The host eyed us with disdain. “You’re with the band…?” Having been on both sides of this equation, I know the drill. Musicians, particularly jazz musicians, are the bane of the restaurant industry. Anthony Bourdain knew: “I need more jazz musicians in my restaurant? They’re fucking deadbeats!” Thinking quickly, we stammered, “but we’re going to spend money, honest!” The bar is called Fiddlesticks, which annoys me for some reason. Imagine taking a date there, falling in love, and having to tell your grandkids that you realised she was your destiny, all your heart desired, as you held hands under the table at Fiddlesticks. Honestly. Anyway, perched on tiny stools over the Greenwich Avenue subway grate, C and I obediently ordered our state-mandated snack, allowing us to drink to our hearts’ content. Every seven minutes we’d lean sideways to avoid the plume of stale corpse-breath erupting from beneath our feet as the A train rumbled by. A restaurant down the block fired up the barbecue, sending wafts of sweet, meaty smoke along the street, as masked pedestrians shuffled by, eyeing us suspiciously. And crammed into a doorway, the band swung like nothing had changed, Jerry Weldon’s towering tenor sound bouncing from one side of the Avenue to the other, only a few residents hip enough to keep their windows open. The atmosphere was claustrophobic but jubilant– we can drink and listen to music– it’s better than it was.
At an old favourite, 1803 in TriBeCa, we sat in the ruins of our city and ate grilled oysters, while a band of our friends and heroes played their hearts out, their music echoing through the deserted neighbourhood; intently ignoring the iceberg out the porthole and the water lapping around their shins. —The word “parklet” is an unwelcome addition to the lexicon: outside hundreds of foundering restaurants across the city, one lane of roadway is abducted, swallowed by the sidewalk, overlaid with wooden decking and outfitted with tables and chairs, sometimes clear plastic dividers so our neighbours don’t infect us. We laugh and drink and bask in the cheerful hubbub and try not to look over at the abandoned apartment buildings all around— Musician friends, some we rarely saw in normal life, dropped by to bump elbows. Mask on, mask off. On a warm August evening this was possibly the only live music in New York City, and those of us still here don’t want to pass up an opportunity. In the end we took our masks off and blew. There’s no alternative. Nobody knows what the fuck to do. The rules go too far and not far enough. But at the end of each tune, the small crowd erupted, glasses raised, shouts of encouragement. Uncertainty reigns, but music and wine helps.
The High Line snakes along 22 blocks of Manhattan’s west side. A disused elevated railway line, it was revived and reopened as a public park about ten years ago and was, until recently, a major attraction for infuriatingly slow-walking tourists. On Saturday night, beneath the park, in the walled-in courtyard of the Guardian Angel church, it was muggy and airless. Bus-stop-style benches seemed to sink into the rubber matted floor. The band and I poured sweat as we attempted to reach a masked and clearly sober audience of wide eyed young people who seemed unsure how they got there; peering down from the rooftop, more bemused faces, but these folks had sensibly paid more to be further away from us. At band level, hands started reaching into shopping bags containing wine, beer, champagne, even the occasional cocktail shaker– this was entirely appropriate: if there’s one thing I know about church, it’s always BYOB– and by set two things were loosening up. Jerry Weldon arrived to help us out on tenor as pizza deliveries started showing up, and by 10pm the squares were stomping their feet and making out extravagantly with people they’d just met. There was no bar, no pictures of jazz legends on the wall, no surly doorman; but for a few hours, the place was a jazz club.
Sunday, and I dragged my feet along a path I know well. Every week for months I’d planned to visit Smalls, and of course nothing ever came up to stop me, but still I hesitated. They now put on a live-streamed concert every evening but the idea of descending that legendary staircase after so many months of lockdown felt like volunteering to spend a night in a haunted house. I know so many of its secrets. I’ll delve more into this someday, but the promise of some swinging music from my buddy, and fellow club manager, Carlos Abadie, finally got me down there. And in a way it was as eerie as I expected. The club will reopen the first day it’s allowed, but for now dust hangs in the air; the chairs are stacked, the walls are bare, the bar shelves and fridges are empty, and of course there’s almost nobody there. I wiped off a bar stool and slouched up the back of the club, feeling guilty but I don’t know why. The cats breathed air into the vacuum, vibrations making the air shimmer, dust billowing; a glint of possibility. Strangely the music hasn’t changed, hasn’t become suddenly sad and uncertain, it’s just become incongruous with its surroundings. New York City still has a faint pulse but you have to know where to look.
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One thought on “New York City: Signs of Life in the Smoking Ruins”
I called my local state assemblyman and spoke to a human about the severely restrictive SLA regs re live music. With my state Senator, I could only leave a voicemail, as no humans picked up.
See you Saturday.
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