Some Where on the Far Side of Eisenhower January 12, 2013Posted by Mark Folse in cryptic envelopment, Fortin Street, Jazz, New Orleans, The Narrative, The Typist, Toulouse Street.
Tags: Frenchman Street, Linnzi Zaorski
Eric and I are the oldest people in the room I think, the only ones who might have heard these ancient swing tunes coming from the cloth grill of a hardwood hi-fi set or or on some long-reprogrammed station from a Solid State AM Radio in the Chevrolet dashboard of 1960. We stand up at the front of the bar because every seat along the bar and wall is taken by a crowd born in a time when the guitar was the undisputed king, when trumpet and strings meant Peter and the Wolf. Linnzi Zaorski stands willow-sapling straight at the microphone, the swing mostly in her sweet-tea voice with just with just a bobble-doll accompaniment from her head and shoulders, her hips and one hand keeping time as softly as brushes on a snare. Her publicity photos like those of the other jazz standard singers in town suggest sultry but under the spot tonight she is all wholesome blond and smile, ready for the pageant judges.
The band of trumpet, violin, hollow-bodied electric and upright bass doesn’t need a drummer to swing. Close your eyes when they start “Lady in Red” and you would swear there were two trumpets instead of Charlie Fardella’s one and a violin. Matt Rhodi’s fiddle reminds me that somewhere between Carnegie Hall and Church Point there is a whole other sound, that nothing swings quite like a violin. The bassist is late and through the first set Matt Johnson’s hollow body drives the band, comping Kansas City swing warm and bright as the glow of antique amplifier filaments, taking delicate solos that complement Zaorski’s voice. Once Robert Snow sets the dance floor thrumming its just a matter of time before the dancers peel off the wall and start to take the floor. I don’t have a notebook and I’m too beer-tipsy fascinated by it all to keep a set list in my head. The sound is almost too clear. You expect the wandering modulation of a distant short wave station broadcasting from somewhere on the far side of Eisenhower like the RKO tower. These songs were growing old before most of the band was born but here tonight they are fresh again. The seated players lean into the songs, intent as surgeons, while the base player’s eyes close and off he goes where ever the hell it is bass players go when they are mounted by the melody. The dance floor fills by fits and starts, one couple at a time at first as if by prearrangement, the jitterbug and Lindy Hop couples each taking their turns, inviting the crowd to marvel at their steps like the first Lindy Hoppers at the Savoy in Harlem most of a century ago.
“Can you believe this? That we’re here listening to this?” Eric asks. We are like two old vaudevillians between shows grabbing a glass of beer and of course I answer as I always do. “Yeah, this sucks. Cleveland. That’s where we should be tonight. I bet it’s happening in Cleveland.” We both laugh and the people around us give us the slantwise eyeball and edge away a just-visible inch. Cleveland. Right. Somewhere in Cleveland in a Holiday Inn there may be a quick-silver blond with Betty Grable legs crooning with a pianist who misses his ashtray more than his youth, but I don’t think you would find a house full of kids and wish-they-were’s leaning in toward the singer just as the band does, swept into Zaorski’s updo and baby-doll vocals. The whole room–band, dancers, audience– is titled slightly toward the singer and you can almost see the energy flicker by spark jump from the crowd up to her and come back in a brilliant million candle-power flood of Forties poise and song.
I first heard Zaokrski sitting in with the Jazz Vipers at the Spotted Cat, before the big split in the band, before HBO’s Treme packed that place like the last dry room on the Titanic and they moved the stage and took away the old wicker chairs and couch where non-dancers like me could wait for a chance to collapse and just get lost in the sound. I’m not about to Google a lady’s age but Zaorski started a dozen years before that in a barroom called Southport on Bourbon Street. Between songs she talks about singing over the football game, of the bartender vacuuming around the bands’ feet during the last set. Swing has come a long way since bands like the Jazz Vipers took swing out of the dance-class and wedding ballroom and brought it back to the smoke and mirrors of the barroom where it was born. Half a dozen bands work the trade now to fill all the dance cards of the jitterbug-crazy retro fedora and nylons crowd. Its impossible for a stand-and-drink man like myself not to watch the footwork of the dancers but when singers like the sparkling Zaorski and pin-up sulty Ingrid Lucia and the fiery Meschiya Lake with her updo and tattoos take the stage the real magic is straight up center over the microphone. The magic of all the swing cats–men and women, singers and players–is the magic of jazz, the ability to bend space and time like notes, to take you out of yourself and toward another time and place, in this case to a scene out of some Ronald Reagan Rest Home dream, where the syncopation of music and feet among the sharp hats and shapely gams made old cats like us first twinkle in someone’s eye.