Chromatic Water Theory XIII: Abstract Jazz

Live art for the Redwood Coast Music Festival

Painted partially live at the Basement in Arcata, then finished recently for the Redwood Coast Music Festival.

It’s been a ton of fun creating artwork for the festival, and at the festival as well. This Chromatic Water Theory series was literally born in the presence of world class jazz musicians performing in the Morris Graves Museum of Art in Eureka. The first few pieces I did for the official festival artwork included different elements, but as I painted live as the jazz acts rotated throughout the days and nights of the festival a simpler theme emerged- a visual combination of musical instruments and moving water.

I can’t think of too many manifestations of rhythm in nature as elemental and profound as the breaking of waves on a shoreline. Sure there’s sound waves, light waves, all sorts of wave phenomenon in nature, but water waves are special in that they are scaled in space and time just perfectly for human interaction. We can ride one at a time, or get pounded by one at a time if riding them isn’t your thing (or even if it is). We can experience one water wave as a singular entity. Not so with sound waves, or light waves.Perhaps even more than their rhythms, it’s the ability to move us physically that causes me to associate them with music. But I don’t want to make too much of it or overthink it, because like music, these paintings are just fun and feel so right.

Previous pieces from the series have focused on piano keys, drums, and various stringed instruments. The brass and woodwind instruments- saxophones, tubas, clarinets all seemed so foreign to my sensibilities. I can reference something as simple as a vibrating string and feel like I’ve done enough to evoke a guitar, but these alien instruments, full of tubes, and levers, and knobs, and who-knows-what- how do you distill one of those to a simple element? I have no answer. Maybe a better artist could do so effectively but the task eluded me, so I just went with the whole enchilada… er, saxophone, front and center. The keys beneath and the drum behind rounded out a nice trio. So there you have it

And also a poem…

When the music ends⠀
The lights go on⠀
And everyone slowly leaves⠀
Yet somehow the room is strangely dim⠀
Somehow darker than it was before⠀
When the house lights were off⠀
And the music filled the spaces⠀
Between the empty glasses ⠀
That are now also slowly leaving⠀
White rings on the wood tables⠀
As we hum to ourselves ⠀
And dissolve back into the cold night air⠀
And warm beds that await⠀

If we’d known then⠀
That the music would end in this way⠀
We’d have stayed all night long⠀
Played all night long⠀
And drank the bar dry⠀
Letting the jazz⠀
Lead the revolution⠀
Until they came with lights blazing⠀
To pry the saxophones and drumsticks⠀
From our cold dead hands⠀
To confiscate the pianos⠀
And abolish this beautiful night⠀

So now we sit in the quiet darkness⠀
Of a bright winter day⠀
Humming sad tunes to ourselves⠀
That we’ll later play softly ⠀
On our contraband pianos⠀
Sitting in our empty rooms⠀
With the lights off⠀
Because everyone knows⠀
The piano is just a medicine cabinet⠀
And the music will never end⠀

A Man Among Giants… and Also His Cat

Plein air painting of Ken Jarvela painting in the redwoods at Prairie Creek National Park in Humboldt County, California

Over 20 years ago I read a story in the local press about an artist that would spend weeks on end out in the high mountain backcountry, living out of tent and cave, painting daily. Surviving snow and rock and ice and fire. On his return he’d see civilization’s blur of concrete and impatience through eyes made clear in the thin mountain air. He’d also return with 38 paintings. On his back. And that would just be one pack. He’d have another pack full of camp gear that he’d haul around in a game of alpine leap frog as he juggled these two packs all over the peaks and valleys of the country he loved.

I’ve never been more inspired by any artist’s commitment. Oh, you paint in the howling wind? Fun. Oh, you paint every day like a good devotee to the religion you’ve built around art in your mind? Bless you, my child. Oh, you paint large canvases outdoors, much larger than most plein air painters would attempt? Go big or go home, as they say. Those are all great, but get back to me when you’ve gone on a solo painting trip for a month on foot in the wilderness and have to wait out a blizzard in a bear’s cave punching holes in the snowpack to breathe as you shiver out the storm surrounded by half-finished paintings from the warmer, sunnier days that preceded this long dark day that could have held 4 or 5 ordinary days within it’s length*. That is the bar that has been set. When it comes to commitment, none of us, and I mean none of us, are Ken Jarvela. (Except Ken… so I guess one of us is Ken Jarvela. Hi Ken!)

I found Ken on a warm October day back in 2019 surrounded by giant old growth redwoods, working on a 24″ x 60″ panel from the road beside his car, watched by his cat, Charlie Wing Wang (may he rest in peace). Very few painters can make sense of these dense forest scenes and actually make them work, but Ken is truly a master. What was there to do? I was just another cat watching so I created my own cat’s-eye-view of Ken Jarvela, a man among giants.

Between the Music and the Beer

Live art of sand dunes on the Samoa peninsula on the Humboldt coast of northern California

This was also a live painting done just recently at a benefit for a local nonprofit called Friends of the Dunes. I’ve been painting at their annual wine-sipping event for the last 6 years or so and always have a good time. This day was no different, but it was a bright sunny day, unlike some years, and I was supposed to set up and paint outside. I’d prefer to have been in the shade, but all the tents were sorta spoken for, so what was I to do? The obvious thing of course- wedge myself right in between the live music tent and the beer tent. I may not be smart, but I’m no dummy. Good times once again.

A Fresh Perspective

Plein air painting overlooking Highway 101 at Freshwater lagoon on the Humboldt coast of Northern California

Long straight sandy beaches are a lifelong nemesis when it comes to composing a scene that holds my interest long enough to see a painting through. Down on the beach it’s all just sand and sky with that little strip of compressed sea level ocean. Aargh. Get me up on a hill. Give me a little more earth, a little more ocean, a little more of everything and a little less sky. Nothing against the heavens, I’ll be heading there soon enough, but for now my feet are still planted firm in the clay. Give me a beer and a sandwich. Give me anything at all, just give me a fresh perspective please.

Deep Calls to Deep

Plein air painting of mural on a church wall by Chris Del Moro and graffiti that say to Read Kerouac in Marina Di Pisa, Italy

“The only people for me are the mad ones: the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who… burn, burn, burn like fabulous yellow Roman candles.” ⠀
-Jack Kerouac, American Poet and Novelist (1922-1969)⠀
Printed and taped on my father’s fridge by my sister (1968-2014)⠀

Ok, hold on tight… ⠀

Enter Tom Curren, stage right, guitar in hand, gliding across an old Persian rug on roller skates. The same rug on which I stood painting live to his music after a surf festival just north of San Francisco. The same rug on which just a few hours earlier I nervously met Tom backstage behind a translucent screen where Jason Baffa’s film Bella Vita played (the part where Chris Del Moro paints a mural in Italy). The same rug that once belonged to Jerry Garcia, who was greatly influenced by Kerouac, and who also once laid his hands on my own mother’s womb in Golden Gate Park in 1969 and blessed my unborn sister who went on to live a fabulous Roman candle of a life and introduced me to Kerouac’s work before cancer extinguished her visible flames. ⠀

Bella Vita. Although my first encounter with the film proved deeply significant, I had no way to know just how far that magic carpet we stood on was going to take me in just a few years. If Jason Baffa hadn’t made that film about Chris Del Moro returning to Italy, Dwight Harrington wouldn’t have seen it and been immediately inspired to plan his return trip, catching me up in his slipstream. ⠀

Shortly after Bella Vita was released, Chris asked me to do a painting up in the hills near his home in California. I arrived with friends and we descended into Chris’s world like characters from a Kerouac novel and proceeded to hoot and holler and drink the afternoon right into evening, resulting in a rather questionable painting. He was gracious, but I knew I’d make it up to him one day. ⠀

Today was the day. I set up the easel in front of his mural in Italy and painted the scene in plein air. A gift for a friend. ⠀

Graffiti on the wall simply read, “READ KEROUAC.” Just two words, but oh how they burned, burned, burned…

The Dining Room

A plein air oil painting of stonework overlooking Camel Rock at Houda Point on the Trinidad coast of Humboldt California

It can be anything you want.
Stone stairs lead down to an empty room that couldn’t contain the view so they left the walls and roof off altogether.It can be a community kitchen where breakfast burritos are served to surfers exiting the water on a cold clear morning.It can be a music hall.It can be a shelter from the wind.It can hold a fire and 7 kids too young to drink but drinking anyway.It can be a house of prayer.It can be a place to remember.It can be a subway wall full of graffiti where the train stops here and here alone.It can be a hiding place from the law.It can be a gathering place.It can be a quiet place for conversation.It can be an amphitheater holding the entire world in captive attention.It can be all of those things and more on any given day, but today it was the Dining Room where a rough dozen artists were fed a breakfast of breathless morning beauty on a bluebird day, followed by a lunch worthy of kings served by one of the most generous people I’ve ever known.There’s never been an empty room that held more inside than this one.