, where we feasted on late night salmon cakes and beer and talked about Junior Brown and Kory Quinn and SE Division and Line 4 and wished one another a happy father’s day as we realized we’d crossed the night divide.

We left the Sapphire and continued north thinking we’d get a lift on Line 15 up the hill. Didn’t happen. Walked all the way, crashing well after midnight, thinking of what an epic post the evening gig down and up Division to the Aladdin and Junior Brown might make.

 

SE Portland Triathlon Photo Essay

For the first leg of my triathlon event yesterday, I boarded Line 15 and rode down to the river, disembarking at the east end of the Hawthorne Bridge. I sat in the last seat of the bus, in the left corner, with this week’s New Yorker fiction issue. I had read on the bus stop the Langston Hughes story, written around 1960 but only recently discovered. More about that in a subsequent post.

On the bus, an ad caught my attention, a woman in a red dress, orange hair, the copy: “Be More Brilliant.” The ad was up front, behind the driver’s seat, and I was too far away to read the smaller print. Note though that the imperative doesn’t suggest you are not brilliant. If you are not brilliant at all, you can’t be more brilliant. But why be “more brilliant”? Don’t I attract enough moths already? I thought of the two books I recently put out. Maybe my writing should be more brilliant. I took some pics from the bus of the south side of Belmont.

The afternoon was still overcast, and I felt a few drops of rain as I began the second leg of my triathlon, walking down the ramp from the bridge to the Eastbank Esplanade, a more brilliant name for the shared sidewalk with bike path that runs along the industrial, east side of the Willamette River.

I walked south along the river, a little under a mile, to Susan’s work, where I started the third leg of my triathlon, a short drive to Em’s place to visit the girls.

I didn’t get any pics while driving, driving a car these days multi-tasking enough as it is. The few pics I’d taken of the south side of Belmont, from the bus, came out blurry, not too brilliant. I tried to get a few murals, and a couple of the old buildings, the ones the developers, none too brilliantly some have been arguing, are in a hurry to tear down. We passed a typical east side tavern. I realized I have my shutter delay set too long. I had to anticipate where the bus would be when the shutter finally clicked. At the river I saw the lean-to boat setup again, and tried to get a contrast pic of the east side boat in the foreground with the west side yachts in the background. I paused at the OMSI sign to repeat Oṃ maṇi padme hūṃ a few times, feeling even less brilliant as I moved on. I never tire of the sign of Theory, and took yet another pic of it. The blue building was brilliant in the soft afternoon overcast light.

At Em’s, I snapped a pic of her copies of “Penina’s Letters” and “Coconut Oil,” sitting on the shelf next to her cookbooks, and I wondered if my covers were brilliant enough, or brilliant at all. I think so. But to some, brilliant might suggest shiny, and I went with a matte finish.

In Em’s yard, I took some pics of a flowering tree and a tricycle rained in rose petals. It’s almost dragonfly season here, and I thought how nature always seems sufficiently brilliant, yet also always seems to be becoming more brilliant. Nature is superlative, while we can only ever be comparative, until we remember that we are also part of nature, where we are most brilliant.

Look Inside “Coconut Oil”

“Coconut Oil” is ready, the “look inside” feature enabled, paperback and e-version.

Forty years have passed since the close of “Penina’s Letters,” and Penina and Salty return to Refugio, a fictional beach town on Santa Monica Bay, in “Coconut Oil,” a sequel to “Penina’s Letters.” 

Salty is again our first person narrator, and “Coconut Oil” continues an experimental narrative form – as Sal hands the mic off to several other characters and we are brought up to date on Refugio.

The themes of “Coconut Oil” include aging, housing and homelessness, gentrification, and how we occupy ourselves over time.

The style is experimental in a way a common reader might enjoy. And there is music! Songs, dancing, and some funky text features!

The back cover photo for “Coconut Oil” was taken from the northbound Coast Starlight train as it passed by the point at Refugio Beach, California, a campground 26 miles north of Santa Barbara, in the late 70’s. The front cover photo, more recent, shows the author’s shadow over a tree hollow holding mushrooms that look like bird eggs (where his heart should be).

Refugio from Coast Starlight
Refugio Beach from Coast Starlight Special

Memorial Day Excerpt from Penina’s Letters

The following excerpt is from the “On Television” chapter of Penina’s Letters.

I drove my truck with Malone down Vista del Mar and up Grand Avenue into El Segundo. The Chippys lived in one of the old refinery-worker houses just over the sand dunes. We turned off Grand and drove slowly down their street. Through the side yards we could see where the sand had been sliding down the dunes and spilling through twisted, wood slat fences into the back yards. We stopped at Tom’s house and climbed out and walked to the front door and knocked.

Mary Chippy, Tom’s mother, answered the door, looking distracted, but when she saw who it was, she gasped and threw open the screen door, coming out and grabbing me into her arms, and Tom’s dad came to the door to see what all the commotion was about. Mary held my face in her hands and stared into my eyes.

“Look, look who’s here, Ray,” Mary said, “home from the war.”

They invited us in, and Malone and I filled their living room couch. The little couch smelled of lavender, the pillows covered with fresh, ironed linen. The room was clean, and barely looked lived in, not a speck of dust or sand on the hardwood floor, as if they had been expecting guests. Mary sat awkwardly down in her rocker, across from us, pulling her short housedress down over her thighs. She was a narrow, small woman, all elbows and knees and ankles, but with the face of an overripe peach. Her fingers and hands were wrinkled and twisted with arthritis. Her long hair was tied up in a tight, grey bun. Next to her, Tom’s dad, Ray Chippy, fell heavily with a sigh into his overstuffed easy chair. He sat with his big hands cupped over the arms of the chair. He wore a buzzcut, and his big, tanned head looked like a bronze sculpture.

Tom’s mother said how good I looked, and his dad agreed, and said it looked like the war had done me no harm, but said of course he knew that was probably not true. I started off calling them Mr. and Mrs. Chippy, but they said no. They would feel more comfortable now if we called them by their first names. They asked how Puck was doing, and said they had not seen him since the funeral, but had read an article in a local shopping guide about how his surf shop was getting popular, but it was soon clear they wanted to talk about Tom.

“One night, we was watching the war on the television,” Mary said, “and that’s how we come to know he’d been hurt.”

“I used to watch the war on television every night, every night,” Ray said, shaking his head slowly back and forth.

“And then, one night, Suzie yells, ‘There’s Tom’! In the war, on the television.”

“I was sitting right here, and I saw him,” Ray said, pounding the arms of his chair, “camera right on his face. You wonder if something like that’s gonna happen, if you’ll see somebody you know, but you never do, but all of a sudden, wham, there’s our Tom.”

“They was carrying him on a stretcher, running to a helicopter,” Mary said.

“Stooped over, stumbling, weighted down with equipment.”

“One of them was holding up the bottle with the tube coming out of it,” Mary said, holding her hand over her head to show us.

“You could see the high grass,” Ray said, “blowing in the wind under the chopper blades and hear the blades spinning and all kinds a noise, guys yelling.”

“Then the camera went back to the news desk. And what could we do but just sit here, like we was knocked out, not knowing what had happened, how bad Tom was hurt.”

“We waited for something more,” Ray said, “but it was just another night of the war on TV, and as soon as we heard Cronkite saying, ‘And that’s the way it is,’ we turned the TV off and tried to make some phone calls. We got a hold of the Red Cross, and they called us back the next day.”

“They tried to save him, but it was too late,” Mary said, “too late for Tom.” She reached over and touched Ray’s hand, but he pulled it away.

“Poor Suzie,” Mary said, “she like to faint dead away, all that waiting around for Tom to come home, storing things up for when he got back, playing around in her hope chest, making all kinds of plans, and suddenly see it all come to nothing like that. She used to come over near every night and watch the war on the TV with us.”

“Hell, she’s already found herself somebody new,” Ray said. “But that’s the way things should be. I don’t fault her none, needing to get on with her life. You know what I mean. What the hell’s she gonna do hanging round here, spend all day unfolding and folding his letters?”

“I’ve saved his letters and his pictures and his flag, but we don’t like to display them out,” Mary said.

“But I do miss Suzie, too” Ray said. “Don’t get me wrong, now.”

“I miss them both,” Mary said, rubbing her hands together in her lap, rocking quietly back and forth for a few moments.

“I’m sorry Tom didn’t make it back,” I said, looking first at Mary then at Ray.

“Grab us some beers, why don’t you, Mary?” Ray said, and Mary got up and went into the kitchen.

“The hell of it is, Sal,” Ray said, leaning forward and whispering, “is that Tom got hit by what you call that friendly fire, you see. That’s the truth of things. That’s what got him. Not that it matters, but did you know that, Sal?”

“I don’t know. Things did get confused sometimes. But it’s hard to say.”

“Don’t say nothing about that to Mary. It would just open up her bleeding heart all over again.” He leaned back in his chair again.

Mary came back into the living room, her arms full with three beers and a Tupperware bowl full of potato chips.

We drank our beers and snacked on the chips.

“Tom, now, he’d of liked some of the jobs I been working lately, up in the canyons. You know what I mean,” Ray said.

“Yeah?” I said. “Have you been up in the canyons?”

“Oh, yeah,” Ray said. “Up Topanga, I been. Up Malibu. I’m just now on a job, we can see the ocean. I climb up to the roof and eat my lunch and take my shirt off to work off this farmer’s tan, you know. Tom used to always kid me about my farmer tan.”

“I don’t want you climbing up on no more roofs no more,” Mary said.

“Ah, hell.” Ray took a long drink of his beer. “And you can smell the licorice bushes up there, you know what I mean, the air full of the hot canyon smells. And the air so fresh and wet in the morning but by the afternoon all hot and dry. We work until the sun starts to go down, and we drive down to the highway and get us a beer at one of the bars on the water. Yes, Tom would have loved these jobs up in the canyons with me.”

We were quiet again, and the room felt smaller. Mary dropped her hand down into a basket of yarn next to her chair and squeezed one of the balls of yarn. Then Ray got up to go into the kitchen, and we knew he was crying. Mary stayed a moment then got up to go into the kitchen.

“Jesus,” Malone said.

“Yeah,” I said.

An onshore, late afternoon breeze was now coming through the house, drifting down the dune behind the house and coming through the kitchen window, curling through the living room, and passing out the front screen door. We could hear the Chippys whispering in the kitchen. We finished our beers, sitting on the couch in the living room in silence.

Tom’s parents came back into the living room. I did not want to look into their eyes, red and watery, their faces worn and worried looking.

I stood up before they could sit back down and said, “Well, we just wanted to come over and say hi.”

“Thank you, boys,” Ray said. “Thank you.”

Malone got up and said, “Thanks for the beer.”

“You boys are welcome here anytime,” Mary said, “anytime.”

“Tom was a hell of a carpenter,” Ray said. “Know that?”

“Yes, sir,” I said. “I do know that.”

“Why, he could drive 16 penny nails, sinking the heads flat in three swings, leaving no hammer mark, all day long,” Ray said.

He reached out and shook my hand, and his hand felt like an open-end wrench, hard but worn smooth. He did not fully open his hand.

We stepped to the front door and went out. We turned to say goodbye to them. They were standing in the open door. Ray went back inside, but Mary walked out to the truck with us.

“Sal,” she said, touching my arm. She stopped and looked back at the house.

“I just want to tell you.” She paused again, looking into my eyes. “There are no jobs.”

“I don’t understand,” I said. “What jobs?”

“Ray has not been working any jobs in any canyons. Ray has not worked since the day we met Tom’s body in his bag coming off the plane from the war.”

I looked at Malone. We looked at Mary.

“I just think you boys should know the truth of things,” she said.

She stood at the edge of the yard and watched us get into the truck. She took a short step forward and waved and brought her hand to her mouth and covered her lips with her fingers as we drove away.

…excerpt taken from Penina’s Letters.

Peninas Letters Front Cover
Front Cover

A Short Excerpt from Coconut Oil

Here is a very short excerpt from the “Wintertide” chapter of “Coconut Oil.”

Oh, and the jouissance of the creamy oil’s single flavor savors of favor, in the bath, kitchen, by the four-poster or berth, for dry skin, diaper rash, or when the dark knells for thee. No need to refrigerate. Oil squeaky hinges, refurbish dull wood finishes, fry Copper River salmon in cast iron skillet, remove warts (rub under duct tape), fly cats to the moon or snorkel under ocean kelp beds, race around the ceiling, the coconut salesman is at your door!

Be the first on your block to order a copy of “Coconut Oil”!

Paperback $8 … e-Copy $2.99

 

  • Paperback: 194 pages
  • Publisher: CreateSpace Independent Publishing Platform; 1 edition (May 24, 2016)
  • Language: English
  • ISBN-10: 1530995264
  • ISBN-13: 978-1530995264
  • Product Dimensions: 5.2 x 0.5 x 8 inches

Coconut Oil eCover

 

 

Coconut Oil – A Novel Book Launch

Salty and Penina, the war torn, young couple from “Penina’s Letters,” return to Refugio in “Coconut Oil,” a sequel.

They come home to Refugio (the fictional beach town located north of El Porto and south of Grand on Santa Monica Bay) in an attempt to retire a bit early. So forty or so years have passed since the close of “Penina’s Letters.”

Salty is again our first person narrator. But “Coconut Oil” continues an experimental narrative form, and Sal hands the mic off to several other characters as we are brought up to date on Refugio.

The themes of “Coconut Oil” include aging, housing and homelessness, gentrification, and how we occupy ourselves over time. The form is experimental in a way a common reader might enjoy.

The paperback version of “Coconut Oil” is available now, and the electronic version should be up next week.

The back cover photo for “Coconut Oil” was taken from the northbound Coast Starlight train as it passed by the point at Refugio Beach, California, a campground about 26 miles north of Santa Barbara. The photo was taken sometime in the late 70’s.

Refugio from Coast Starlight
Refugio from Coast Starlight Special