Greetings from Portland!

July 28th, 2020

.

.

Lownsdale Square, Portland, Oregon; July 26, 2020

 

.

___

.

…..Portland is a great city in which to live.  The neighborhoods are alive and colorful and, of course, hipster-chic.  The Willamette River runs through a thriving downtown, with ten architecturally unique bridges connecting its east and west sides.  The south and north shores of the Columbia River border Oregon and Washington, and are a short drive from downtown.

…..The ocean is an hour to the west, Mt. Hood is an hour to the east, and the Columbia River Gorge – which features spectacular hiking and adventure – is all of thirty minutes from town, a little over an hour by bike.  Seattle is three hours by car or train to the north, and, on clear days, along the route are dramatic views of Mt. Adams, Mt. St. Helens and Mt. Rainier.  Two hours beyond Seattle and you are in a different country and in another world class city, Vancouver, B.C.

…..Yes, it rains here actually quite a lot, but the trees are green and plentiful, the birds sing, the air is usually clean, and – at least prior to the pandemic – the city is blessed with a thriving restaurant, arts and culture scene.  Jazz fans are happy here too – lots of great events throughout the year and the PDX Jazz Festival in February is truly one of the finest jazz gatherings in the country.

…..When I moved here in 1978, Portland was really interesting, but in a different way than today.  Housing was more affordable so the city was more economically and racially diverse.   Logging was the major industry, its culture grittier and more blue collar.  In place of today’s nouveau cuisine prepared by world-class chefs, greasy eastside corner taverns poured Heidelberg and Rainier, and served up burgers topped off with fried eggs and ham.  In my travel over the years, oftentimes when people learned that I live in Portland they will say something to the effect of, “Oh, I hear Portland has become such a cool place!”  That’s true, but at least for me, Portland has always been a cool and special place.

…..And it’s cool and special for a lot of reasons, not the least of which is that the people who live in this city are passionate. Political. Opinionated.  Independent. Activist.  It has been that way for a long while.  In 1964, Senator Wayne Morse famously repudiated the U.S. strategy in Vietnam, naming it an illegal war and calling for its end well before it was popular to do so. In 1971, Oregon was the first state to create a bottle return law.  It was the first to enact a right for “Death with Dignity.”  Oregonians vote – safely and usually eagerly – by mail.  Marijuana is legally sold in countless storefronts all over the state.

…..Unfortunately, like many states Oregon also has a very complex and shameful history with race.  In 1844 an Exclusion Law barred Black people from living in Oregon – a violation of which could result in 39 lashes every six months until the occupant left.  Black people who were not already in the area (there were only about 50 here at the time) were not allowed to enter or reside in the Oregon Territory.  In the 1920’s, it is estimated that Oregon had 35,000 Ku Klux Klan members  – the largest contingent west of the Mississippi River – and in the 1950’s, when the Black population of Portland was less than 1%, “urban renewal” displaced many residents of Black North Portland neighborhoods to make way for the interstate freeway and the Memorial Coliseum sports arena.  With this renewal, entire communities were destroyed (including a vigorous and historic jazz scene along North Williams Avenue).

…..A more contemporary example– though hardly unique to Portland – are the consequences of gentrification, an economic shift that has disproportionately displaced Black families from their neighborhoods and institutions.  North Portland, once known for its barbecue restaurants and lively bars and lounges, its thriving churches and, yes, troubled streets, is now mostly hipster-white and uber-expensive.

…..So, Portland residents carry this distant past and more contemporary baggage, are conflicted by it, and tend to react to issues of unfairness and ethnic intolerance with activism, outrage and sometimes even courage.  A recent occurrence was in 2017, when, while on the local commuter train, a white man fatally stabbed two white men when confronted for shouting racist and anti-Muslim slurs at two teenage Black girls.  The city was deeply impacted, and the wounds from that incident are not entirely healed.  The two murdered men reflect much of what contemporary Portland believes is the right thing to do – stand up to hate, especially for those most vulnerable.  Their actions are revered and their souls deeply cherished.  That their lives were taken in what is perceived to be a climate that has allowed hate speech to grow has made it that much more painful for the community, and made Portlanders that much more bedrock in their belief that under no circumstances is hate ever to be tolerated.

…..It is not surprising, then, that in this moment Portland is a city ripe for activism.  Its determination to fight the good fight in the face of hatred and systemic racism – which white protesters have a sensitive and obvious role in – has led the community to this current place of protest, which naked political cynicism and its most desperate actor willfully exploit.

…..I have not taken part in any of the protests.  At 66 and in the middle of a pandemic, I have decided to (mostly) stay indoors and away from crowds, choosing instead to help make a place for creative voices to be heard within this humble platform.  But while doing so I have watched with great interest and support for those seeking systemic change and justice for George Floyd and the many other victims of racist, criminal hatred.

…..What has been mostly reported in reputable national media about the 60 day history of these protests in Portland is true.  There was some vandalism when the protests began.  As the crowds grew the vandalism mostly ceased and the demonstrations – attended by thousands each night – were peaceful.  As time went on, the crowds grew smaller (approximately 100 or so prior to July 4), and it was reported that some vandalism returned.  At that time, Trump called in the Feds to presumably protect the Federal properties downtown, which none of the state’s political leaders requested.  Unsurprisingly, unpopular actions by an unpopular president provoked a response by some protesters, and the resistance has grown, mostly in the form of the defacing of government property, water bottles and other objects thrown and slung at the Feds and local officers, fireworks launched at the building, trash fires, etc.  The government response to this activity has been to shoot “non-lethal weapons,” pepper spray and tear gas at protesters, and in a few reported cases, unidentified federal employees abducted protesters and transported them in unmarked vehicles to the Justice Center.  Unsurprisingly, this pisses people off, and residents are pushing back by returning to the protests in large numbers.  Injuries – some quite serious – have been reported by both sides.

…..There are certainly questions for everyone’s actions.  Nobody is blameless here.   Protesters have the right to peaceably assemble without retribution from the government they pay taxes to.   As importantly, protesters need to lawfully assemble, and to respect government property and the rights of businesses in the neighborhood to operate unimpeded.  Most significantly, the lessons learned from and the work required as a result of George Floyd’s murder can’t shrink under the political spotlight of this new shiny object our reality TV president is flashing to distract attention from his pandemic-era failings. Protesters should protest, but  with care to not distract from the original message.  By doing so they are abetting Trump’s desire to divide the country prior to November’s election – right and moderate from left, sure, but also left (progressive whites) from left (Black Lives Matter).  Give the guy one thing, he knows how to foment chaos.

…..Meanwhile, many in Portland protest vehemently with nary a practical solution in sight, and everyone else watches and waits and scurries to the morning news.  As if it were a reality show, we eagerly ask; What happened last night?

…..In the latest episode, aided by the president’s provocations and the protesters’ response to it, the madness is growing beyond this wonderful, complex, wounded city.  Unless we Portlanders can peacefully resolve our concerns, Trump will find traction, and this reality show will likely soon be coming to a city near you.

.

___

.

 

The fencing in front of the Mark Hatfield Courthouse; July 26, 2020

.

.

 

.

…..On the morning of Sunday, July 26, I took a short drive downtown to see the space in which the protests are taking place.  While a quiet Sunday morning is hardly the same experience as the protests, I was able to get a sense of the energy.

…..What I found is pretty much what I expected, and what I have heard from reliable sources — evidence of disorder and graffiti art — mostly within a block or two in either direction of the Hatfield Courthouse.  The building is surrounded by metal fencing, with flowers and miscellaneous notes and messages clinging to it. There was also a tent village in Lownsdale Square directly across the street, and to a lesser degree in Chapman Square in the next block. The Multnomah County Justice Center across the street from Lownsdale has its windows and entrance boarded up, and a relatively small amount of graffiti on the building itself.  If you walk two blocks in either direction of Hatfield Courthouse, the vandalism is sparse, although there is little doubt the protest activity is impacting business in the area.

…..It seems as if much of the graffiti is “new,” likely since Trump sent the Feds in, and is mostly directed at supporting BLM, while also railing against the Feds and the local police.   Few messages seem directed at Trump, the mayor, or any other specific individuals.

…..In addition to tents, Lownsdale Square has a community market of sorts, as well as a few folks offering food to those in need.  The air is pungent, thick, gritty, but the scene was very calm.

…..Here are some pictures from the scene in the Park, and around the area of the protests.

.

.

The Mark Hatfield Courthouse

.

.

 

.

.

 

.

.

.

.

 

.

.

.

 

.

.

 

.

.

 

.

.

 

.

.

 

.

.

 

.

.

 

.

.

.

.

.

.

.

Share this:

2 comments on “Greetings from Portland!”

  1. A city with a complicated history, as most of our cities seem to be. Thank you for an insider’s view!

Leave a Reply to Aurora M Lewis Cancel reply

Your email address will not be published. Required fields are marked *

Site Archive

Your Support is Appreciated

Jerry Jazz Musician has been commercial-free since its inception in 1999. Your generous donation helps it remain that way. Thanks very much for your kind consideration.

Publisher’s Notes

Creatives – “This is our time!“…A Letter from the Publisher...A call to action to take on political turmoil through the use of our creativity as a way to help our fellow citizens “pierce the mundane to find the marvelous.”

In This Issue

Announcing the book publication of Kinds of Cool: An Interactive Collection of Jazz Poetry...The first Jerry Jazz Musician poetry anthology published in book form includes 90 poems by 47 poets from all over the world, and features the brilliant artwork of Marsha Hammel and a foreword by Jack Kerouac’s musical collaborator David Amram. The collection is “interactive” (and quite unique) because it invites readers – through the use of QR codes printed on many of the book’s pages – to link to selected readings by the poets themselves, as well as to historic audio and video recordings (via YouTube) relevant to many of the poems, offering a holistic experience with the culture of jazz.

The Sunday Poem

Mariefize009, CC BY-SA 4.0, via Wikimedia Commons


“Miles” by J. Stephen Whitney


The Sunday Poem is published weekly, and strives to include the poet reading their work....

J. Stephen Whitney reads his poem at its conclusion


Click here to read previous editions of The Sunday Poem

Feature

“What one song best represents your expectations for 2025?” Readers respond...When asked to name the song that best represents their expectations for 2025, respondents often cited songs of protest and of the civil rights era, but so were songs of optimism and appreciation, including Bob Thiele and George David Weiss’ composition “What a Wonderful World,” made famous by Louis Armstrong, who first performed it live in 1959. The result is a fascinating and extensive outlook on the upcoming year.

Interview

photo by Brian McMillen
Interview with Phillip Freeman, author of In the Brewing Luminous: The Life and Music of Cecil Taylor...The author discusses Cecil Taylor – the most eminent free jazz musician of his era, whose music marked the farthest boundary of avant-garde jazz.

Feature

photo of Rudy Van Gelder via Blue Note Records
“Rudy Van Gelder: Jazz Music’s Recording Angel” – by Joel Lewis...For over 60 years, the legendary recording engineer Rudy Van Gelder devoted himself to the language of sound. And although he recorded everything from glee clubs to classical music, he was best known for recording jazz – specifically the musicians associated with Blue Note and Prestige records. Joel Lewis writes about his impact on the sound of jazz, and what has become of his Englewood Cliffs, New Jersey studio.

Poetry

photo of Charlie Parker by William Gottlieb/Library of Congress; Design by Rhonda R. Dorsett
Jerrice J. Baptiste’s 2025 Jazz Poetry Calendar...Jerrice J. Baptiste’s 12-month 2025 calendar of jazz poetry winds through the upcoming year with her poetic grace while inviting us to wander through music by the likes of Hoagy Carmichael, Antonio Carlos Jobim, Sarah Vaughan, Melody Gardot and Charlie Parker.

Playlist

“Sextets: The Joy of Six” – a playlist by Bob Hecht...The cover of the 1960 debut album by the Jazztet, co-founded by the trumpeter Art Farmer and the tenor saxophonist Benny Golson, and which always featured a trombonist and a piano-bass-drums rhythm section. Golson wrote much of the music, but “Hi-Fly” – a tune featured on Bob Hecht’s two-hour playlist devoted to sextets – was written by pianist Randy Weston, and appears on the 1960 album Big City Sounds.

Interview

Interview with Jonathon Grasse: author of Jazz Revolutionary: The Life and Music of Eric Dolphy....The multi-instrumentalist Eric Dolphy was a pioneer of avant-garde technique. His life cut short in 1964 at the age of 36, his brilliant career touched fellow musical artists, critics, and fans through his innovative work as a composer, sideman and bandleader. Jonathon Grasse’s Jazz Revolutionary is a significant exploration of Dolphy’s historic recorded works, and reminds readers of the complexity of his biography along the way. Grasse discusses his book in a December, 2024 interview.

Feature

Book Excerpt from In the Brewing Luminous: The Life and Music of Cecil Taylor, by Philip Freeman...In anticipation of my soon-to-be-published interview with Philip Freeman, who authored the first full-length biography of Cecil Taylor, In the Brewing Luminous, the author has provided readers of Jerry Jazz Musician the opportunity to read his book’s introduction.

Feature

Excerpts from David Rife’s Jazz Fiction: Take Two – Vol. 11: “Chick” and “Hen” Lit...A substantial number of novels and stories with jazz music as a component of the story have been published over the years, and the scholar David J. Rife has written short essay/reviews of them. In this 11th edition, Rife writes about the “chicks” (energetic women, attractive, and open to experience) and “hens” (older women who have either buried or lost a loved one, and who seem content with their lives) who are at the center of stories with jazz within its theme.

Interview

photo by Carl Van Vechten, Library of Congress
A Black History Month Profile: The legendary author Richard Wright...In a 2002 Jerry Jazz Musician interview, Richard Wright biographer Hazel Rowley discusses the life and times of legendary author Richard Wright, whose work included the novels Native Son andBlack Boy

Feature

On the Turntable — The “Best Of the ‘Best Of’” in 2024 jazz recordings...Our annual year-end compilation of jazz albums oft mentioned by a wide range of critics as being the best of 2024

In Memoriam

photo via Pexels.com
“Departures to the Final Arms Hotel in 2024” – poetic tributes, by Terrance Underwood...2024 produced its share of losses of legendary jazz musicians. Terrance Underwood pays poetic homage to a handful who have touched his life, imagining their admittance to the Final Arms Hotel, a destination he introduces in his prelude.

Feature

Trading Fours, with Douglas Cole, No. 23: “The Wave”...In this edition of an occasional series of the writer’s poetic interpretations of jazz recordings and film, Douglas’ poem is written partly as a reference to the Antonio Carlos Jobin song “Wave,” but mostly to get in the famed Japanese artist Hokusai’s idea of the wave as being a huge, threatening thing. (The poem initially sprang from listening to Cal Tjader’s “Along Came Mary”).

Short Fiction

Stan Shebs, CC BY-SA 3.0 , via Wikimedia Commons/blur effect added
Short Fiction Contest-winning story #67 — “Bluesette,” by Salvatore Difalco...The author’s award-winning story is a semi-satirical mood piece about a heartbroken man in Europe listening to a recording by the harmonica player Toots Thielemans while under the influence of a mind-altering substance.

Interview

Interview with James Kaplan, author of 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans and the Lost Empire of Cool...The esteemed writer tells a vibrant story about the jazz world before, during, and after the 1959 recording of Kind of Blue, and how the album’s three genius musicians came together, played together, and grew together (and often apart) throughout the experience.

Feature

photo of Lester Young by William Gottlieb/Library of Congress
Jazz History Quiz #179...Throughout his career, this saxophonist was known as the “Vice Prez” because he sounded so similar to “Prez,” Lester Young (pictured). Who was he?

Community

Nominations for the Pushcart Prize XLIX...Announcing the six writers nominated for the Pushcart Prize v. XLIX, whose work was published in Jerry Jazz Musician during 2024.

Publisher’s Notes

photo by Rhonda Dorsett
On turning 70, and contemplating the future of Jerry Jazz Musician...

Feature

“Are Jazz-Hop Instrumentals Jazz?” – an observation (and playlist) by Anthony David Vernon...Google “what is jazz-hop?” and the AI overview describes it is “a subgenre of hip-hop that combines jazz and hip-hop music. It developed in the late 1980s and early 1990s.” In Mr. Vernon’s observation, he makes the case that it is also a subgenre of jazz.

Community

Notes on Bob Hecht’s book, Stolen Moments: A Photographer’s Personal Journey...Some thoughts on a new book of photography by frequent Jerry Jazz Musician contributing writer Bob Hecht

Art

“The Jazz Dive” – the art of Allen Mezquida...The artist's work is inspired by the counterculture music from the 1950s and 60s, resulting in art “that resonates with both eyes and ears.” It is unique and creative and worth a look…

True Jazz Stories

Columbia Records; via Wikimedia Commons
“An Evening with Michael Bloomfield” – a true blues story by David Eugene Everard...The author recounts his experience meeting and interviewing the great blues guitarist Mike Bloomfield in 1974…

Art

photo of Joseph Jarman by Giovanni Piesco
The Photographs of Giovanni Piesco: Reggie Workman, Steve Swallow, and Joseph Jarman...Beginning in 1990, the noted photographer Giovanni Piesco began taking backstage photographs of many of the great musicians who played in Amsterdam’s Bimhuis, that city’s main jazz venue which is considered one of the finest in the world. Jerry Jazz Musician will occasionally publish portraits of jazz musicians that Giovanni has taken over the years. This edition features 1999 photographs of the bassists Reggie Workman and Steve Swallow, and the multi-instrumentalist Joseph Jarman.

Short Fiction

photo via PxHere
“The Magic” – a story by Mark Bruce...Most bands know how to make music. They learn to play together so that it sounds good and maybe even get some gigs. Most bands know that you have your chord progressions and your 4/4 beat and your verses and bridges. Some bands even have a guy (or a woman, like Chrissy Hynde) who writes songs. So what gives some bands the leg up into the Top 40?

Community

photo via Picryl.com
“Community Bookshelf” is a twice-yearly space where writers who have been published on Jerry Jazz Musician can share news about their recently authored books and/or recordings. This edition includes information about books published within the last six months or so (March – September, 2024)

Contributing Writers

Click the image to view the writers, poets and artists whose work has been published on Jerry Jazz Musician, and find links to their work

Coming Soon

An interview with Ricky Riccardi, author of Stomp Off, Let's Go: The Early Years of Louis Armstrong. Also, a new Jazz History Quiz, and lots of short fiction; poetry; photography; interviews; playlists; and much more in the works...

Interview Archive

Ella Fitzgerald/IISG, CC BY-SA 2.0 , via Wikimedia Commons
Click to view the complete 25-year archive of Jerry Jazz Musician interviews, including those recently published with Judith Tick on Ella Fitzgerald (pictured),; Laura Flam and Emily Sieu Liebowitz on the Girl Groups of the 60's; Tad Richards on Small Group Swing; Stephanie Stein Crease on Chick Webb; Brent Hayes Edwards on Henry Threadgill; Richard Koloda on Albert Ayler; Glenn Mott on Stanley Crouch; Richard Carlin and Ken Bloom on Eubie Blake; Richard Brent Turner on jazz and Islam; Alyn Shipton on the art of jazz; Shawn Levy on the original queens of standup comedy; Travis Atria on the expatriate trumpeter Arthur Briggs; Kitt Shapiro on her life with her mother, Eartha Kitt; Will Friedwald on Nat King Cole; Wayne Enstice on the drummer Dottie Dodgion; the drummer Joe La Barbera on Bill Evans; Philip Clark on Dave Brubeck; Nicholas Buccola on James Baldwin and William F. Buckley; Ricky Riccardi on Louis Armstrong; Dan Morgenstern and Christian Sands on Erroll Garner; Maria Golia on Ornette Coleman.