“I hide in plain sight. 
Same as you.” 
—Gustavo Fring 

I’m not a superstitious person by nature, but I was raised in the south where even educated folks recognize the power of signs and omens. Charlie’s gift of a tiny silver owl felt like such a signifier to me: a talisman of unknown provenance and portent. 

I began to carry the mysterious little figurine in my pocket, where it would gently jingle against my mouthpiece and pocket change as I walked. I carried it everywhere, like a good luck charm, and it seemed to be working. Within a few short years I’d established myself in San Francisco as a working musician, and had sold enough sponsorships to increase our jazz festival budget ten fold. 

In hindsight, this was during the tech boom of the early 1990s. Gigs were plentiful then because there were so many gainfully employed young people looking for a night out, and donations were up, too. The dot com bubble was expanding, the stock market was booming, and corporate support for the arts was ascendant. Bay Area businesses needed somewhere to park all that extra cash. Why not a nonprofit that offers exciting social events and a tax write off? It was an easy sell. 

I didn’t have that perspective at the time, however. Naively I thought I’d cracked the code! I felt powerful, like a double agent: professional jazz musician by night, hot shot sponsorship salesman by day. Oblivious to the unseen economic forces that conspired to pave my way, I credited my own skill and hustle, with perhaps just a little bit of secret “owl luck” thrown in for good measure. 

Over time my magical thinking grew deeper, abetted by echoes. Not only was I carrying the owl totem in my pocket, but I also began to notice similar statuettes in the executive offices of prospective sponsors. 

I would be in mid-pitch, sitting across from some corporate mucky-muck, when I would look over at the shelf behind them, and there it would be: another owl statue. I never said anything, but on more than one occasion I sensed a subtle nod or look of acknowledgment when I spied the owl. 

Like, I saw it. They saw me see it. Now what? 
 

It’s Tuesday night in San Francisco, and I don’t have a gig of my own, so I’m headed over to Sonny’s Place in North Beach to hear the incomparable flugelhornist Sweets Allen. 

For true fans of lyrical swing, it gets no better than Sweets and his honey-toned horn. He’s the real deal, a veteran soloist from the bands of Duke Ellington, Ella Fitzgerald, and Tony Bennett. Now in his 70s, Sweets is one of San Francisco’s most beloved musicians and one of the last great gentleman of jazz. 

For me, Tuesdays at Sonny’s are like graduate school. I rarely miss the chance to attend one of these weekly masterclasses.

Tonight Sweets is really living up to his name. His improvised lines are powerfully simple, pure, soulful, logical, and undeniably joyful. The warmth of his sound and the smile on his face combine to lift the spirits of everyone in the club. 
 

On the break I motion for him to join me at my table. Like my father, Sweets is a former school teacher, a wise elder who doesn’t mind sharing his accumulated knowledge. He patiently answers all my questions about music and life. 

“The main thing is to tell a story,” he advises, tapping his finger on the table for emphasis. “But it’s not like reciting a poem or singing a song. It’s got to be your story.” 

“Just be real,” he adds, “and never let the naysayers get you down. They’re everywhere, so keep your head on a swivel.” 

“Like an owl,” I say quietly. 

“Precisely,” he smiles, standing. 

“Which reminds me,” he adds before returning to the bandstand. 

“A little birdie told me you may be joining us.” 

Next:
THE OWL CLUB PART 5 — PARLIAMENT

Health 
Recommit to OMAD, black coffee, and portion control. 
Plant new salad vegetables in the garden. 
Walk every day before the evening meal. 
Curtail alcohol consumption. 
Prioritize memory work. 

Music 
Perform mostly songs from the new album. 
Expand melodic range in both directions. 
Arrange Joni Mitchell material for Holly. 
Write songs for top Indiegogo backers. 
Study Nelson Riddle's orchestration. 
Practice Beleza duo repertoire. 

Business 
Arrange for album design, distribution, promotion, and marketing.
Maintain tourbus with regular servicing, repairs, and upgrades. 
Apply for touring, residency, and commissioning grants. 
Schedule tours and album release events. 
Purchase a backup horn. 
Reduce debt by 25%. 

Personal 
Make an emergency response plan.
Write a blog post every week. 
Invest in home security.
Make time for friends. 
Practice gratitude.
Pace yourself.
Go fishing.

(To J.)

Please go away and be my friend, 

This cup of fire let pass from you — 

Because I know it’s not the end 

I’ll only spill a tear or two. 

Your laugh, your touch, your kiss I’ll need, 

But these are only part of you — 

Your other gifts to me indeed 

My strength, my will to live, renew. 

The on the other hand reproof, 

Of language and “what’s right for me” — 

(Don’t think I’m really that aloof) 

Of these, at least, I’ll soon be free! 

So think of love quite seriously 

And to your new affairs attend; 

What’s left for now’s enough for me — 

Please go away and be my friend.

          —Bill Matheny

“The foundation of any national character is human nature.”
―Vasily Grossman
 

Of all the many magical places I’ve encountered in my travels, Kinkaku-ji, Kyoto’s Temple of the Golden Pavilion, is one of the most magnificent. Set in a classical strolling garden by a reflective pond, the temple’s design is strikingly opulent yet perfectly integrated into the surrounding landscape. 

Although I’ve only visited the historic world heritage site twice, I return so often in mind and memory that it has become comfortingly familiar. For me, this temple achieves what the great cathedrals of Europe do not. Instead of making one feel small and insignificant, Kinkaku-ji inspires a profound feeling of gratitude and connection to the natural world, inviting contemplation of one’s own role in the cosmos. As above, so below. 

Kinkaku-ji is a wonder of architecture and aesthetics. Each section of the three-story structure represents a different historical period and point of view. The first level, named Chamber of Dharma Waters, is rendered in the natural wood and white paneled shinden style of eleventh century imperial aristocracy, with verandas and open areas that bring the outdoors inside. The second story, called Tower of Sound Waves, is built in the tenth century manner of samurai warriors, with sliding doors and mullioned windows intended to convey evanescence. The top floor, Cupola of the Ultimate, is constructed in the twelfth century zen style suggesting meditation and spiritual insight. The top two levels are completely covered in shining gold leaf. Taken collectively, this singular architectural marvel confers both respect for nature and an awareness of the fragile, fleeting nature of existence. 

But it’s the luminous golden reflection of the temple on the surface of the pond that I find most compelling. The image remains constant as the seasons change. Even before you view the relics and treasures within, the building’s exterior design eloquently communicates the Japanese ideals of shokunin (craftsmanship, pursuit of perfection), wabi (understated elegance), sabi (the beauty of impermanence), yugen (mystery, grace) and ma (negative space, emptiness, and silence). 

Kinkaku-ji is a truly remarkable place. It’s also where I learned a valuable lesson about the absurdity of stereotypes and the gentle power of humor. 

A light rain was falling as I quietly admired the temple with my new friend Masa, an expert on buddhist culture who also happens to be the husband of a favorite visual artist), when our silent contemplation was suddenly interrupted by a boisterous busload of Japanese tourists. They tumbled out of the bus, photographers all, and immediately began to laugh and shout as they joyfully took pictures of one another on the temple grounds. 

I was offended by what I perceived as an inappropriate and unwelcome assault on my reverie. Kinkaku-ji is a sacred place! They should know better, I thought. But when I looked to my guide he was grinning ear-to-ear, delighted with their arrival. I wondered how he could remain so cheerful in the face of this intrusion.

“You don’t find them rude?” I asked, as yet another cluster of giggling girls pushed past us to pose in front of the temple. They squealed gleefully and flashed peace signs as their male companions snapped photo after photo.

“This is a happy place,” Masa explained, smiling benevolently. “Why shouldn’t they be happy?” 

Of course he’s right, I realized. Embarrassed by my own foolishness, I tried to make a joke. 

“Hey Masa, you’re Japanese. Where’s your camera?” 

He replied without hesitation.

“Well, you’re American...where’s your gun?”  

All the world’s a stage, 
and all the men and women merely players. 
They have their exits and their entrances, 
and one man in his time plays many parts. 
—William Shakespeare 

Don’t it always seem to go 
that you don’t know what 
you got ’til it’s gone? 
—Joni Mitchell 

I’ve been thinking a lot about stages recently. Concert stages, stages of life, and all the stages on which we perform, both literally and figuratively. 

Social media is itself a kind of performance space, where people gather for creative expression and the exchange of ideas. Depending on the user, social media may offer an elevated platform for high-minded art and ideals, an open forum for lively discussion and debate, or a cynical echo chamber of fear mongering, conspiracy peddling, virtue signaling and performative activism. (Or you can just post puppy photos!)

The virtual stage provided by live-streaming technology has been a godsend for performers during the shutdown, enabling us to stay active and remain in touch with friends and fans. When all the nightclubs and concert halls went dark, musicians from every genre took to the internet almost immediately, becoming virtual “buskers” overnight. I used a platform called “StageIt” to produce my Quarantunes series of live-streaming solo shows.

I used a platform called “StageIt” to produce my Quarantunes series of live-streaming solo shows

Don’t get me wrong. Live-streaming is no substitute for the real deal. But it can be thrilling to play for an international audience without ever having to leave the house. Food for thought as we consider the post-pandemic commute. 

Of course, real life also offers myriad opportunities to perform. Willy Shakes was really onto something when he penned his famous “All The World’s A Stage” monologue. Like actors in a play, we inhabit various roles at different stages of life: the good son, the good spouse, the good worker, the good friend, the good man. 

As I look back over my own life and career, I can identify seven stages of development. Starting from juvenescent beginner’s luck, I survived adolescent optimism bias and the Dunning-Kruger effect, then as an adult, progressed through confirmation bias and plenty of denial before arriving at my current position, somewhere between middle aged rationalization and senior citizen rosy retrospection. (Shout out to Wikipedia for the psychobabble refresher!)

Through it all, my refuge and sanctuary has been the concert stage, a sacred space where artists and audiences meet in search of a shared transcendent experience. As the immortal Bobby Hutcherson once told me, “Think of the bandstand as an altar. Music is a spiritual calling, and the stage is our church.” 

The Immortal Bobby Hutcherson 

Mr. Hutcherson’s wise words carry extra resonance today, as the pandemic threatens to permanently shutter many of our most beloved venues. Ours is a precious and precarious ecosystem which we must never take for granted.  

The relationship between artist and venue is a symbiotic one. Simply put, we need each other. Too often, however, relations between performers and those who hire them are perceived as adversarial. If you don’t believe me, ask your musician friends whether they happen to know any jokes about club owners.

Those jokes don’t seem so funny now. After fifteen solitary months of playing my horn to an unseen audience over the internet, I’m jonesing hard for a real gig with a real band in a real venue. I miss the creative collaboration, intimacy and immediacy of live performance. Most of all, I miss seeing the faces of people in the audience as we experience the miracle of music together.

Small venues have been hit especially hard by the pandemic shutdown. Many went out of business almost immediately. Of those remaining, ninety percent report that they are at risk of closing without additional financial assistance. 

Enter Save our Stages, a bipartisan bill to provide billions of dollars in relief grants for venues. Recently signed into law as part of President Biden’s economic recovery plan, the Save Our Stages act is not perfect, but it’s a start. As Minnesota senator Amy Klobuchar points out, “Independent venues were some of the first establishments to close down and will likely be some of the last to open. I refuse to sit by and let the music die.”

Save Our Stages is an emergency relief fund for live event venues and promoters 

She's 100% correct, and we all must do whatever we can to help. #saveourstages

Presently, as we anticipate turning the corner on COVID-19, there is reason for hope. My buddy Ed, a jazz guitarist and concert promoter in Ashland, Oregon, optimistically predicts a post-pandemic gold rush for events. He believes that audiences, having been deprived of live music for so long, will return in record numbers, more motivated than ever to buy tickets and support the arts.

Makes sense to me. The global health crisis provided us all with a chance to pause and reevaluate which things in life matter and which things don’t. I, for one, have learned that live music matters immensely, and stages are absolutely essential.

Joni Mitchell said it best: you don’t know what you got ’til it’s gone.

“One day, you’ll make peace with your demons, 
and the chaos in your heart will settle flat. 
And maybe for the first time in your life, 
life will smile right back at you and 
welcome you home.” 
—Robert M. Drake 

“We don't see things as they are,
we see them as we are.”
―Anaïs Nin

When Daddy Bill passed away last December, just before my 55th birthday, I felt something change in me. 

Way down deep, beneath the ocean of love and gratitude for all that he was, below the waves of grief, loss and mourning, there was a feeling of release. Not relief, mind you, but release, as if by saying goodbye to this world, my father was giving me permission to let go of certain unrealistic expectations about my own place in it. 

Before he died, I never fully appreciated the extent to which my professional ambitions were tethered to the desire to earn my father’s approval. Ironic, since he never pressured me in any way, and was always encouraging, no matter what. He believed in me. He loved my music and supported my life choices without reservation. 

Daddy Bill has always been in my corner. His approval was a given. But because I admired him so and wanted to make him proud, I worked harder than I might have, and whenever I achieved anything, no matter how small, I couldn’t wait to tell him about it. 

Daddy Bill has always been in my corner

Even during his last years, as Parkinson’s and dementia assailed his body and mind, we remained close. I visited him in Tucson every few months, and called him every Sunday. Because of his condition, we could only talk about small things: the weather, the news, what he had for breakfast. And though he was often confused or forgetful, he always remembered to tell me that he loved me, and would end every conversation with the same benediction: “you just keep playing that horn.” 

I miss my father terribly, but paradoxically, I also feel his presence. I’m not a religious person, and I have no belief in an afterlife. I don’t pray to God, communicate with the ancestors or converse with my father’s ghost. But I do hear the “still small voice” of my own conscience, and it just so happens to speak with a comfortingly familiar, decidedly paternal, southern drawl. 

Lately that voice has been telling me to make peace with my demons. We all have our demons, right? I have three, and they have tortured me for as long as I can remember. Their names are Grandiosity, Imposter Syndrome, and Polarized Thinking. 

In the past I’ve tried to fight my demons without success. To make peace would require a new strategy: that I stop fighting, and instead try to understand them and where they’re coming from. Think of it as Cognitive Distortion Diplomacy. 

my three demons have tortured me for as long as I can remember 

Grandiosity is the biggest and loudest of my demons. He infects me with toxic superiority and an exaggerated sense of my own importance. He robs me of rational thought and empathy, and fills me with bogus, superstitious beliefs: that I’m special, that I’m chosen, that I’m destined for greatness, and that the universe magically conspires to assist me at every turn. Grandiosity distorts my positive aspirations and work ethic, transforming them into an unearned and ugly feeling of entitlement. 

Imposter Syndrome is Grandiosity’s evil twin sister. Whenever Grandiosity sleeps, she awakes, to drain my delusional overconfidence and replace it with extreme self-doubt. Imposter Syndrome perniciously whispers that I’m an untalented fraud, that my entire career has been nothing but a long con, and that any past accomplishments and accolades are meaningless. Imposter Syndrome says “You’re not special at all. You’re the worst thing a person can be: you’re ordinary.” 

Of the three, however, Polarized Thinking may be the most dangerous demon of all. He provides the fuel that sustains the others. He inflicts an absurd all-or-nothing worldview of black and white extremes, in which I’m either destined for success or doomed to failure. Polarized Thinking says there can be no in-between, no shades of gray. If Grandiosity is born of the hope that I’m special, and Imposter Syndrome is the fear that I’m not, Polarized Thinking is the erroneous belief that these are the only two options. 

If I’m ever to let go of unrealistic expectations, and come home to the life that I truly want, then making peace with these demons is paramount. I may never be able to silence them entirely, but If I can just see them for the maladaptive, habitual, self-sabotaging ways of thinking that they are, perhaps I can diminish their destructive power and re-integrate them into a more realistic sense of self. 

In other words, I must learn to perceive things clearly as they are, unclouded by hope and fear. I must become like Manjushri, the bodhisattva of keen awareness, whose flaming sword represents the transcendent wisdom which cuts through duality and delusion. 

Manjushri, the Bodhisattva of keen awareness 

Who knows what the future will hold? None of us control the narrative of our lives, not really. But to the extent that one can shape a life story, I now aspire to a smaller, simpler, more sustainable one. 

I will “keep playing that horn” for at least a few more years. But while my love of music is undiminished, any ambitious desires to prove myself or make my mark have waned considerably. The truth is, there is no longer anything to prove. Not to my father, not to myself, not to anyone. 

Look at it this way: my dream was to become a professional jazz artist, to travel, make records, and share my music. 

As it turns out, I did precisely that, and I've enjoyed it for nearly 40 years. 

Maybe now it’s time to dream a new dream. Why not? 

Whatever the new dream turns out to be, I'm sure Daddy Bill would approve.

“It’s not just about me and my dream
of doing nothing. It’s about all of us!”
—Peter Gibbons

“Now is the age of anxiety.”
—W.H. Auden 

“Don’t make me dance.”
—Lilia 

I’m a big fan of CBS Sunday Morning. The show’s bright, optimistic tone, cheerful sun iconography, and calming nature videos are usually a welcome comfort. But this week’s episode made me anxious. 

The entire show was dedicated to the encouragement of widespread tourism, as if we’re already living in a post-pandemic world. From host Jane Pauley to travel guru Rick Steves to the lemon merchants of the Amalfi Coast, everyone seemed to be singing from the same reckless hymn sheet. There was even a segment promoting revenge tourism, the idea that pleasure travel is even more fun now, as a giant middle finger to COVID-19. 

Are you kidding me? Aren’t we being a little premature? 

CBS Sunday Morning is usually a welcome comfort, but this episode made me anxious

I dig that people are restless, and I understand we’re all feeling more hopeful as vaccinations increase. But the virus is still surging in many areas, and some of those new variants are scary. There are now 141 million cases worldwide, including 32 million in the USA of which 566,000 have proven fatal. This thing ain’t over yet. Is now really the time to cheerlead for non-essential travel? 

Don’t get me wrong. I’ve been a travel enthusiast all my life. In the 1970s of my youth, Daddy Bill and I road-tripped everywhere, from the Great Smoky Mountains to the Florida Keys to the Sonoran Desert. In the decades since I’ve had the privilege of making new friends in Azerbaijan, Barbados, Belgium, Cambodia, Canada, Chile, Czech Republic, England, France, Greece, Indonesia, Italy, Japan, Luxembourg, Mexico, Netherlands, Poland, Thailand and nearly every one of these United States. #AlphabeticalHumbleBrag

I'm profoundly grateful for my travels, and I wholeheartedly agree with the late Anthony Bourdain (a personal hero), who contended that travel, if we do it right, is our best defense against racism and xenophobia. You dig? 

xenophile hero Anthony Bourdain and friends showing us how its done 

Cultural tourism literally brings us together! That’s one of the reasons I chose this career. Travel is the lifeblood of our business. You don’t meet many xenophobic musicians. 

But this year? I’m not feeling it. 

Don’t be surprised. After all, I’m the Proletarian Contrarian. My entire life has been an exercise in cognitive dissonance. Swimming against the current? It’s kinda my thing. 

While most of my friends were leading responsible lives, raising families and being good citizens, I was traveling 57,000 miles a year to honk my horn among the great unwashed. It stands to reason that now, when I feel afraid to venture beyond my front gate, the rest of the world can’t wait to get on a plane!

As one sidelined traveler told the Wall Street Journal, “The moment can’t come soon enough to actually hit the road again. We’re all kind of clamoring for the celebration party.” 

Not all of us, pal. As usual, I’m out of step with the zeitgeist.

I just got my second shot of Dolly Vax.

I’m very grateful, but also anxious. 

grateful, but also anxious

Some of my uneasiness is just a lingering reaction to the white coat effect. I always experience irrational fear and agitation around doctor stuff. The stakes are higher this time (i.e., deadly global plague), which only exacerbates matters. 

I’m also anxious about the uncertainty of it all. Maybe I’ll have a bad reaction to the vaccine. Maybe the vax won’t work, and I’ll still catch covid. Or maybe it will work, and the next bug is the one that gets me. See what I mean? 

And it’s not only the pandemic that makes me nervous. I’m justifiably worried over the state of the world. So much vitriol and violence in the news. Racial unrest. Joblessness, homelessness, food insecurity. Explosions. Invasions. Protests. Riots. Wildfires. Floods. Hurricanes. Police brutality. Political corruption. Voter suppression. Cancel culture. Rampant stupidity. Nazis! Four full years of enduring daily presidential messages of hate. (Aren’t we all still suffering PTSD from that SOB?)

Then there’s the hypervigilance. I don’t mind telling you, I’m straight up terrified of catching a stray bullet. It seems every week there’s another random, senseless mass shooting in this country. I’m always checking over my shoulder and looking for the exits. How does anyone feel safe in a crowd anymore? 

Some of this anxiety is grief-related. I’m still mourning the loss of my father. I feel untethered, like an orphan. Facing a world without him in it fills me with dread. 

facing a world without him in it fills me with dread 

So I’m delighted the vaccines are here, and grateful to have received mine. And I’m glad that people are feeling more hopeful, but not if it means we all have to go rushing back. 

Because if I’m being truly honest here, the main reason I feel anxious is this: I’m simply not ready. 

I’m just not ready to go back. Not yet. I’m not ready for the ambitious workaday world with all its expectations and obligations. I’m not ready to leave the safety and security of my Hunker Bunker. And I’m definitely not ready to resume that relentless hustle and grind. 

I’m here for the music, not the dance.

As a rule, professional bandleaders operate with neither job security nor a financial safety net.  We work gig to gig, operating on the slimmest of margins, without salary or benefits. We aren’t eligible for unemployment and many of us cannot afford health insurance. And most of our jobs are one-nighters, which means we can never stop looking for work, because we never know for sure how we’re going to pay that next round of bills. 

And the thing is, we learn to live with this uncertainty. We take austerity measures, diversify our income, launch side hustles, juggle our bills. We do whatever it takes to keep things rolling. After all, this house of cards we call a career is no-one’s fault, no-one’s responsibility, but our own. As Hyman Roth said in The Godfather, “this is the business we’ve chosen.” 
 

Hyman Roth is right.

But this year was different. 

When the shelter-in-place order came down and all concerts were canceled, my family suddenly found itself with no income at all. I had no choice but to reconfigure my business model and apply for every available grant and assistance program. It wasn’t easy to puzzle through all the misinformation and red tape, but eventually we began to receive pandemic relief payments as well as consistent earned income fees from our online activities. 

Within a few weeks, and with a little help from our friends, we were solvent, with fees arriving at regular, predictable intervals, like paychecks. I can’t stress enough how different this is, compared to the feast-or-famine cash flows I usually experience as a performing musician. 

No chasing down club owners who disappear when it’s time to pay the band. No having to guess what our income will be from each endeavor, when the amount may vary wildly, depending upon someone else’s sales efforts, not to mention honesty. No racking up thousands of dollars in travel costs and staving off creditors while we wait for payment from concerts we played last month or last year. 

Payments for online programs are instantaneous!

And here’s the kicker: sure, I’m earning less working from home, but my business expenses are wayyyyy lower! Think of it: no airline tickets, no hotel stays, no equipment rentals, no sideman payments. Zero travel costs! Gross revenue and net income are practically identical numbers. 

You dig? Don't get me wrong. I miss traveling and performing for a living. Teaching online is not my calling.

However, for the first time in years, my family and I have actually been able to make a financial plan and stick to it. We were finally able to predict our income, anticipate our expenses, cover our household costs and plan for the future. We paid our bills, paid our taxes, saved a little, and even made a few charitable contributions to worthy causes. 

I don’t mind telling you, as good as it feels to receive help, it feels even better to be able to help out a little, ourselves. 

I sure miss the travel, but not the expense.

I understand that for many of our friends, this past year was their first, or worst, lesson in living with financial insecurity. I've been there, and I empathize. But leave it to me, the Proletarian Contrarian, to have the opposite experience. 

Dare I say it? This health crisis has been good for our fiscal health. 

If this is what financial security feels like, I think I like it.

But is it sustainable? 

Next:
THE HUNKER BUNKER REPORT
PART 3 — MENTAL HEALTH & SOCIAL CONNECTION 

One year ago this week, the World Health Organization declared COVID-19 a global pandemic and we began sheltering in place. 

I took the warnings seriously, even though staying home meant figuring out how to pay the bills while simultaneously transitioning from touring performer to online music teacher (aka “building the plane as you fly it”). Planning for the worst while hoping for the best, I also took the opportunity to update my will and put my affairs in order. I resolved to hunker down and wait this thing out until it’s safe to get out there again. 

As you may remember, when this shutdown first began we were told to be patient, because “it could take several weeks before things return to normal.” Those weeks turned into months. Now it’s been a full year. 

Yesterday I received my first dose of the Moderna (aka Dolly Parton) vaccine. Hooray! Over 10% of the U.S. population has been fully vaccinated so far. According to the CDC, we should all continue to observe safety protocols until we reach about 80%, at which point we’re likely to achieve herd immunity. 

Why is this man smizing? After a full year of sheltering in place, he just received his first dose of Dolly Vax
 

So we’re now in a kind of arms race — a shots-in-arms race, if you will — against the dual forces of vaccine hesitancy and the evolving COVID-19 variants. The idea is to get most of the populace immunized before the virus mutates so much that the available vaccines become ineffective. 

Unfortunately, some states have already jumped the gun, prematurely abolishing mask-wearing laws. Scientist Neil deGrasse Tyson observes that such actions are “like designating a peeing section of the swimming pool.” 

Here in Lewis County, Washington, it’s fashionable to resist any attempts to suspend individual freedoms in the interest of public health. In other words, folks around these parts don’t take kindly to the government telling us what we can and cannot do. 

But even here, people seem to be getting the message. Our pop-up drive-thru vaccination site at the Lewis County Fairgrounds is proving to be very popular. I even noticed, in the long line of vehicles waiting for the vaccine, several campaign bumper stickers for our disgraced former president, who received his own immunization in secret after calling the pandemic a hoax. Sigh. 

Although many protested against state-mandated health measures,
Lewis County residents are now lining-up for vaccination

In the future, after this deadly pandemic is well behind us, those of us who were fortunate enough to survive may find it difficult to remember all the troubles we collectively endured over this past year. Beyond the considerable health and safety concerns, the coronavirus era has also been an unprecedented time of economic hardship, social unrest, political instability, ecological imbalance and existential crisis. 

So much struggle and sacrifice, fear and frustration, grief and loss. We worry about our sick friends, and we mourn those who died during the shutdown, including non-Covid deaths like that of my father, who succumbed to Parkinson’s while in hospice, just before Christmas, 1500 miles away. 

It’s been a long, hard year. Yet even as we reflect on its ravages, and at the risk of seeming insensitive to the suffering of others, we must acknowledge that some positive things have also transpired.

For example, my immediate family and I have enjoyed better health during this global pandemic than before it began. Ironic, 
I know.

You see, chronic low-grade illness is an occupational hazard for the touring musician. Jet-lagged and sleep-deprived, we ply our trade among the great unwashed, exposing ourselves to all manner of viruses and infections on the road. 

It’s always something. You get food poisoning at a roadside diner. That night you go to work anyway, because what can you do? A fellow musician gives you a hug, and afterward you notice she has the sniffles. On the flight home, everybody is coughing and sneezing. Each day is another chance to catch a bug and pass it along to someone else. 

But it turns out, when you remove travel and social interaction from the equation, good health returns. In fact, during this year at home, no-one at my house was even mildly sick. Not once! Apparently, staying home not only limits your chances of exposure to coronavirus, it also provides a bulwark against the flu, upset stomach, sore throat, even the common cold. 

Home-cooked meals heal body and soul, especially when you harvest fresh vegetables from the garden

I’ve even lost weight! During this lockdown, I’ve been able to eat right, exercise, get plenty of rest and practice good sleep hygiene, all with a consistency that I found impossible to maintain when traveling. 

Dare I say it? This health crisis has been good for my health. 

Next: 
THE HUNKER BUNKER REPORT
Part 2 — FISCAL HEALTH

Damien Chazelle’s 2014 film Whiplash follows the fraught relationship between a brutally masochistic music teacher, Fletcher (J.K Simmons), and his ambitious student, drummer Andrew (Miles Teller). 

According to Slate critic J. Bryan Lowder, “Fletcher and Andrew are both obsessed with Greatness, but the specific sort they’re after is important: it’s a wholly masculine definition of the term, one tied to notions of jackhammer precision, overwhelming prowess, physical dominance, and solo victory. Alternative values like sensitivity, idiosyncrasy, gracefulness, and collaboration, despite being deeply compatible with jazz, are not admitted to their rehearsal room.” 

Miles Teller and J.K. Simmons in Whiplash

I couldn’t agree more. Whiplash shows us a heightened, yet weirdly accurate, view into the misguided toxic masculinity endemic to today’s jazz education subculture.

Talk to your musician friends who’ve seen the movie. They’re likely to share stories of their own about similar abuse suffered in their formative years. One of my colleagues actually said, “Whiplash triggered my Jazz Camp PTSD!”

I thought of that movie again yesterday, during a college workshop. As the students and I listened to Stitt and Rollins hold forth on “The Eternal Triangle,” I found myself astonished anew, not just by the brilliance of their ideas, but by the joyously playful, positive, collaborative spirit of their “tenor battle.”

“The Eternal Triangle” from Sonny Side Up
Dizzy Gillespie with Sonny Stitt and Sonny Rollins

If all cutting sessions were so inspired, I would be a fan.

To me, however, “jazz competition” is an oxymoron. 

We’re going to have a contest to see who can be the most vulnerable? The most sensitive or sincere? To find out who among us can best lay bare our soul and play from the heart? 

Every year on tour I hear dozens of excellent high school groups, all over the country, investing hours of rehearsal time, polishing the same Duke Ellington charts in preparation for the annual Jazz Hunger Games. 
 

Jazz Hunger Games

While it’s gratifying to witness Duke’s music being disseminated so widely, I have to wonder if these young musicians might be better off exploring a larger repertoire of sounds and styles, learning to sight read, listen and improvise. 

Of course, there is such a thing as “healthy competition” in the arts. Setting challenges and overcoming them is how we improve. 

Competitive, however, is not the correct mindset for quality music-making. This art form is interactive. It’s about listening and openness. Conversation, not competition. ​ 

Personally, I don’t feel that I’m in competition with other artists. I’m competing with Netflix, spectator sports, video games, social media and all the other distractions that vie for your leisure time, attention and dollars. 

I welcome opportunities to work alongside and learn from my betters. I always try to surround myself with talents greater than my own. Art Farmer said “if you’re the smartest cat in the room, you’re in the wrong room.” 

One time Nicholas Payton dropped by my gig in San Francisco and schooled me on a ballad. It was like a ten minute graduate seminar on understatement and grace. 

Recently I had the opportunity to participate in a tribute to one of my longtime heroes, Tom Harrell, along with Joe Lovano, Kenny Werner, Sean Jones, Johnathan Blake, and several other world class musicians, including the man himself, who has never sounded better. 

Tom Harrell Celebration (L-R) Tamir Hendelman, Kenny Werner, Ugonna Okegwo,
Sean Jones, Ron Stout, Dmitri Matheny, Johnathan Blake, Tom Harrell, Joe Lovano

Everyone involved was more capable and experienced than I. It was humbling and thrilling. I learned a lot and felt nothing but love and support in the room. There was no vibe. Everyone was there for Mr. Harrell. 

Wynton Marsalis says a cutting session is like a debate. And debates have their place, especially in the classroom. But wouldn’t you really rather have a conversation? 

Personally, I think most cutting sessions are a drag. Everyone trying to play higher, louder, faster. Everybody posturing, posing, showing off, going for house. The atmosphere of a cutting session is like a Michael Bay movie full of explosions. I usually end up resenting the audience for enjoying such tripe. 

Here’s a challenge: let’s play lower, softer, slower -- with intensity. 

Let’s play more soulfully. 

Let’s just play.

Welp, I just turned 55.  

Now eligible for senior discounts at the diner. 

Damn. The years really sneak up on you, don’t they? 

The recent loss of my father during the navel-gazing of quarantine has only served to amplify this existential angst.  

I get it. Winter is here. But am I ready? 

Fifteen years ago, right around my 40th, I remember feeling something similar about facing the autumn of my years.  

Below is what I wrote at the time.

Perhaps it still holds up. 

ADVICE TO SELF AT MIDLIFE 

Congratulations, you’ve made it to the halfway mark. 

So far, so good. Now consider this: 

You’re old enough now that they no longer praise your potential. All those years of encouragement about your bright future are over. It’s quiet now. 

At the same time, you’re not yet old enough to join the ranks of those you so admire, the wise elders. You’re not yet one of them. You don’t speak for the ages. Few look to you for inspiration or advice. 

These are the middle years. 

Your past accomplishments and your hopes for tomorrow mean nothing. All that matters is what you do now: 

Stay agile. Draw up plans, but be nimble enough to abandon them. Be persistent in fulfilling your vision, but also be ready to shift course based on the changing landscape. Be ever-evolving. 

Take care of yourself. You’re on your own, so be careful. Pace yourself. Cultivate healthy habits. Know your limits. 

Pay attention. It’s now your turn to provide encouragement. Learn to be a mentor. Look for opportunities to serve, celebrate and share.

* 
rest 

delegate 

pace myself

don't try so hard

enjoy the outdoors 

save 10% from each job 

take care of home and family 

support Dad and his caregivers 

mine great melodies from all genres 

sleep in my own bed whenever possible 

exploit all opportunities to write new music 

walk Scout every day, no matter the weather 

practice intermittent fasting and portion control 

scale back on touring and increase northwest jobs 

take full advantage of health care while it’s available 

schedule consecutive rejuvenation days every month 

begin transition from touring artist to local composer

During our meeting, I promise to give you my full attention, and to refrain from taking calls, texting or fiddling with my phone. I expect the same courtesy.

1. Be nice.

2. Don't say mean things.

3. Don't make a mean face.

4. Don't run off.

5. Don't fry bacon naked.

6. Everybody love everybody.

1.  Every Action done in Company, ought to be with Some Sign of Respect, to those that are Present.

2. When in Company, put not your Hands to any Part of the Body, not usually Discovered.

3. Show Nothing to your Friend that may affright him.

4. In the Presence of Others Sing not to yourself with a humming Noise, nor Drum with your Fingers or Feet.

5. If You Cough, Sneeze, Sigh, or Yawn, do it not Loud but Privately; and Speak not in your Yawning, but put Your handkerchief or Hand before your face and turn aside.

6. Sleep not when others Speak, Sit not when others stand, Speak not when you Should hold your Peace, walk not on when others Stop.

7.  Put not off your Cloths in the presence of Others, nor go out your Chamber half Dressed.

8.  At Play and at Fire its Good manners to Give Place to the last Commer, and affect not to Speak Louder than Ordinary.

9.  Spit not in the Fire, nor Stoop low before it neither Put your Hands into the Flames to warm them, nor Set your Feet upon the Fire especially if there be meat before it.

10. When you Sit down, Keep your Feet firm and Even, without putting one on the other or Crossing them.

11. Shift not yourself in the Sight of others nor Gnaw your nails.

12. Shake not the head, Feet, or Legs roll not the Eyes lift not one eyebrow higher than the other wry not the mouth, and bedew no mans face with your Spittle, by approaching too near him when you Speak.

13.  Kill no Vermin as Fleas, lice ticks &c in the Sight of Others, if you See any filth or thick Spittle put your foot Dexterously upon it if it be upon the Cloths of your Companions, Put it off privately, and if it be upon your own Cloths return Thanks to him who puts it off.

14. Turn not your Back to others especially in Speaking, Jog not the Table or Desk on which Another reads or writes, lean not upon any one.

15. Keep your Nails clean and Short, also your Hands and Teeth Clean yet without Showing any great Concern for them.

16. Do not Puff up the Cheeks, Loll not out the tongue rub the Hands, or beard, thrust out the lips, or bite them or keep the Lips too open or too Close.

17. Be no Flatterer, neither Play with any that delights not to be Play’d Withal.

18. Read no Letters, Books, or Papers in Company but when there is a Necessity for the doing of it you must ask leave: come not near the Books or Writings of Another so as to read them unless desired or give your opinion of them unasked also look not nigh when another is writing a Letter.

19. Let your Countenance be pleasant but in Serious Matters Somewhat grave.

20. The Gestures of the Body must be Suited to the discourse you are upon.

21. Reproach none for the Infirmities of Nature, nor Delight to Put them that have in mind thereof.

22. Show not yourself glad at the Misfortune of another though he were your enemy.

23. When you see a Crime punished, you may be inwardly Pleased; but always show Pity to the Suffering Offender.
Don’t draw attention to yourself.

24. Do not laugh too loud or too much at any Public Spectacle.

25. Superfluous Complements and all Affectation of Ceremony are to be avoided, yet where due they are not to be Neglected.

26. In Pulling off your Hat to Persons of Distinction, as Noblemen, Justices, Churchmen & make a Reverence, bowing more or less according to the Custom of the Better Bred, and Quality of the Person. Amongst your equals expect not always that they Should begin with you first, but to Pull off the Hat when there is no need is Affectation, in the Manner of Saluting and resaluting in words keep to the most usual Custom.

27. Tis ill manners to bid one more eminent than yourself be covered as well as not to do it to whom it’s due Likewise he that makes too much haste to Put on his hat does not well, yet he ought to Put it on at the first, or at most the Second time of being asked; now what is herein Spoken, of Qualification in behavior in Saluting, ought also to be observed in taking of Place, and Sitting down for ceremonies without Bounds is troublesome.

28. If any one come to Speak to you while you are are Sitting Stand up though he be your Inferior, and when you Present Seats let it be to every one according to his Degree.

29. When you meet with one of Greater Quality than yourself, Stop, and retire especially if it be at a Door or any Straight place to give way for him to Pass.

30. In walking the highest Place in most Countries Seems to be on the right hand therefore Place yourself on the left of him whom you desire to Honor: but if three walk together the middest Place is the most Honorable the wall is usually given to the most worthy if two walk together.

31. If any one far Surpasses others, either in age, Estate, or Merit yet would give Place to a meaner than himself in his own lodging or elsewhere the one ought not to except it, So he on the other part should not use much earnestness nor offer it above once or twice.

32. To one that is your equal, or not much inferior you are to give the chief Place in your Lodging and he to who ‘is offered ought at the first to refuse it but at the Second to accept though not without acknowledging his own unworthiness.

33. They that are in Dignity or in office have in all places Precedency but whilst they are Young they ought to respect those that are their equals in Birth or other Qualities, though they have no Public charge.

34. It is good Manners to prefer them to whom we Speak before ourselves especially if they be above us with whom in no Sort we ought to begin.

35. Let your Discourse with Men of Business be Short and Comprehensive.

36. Artificers & Persons of low Degree ought not to use many ceremonies to Lords, or Others of high Degree but Respect and highly Honor them, and those of high Degree ought to treat them with affability & Courtesy, without Arrogance.

37. In speaking to men of Quality do not lean nor Look them full in the Face, nor approach too near them at lest Keep a full Pace from them.

38. In visiting the Sick, do not Presently play the Physician if you be not Knowing therein.

39. In writing or Speaking, give to every Person his due Title According to his Degree & the Custom of the Place.

40. Strive not with your Superiors in argument, but always Submit your Judgment to others with Modesty.

41.  Undertake not to Teach your equal in the art himself Professes; it Savours of arrogance.

42. Let thy ceremonies in Courtesy be proper to the Dignity of his place with whom thou converses for it is absurd to act the same with a Clown and a Prince.

43. Do not express Joy before one sick or in pain for that contrary Passion will aggravate his Misery.

44. When a man does all he can though it Succeeds not well blame not him that did it.

45. Being to advise or reprehend any one, consider whether it ought to be in public or in Private; presently, or at Some other time in what terms to do it & in reproving Show no Sign of Cholar but do it with all Sweetness and Mildness.

46. Take all Admonitions thankfully in what Time or Place Soever given but afterwards not being culpable take a Time & Place convenient to let him him know it that gave them.

47. Mock not nor Jest at any thing of Importance break [n]o Jest that are Sharp Biting and if you Deliver any thing witty and Pleasant abstain from Laughing thereat yourself.

48. Wherein you reprove Another be unblameable yourself; for example is more prevalent than Precepts.

49. Use no Reproachful Language against any one neither Curse nor Revile.

50. Be not hasty to believe flying Reports to the Disparagement of any.

51. Wear not your Cloths, foul, ripped or Dusty but See they be Brushed once every day at least and take heed that you approach not to any Uncleaness.

52. In your Apparel be Modest and endeavor to accommodate Nature, rather than to procure Admiration keep to the Fashion of your equals Such as are Civil and orderly with respect to Times and Places.

53. Run not in the Streets, neither go too slowly nor with Mouth open go not Shaking your Arms kick not the earth with R feet, go not upon the Toes, nor in a Dancing fashion.

54. Play not the Peacock, looking every where about you, to See if you be well Decked, if your Shoes fit well if your Stockings sit neatly, and Cloths handsomely.

55. Eat not in the Streets, nor in the House, out of Season.

56. Associate yourself with Men of good Quality if you Esteem your own Reputation; for ‘is better to be alone than in bad Company.

57. In walking up and Down in a House, only with One in Company if he be Greater than yourself, at the first give him the Right hand and Stop not till he does and be not the first that turns, and when you do turn let it be with your face towards him, if he be a Man of Great Quality, walk not with him Cheek by Joul but Somewhat behind him; but yet in Such a Manner that he may easily Speak to you.

58. Let your Conversation be without Malice or Envy, for ‘is a Sign of a Tractable and Commendable Nature: And in all Causes of Passion admit Reason to Govern.

59. Never express anything unbecoming, nor Act against the Rules Moral before your inferiors.

60. Be not immodest in urging your Friends to Discover a Secret.

61. Utter not base and frivolous things amongst grave and Learned Men nor very Difficult Questions or Subjects, among the Ignorant or things hard to be believed, Stuff not your Discourse with Sentences amongst your Betters nor Equals.

62. Speak not of doleful Things in a Time of Mirth or at the Table; Speak not of Melancholy Things as Death and Wounds, and if others Mention them Change if you can the Discourse tell not your Dreams, but to your intimate Friend.

63. A Man ought not to value himself of his Achievements, or rare Qualities of wit; much less of his riches Virtue or Kindred.

64. Break not a Jest where none take pleasure in mirth Laugh not aloud, nor at all without Occasion, deride no mans Misfortune, though there Seem to be Some cause.

65. Speak not injurious Words neither in Jest nor Earnest Scoff at none although they give Occasion.

66. Be not froward but friendly and Courteous; the first to Salute hear and answer & be not Pensive when it’s a time to Converse.

67. Detract not from others neither be excessive in Commanding.

68. Go not thither, where you know not, whether you Shall be Welcome or not. Give not Advice without being Asked & when desired do it briefly.

69. If two contend together take not the part of either unconstrained; and be not obstinate in your own Opinion, in Things indifferent be of the Major Side.

70. Reprehend not the imperfections of others for that belongs to Parents Masters and Superiors.

71. Gaze not on the marks or blemishes of Others and ask not how they came. What you may Speak in Secret to your Friend deliver not before others.

72. Speak not in an unknown Tongue in Company but in your own Language and that as those of Quality do and not as the Vulgar; Sublime matters treat Seriously.

73. Think before you Speak pronounce not imperfectly nor bring out your Words too hastily but orderly & distinctly.

74. When Another Speaks be attentive your Self and disturb not the Audience if any hesitate in his Words help him not nor Prompt him without desired, Interrupt him not, nor Answer him till his Speech be ended.

75. In the midst of Discourse ask not of what one treateth but if you Perceive any Stop because of your coming you may well intreat him gently to Proceed: If a Person of Quality comes in while your Conversing it’s handsome to Repeat what was said before.

76. While you are talking, Point not with your Finger at him of Whom you Discourse nor Approach too near him to whom you talk especially to his face.

77. Treat with men at fit Times about Business & Whisper not in the Company of Others.

78. Make no Comparisons and if any of the Company be Commended for any brave act of Virtue, commend not another for the Same.

79. Be not apt to relate News if you know not the truth thereof. In Discoursing of things you Have heard Name not your Author always A Secret Discover not.

80. Be not Tedious in Discourse or in reading unless you find the Company pleased therewith.

81. Be not Curious to Know the Affairs of Others neither approach those that Speak in Private.

82. Undertake not what you cannot Perform but be Careful to keep your Promise.

83. When you deliver a matter do it without Passion & with Discretion, however mean the Person be you do it too.

84. When your Superiors talk to any Body hearken not neither Speak nor Laugh.

85. In Company of these of Higher Quality than yourself Speak not til you are asked a Question then Stand upright put of your Hat & Answer in few words.

86. In Disputes, be not So Desirous to Overcome as not to give Liberty to each one to deliver his Opinion and Submit to the Judgment of the Major Part especially if they are Judges of the Dispute.

87. Let thy carriage be such as becomes a Man Grave Settled and attentive to that which is spoken. Contradict not at every turn what others Say.

88. Be not tedious in Discourse, make not many Digressions, nor repeat often the Same manner of Discourse.

89. Speak not Evil of the absent for it is unjust.

90. Being Set at meat Scratch not neither Spit Cough or blow your Nose except there’s a Necessity for it.

91. Make no Show of taking great Delight in your Victuals, Feed not with Greediness; cut your Bread with a Knife, lean not on the Table neither find fault with what you Eat.

92. Take no Salt or cut Bread with your Knife Greasy.

93. Entertaining any one at the table, it is decent to present him with meat; Undertake not to help others undesired by the Master.

94. If you Soak bread in the Sauce let it be no more than what you put in your Mouth at a time and blow not your broth at Table but Stay till Cools of it Self.

95. Put not your meat to your Mouth with your Knife in your hand neither Spit forth the Stones of any fruit Pie upon a Dish nor Cast anything under the table.

96. It’s unbecoming to Stoop much to ones Meat Keep your Fingers clean & when foul wipe them on a Corner of your Table Napkin.

97. Put not another bit into your mouth till the former be swallowed. Let not your morsels be too big for the jowls.

98. Drink not nor talk with your mouth full; neither gaze about you while you are drinking.

99. Drink not too leisurely nor yet too hastily. Before and after drinking, wipe your lips; breath not then or ever with too great a noise, for its uncivil.

100. Cleanse not your teeth with the table cloth napkin, fork, or knife; but if others do it, let it be done without a peep to them.

101. Rinse not your mouth in the presence of others.

102. It is out of use to call upon the company often to eat; nor need you drink to others every time you drink.

103. In the company of your betters, be not longer in eating than they are; lay not your arm but only your hand upon the table.

104. It belongs to the chiefest in company to unfold his napkin and fall to meat first, but he ought then to begin in time & to dispatch with dexterity that the slowest may have time allowed him.

105. Be not angry at the table whatever happens & if you have reason to be so, show it not; put on a cheerful countenance especially if there be strangers, for good humor makes one dish of meat a feast.

106. Set not yourself at the upper of the table; but if it be your due or that the master of the house will have it so, contend not, least you should trouble the company.

107. If others talk at the table, be attentive but talk not with meat in your mouth.

108. When you speak of God or his attributes, let it be seriously & with reverence. Honor & obey your natural parents although they be poor.

109. Let your recreations be manful not sinful.

110. Labor to keep alive in your breast that little spark of celestial fire called conscience.