Seinfeld’s passion for a laugh


I saw Jerry Seinfeld on October 6, at a school auditorium on the Upper West Side. David Remnick interviewed him there as part of the annual New Yorker Festival. The two of them were very entertaining together, and Jerry shared anecdotes about his personal journey to becoming Forbes’ highest paid comedian around today (and in my opinion funniest of all time), with income of $69 million between June 2016 and June 2017.

I was amazed to see Jerry Seinfeld live, after loving the show Seinfeld and growing up in Burnaby, BC (a middle-class suburb of Vancouver), where nothing ever happened. I never would have dreamed that one day I would actually be in the same room with Seinfeld, close enough to hit him with a spitball.

Imagine the leap, from watching a star on a TV screen in my dismal college apartment (my neighbors in the apartment about six feet across from my window used to regularly vomit and urinate out the window onto the concrete below) to attending The New Yorker Festival on the Upper West Side of New York City. This is a leap all the way across the continent, to a location very close to Tom’s Restaurant, where parts of the show were filmed (and where I’ve actually eaten), to seeing Jerry Seinfeld and David Remnick in person. I truly had no idea this would happen one day.

I remember being at writing school in the early 90s and coming to class the day after a new episode of Seinfeld. We all watched the show and marveled at the clever writing and just how funny it was. I have never laughed as hard in my life as I did during the episode where George told his date he was a marine biologist and Kramer shot the golf ball into the whale’s blowhole (Season 5, episode 14). This must be one of the funniest things that’s ever not really happened. Interestingly, this was the episode Jerry mentioned as an example of how the writers on the show came up with situations that suited the characters. It started with the idea of Kramer driving balls into the ocean (something that no one else would ever do), and took off from there.


Jerry spoke a lot about his love of comedy and how it motivated him to pursue that goal, regardless of financial success, which of course he also enjoys at this point in his career, aged 63 (and looking fantastic). His success is phenomenal and impressive, but it’s hearing how he has worked hard at itdue to his love of it and not wanting to do anything else
that is inspiring to me. He listened to comedy records in his room as a kid, and later worked at his routines in small venues with a handful of people in the audience. He just wanted to be an opening act for a band. But his whole world was comedy, and comedians, and getting jokes to work.

He said the audience tells him what works. “The laughter has so much information in it. They sometimes go ‘Yeah, but, it’s not funny…’ Every laugh is totally unique. You could play me a laugh and I could tell you the joke.” It’s a weird dichotomy, because he’s trying to get the audience to understand his unique view on something, but at the same time, he is acutely conscious of the audience’s response and crafting his wording and delivery to communicate the idea to us, so it’s a highly interactive process.

I was struck by how he puts his whole being into this life of a comedian. He shared a story of working on a particular bit for 10 years. He thought it was funny, but no one else did, and he kept playing around with it until he could get other people to see what he saw.

I am inspired to see someone who loves something whole-heartedly and expresses it in the world at the peak of what is possible. Living in New York, I have the opportunity to see the best ballet, modern dance, and theater in the world, and hear the best musical performances. Obviously, Jerry does this with comedy. What’s clear is the single-minded interest and intention it takes to get that good at something.

No one knows this about me, but when I was a kid, about 6 or 8 years old, I used to dream of being a comedian. I got a book of jokes from the library, and used to practice the jokes in the cold concrete-floored basement of our suburban house. But I didn’t think I was funny, and of course at that age I didn’t have the depth of experience to communicate the nuance of the idea in the joke in a funny way. And those jokes probably weren’t that funny to begin with, come to think of it!

After a painfully shy adolescence, I overcame my fear of public speaking during a program called the Advancement of Excellence, in the late 80s, and since then I’ve taken singing and guitar lessons, some acting classes. I’m now studying dance at the Joffrey Ballet Center, and I’ve taken a lot of different dance classes over the years. As some of you will recall, I was given the opportunity to dance onstage (and conduct the Vancouver Symphony Orchestra) at the Orpheum Theater! I’ve taught yoga and led vision quests in the desert. I’ve given presentations as a professional writer, and spoken publicly in large crowds. I like the limelight now, and love the feeling of saying something that makes a group of people laugh.

When I came to New York, the first writing course I took was a comedy writing class at Gotham Writers. The instructor, Nelsie Spencer, was hilarious. Everyone in my class was hilarious. Sadly, I learned that I was not. Though I did have the class laughing at one or two of my dating (read: sex) misadventures.

In a way it is a curse being pretty good at–or at least enjoying–a lot of things. Ive never had a really strong sense that there is ONE THING that I am meant to do and am passionate about. Though maybe writing is the thing that comes closest. I wrote my first story in grade 6, and now I’m a couple decades into a writing career. I believed this was my passion and my destiny at one time, but now I’m not sure! I’ve taken a few other courses at Gotham, and as you can see, I’ve been writing this blog pretty consistently since 2008. I just don’t know. Is this really it?

Seeing Jerry has had an impact–seeing someone like a Mozart, who has one passion and follows it right to the very end, the very peak. I have the feeling that isn’t my destiny in this lifetime. But I am looking forward to contemplating this question for a while. Where does my passion take me? Where does yours take you?

Eric Reed – Git’cha Shout On Nov. 10-12 at Smoke Jazz Club, NYC

I was fortunate to worship with the converted at Eric Reed’s altar at the Village Vanguard on Sunday, April 9. He was leading the congregation from his piano (actually, the VV’s venerable piano—what souls have imprinted that keyboard!), with his confessed alter-ego Tim Green providing counter-point on alto and tenor saxophone. Reed was on fire with spirit, innovation, and purpose. Green’s long lines were strong and clear, with a cleanness that complemented Reed’s soulful presence.

The band started with a tribute to Thelonious Monk, weaving the Monk’s magic into a medley of classic jazz, then shifted into gospel groove with “Git’cha Shout On” from soon-to be released A Light in Darkness, and crowd-fave “Prayer” from Reed’s Reflections of a Grateful Heart (2013). The audience was swept up in a collective contemplation of the fullness of love the human heart is capable of during these two songs, and it took off from there, building to a culmination of optimistic joy by the end of the set. One of the reasons I love going to the Vanguard on the final Sunday show of a band’s stay is that they have reached a cohesive groove and relaxation at this point in the run, and a comparison of the recorded version of Prayer with the live version on Sunday illuminates what I mean—there was an immediacy and excitement to the live performance that elevated the song to a new level of ministry and revelation.

Perhaps expected in the world of jazz, Reed speaks a political message with his soul-stirring melodies. “The older I get, the more I start to see my musical, spiritual, and personal influences as all one stream of consciousness,” Reed says. In today’s strange time, a very real, pressing question is how can the arts help us deal with the political situation. Reed is the first jazz artist I’ve heard address this directly. He enjoined the audience to pray for our leaders in these difficult times, saying they need our loving energy which will help guide their actions, whether they know they need our prayers or not! I was uplifted by this message with the music, which acknowledged what is going on in the world, and provided his listeners with the positivity and hope of right action and loving responsiveness, rather than despair and the futile hatred of ugly memes and clickable sensationalist links that seems to make up so much of people’s response to the times in social media. Responding to chaos and aggression with love might seem naïve to some, but I believe it is the response of a more mature humanity.

Reed is the son of a Pentecostal preacher, and was playing piano in his father’s church by age 5. He is steeped in the tradition of Christian love, and this heritage has matured into taking right action in the world through his role as inspirational entertainer. His early days in the Pentecostal church reverberated on the stage at the Village Vanguard, with the organic call-and-response that was part of those earlier Sunday nights. It was a time to share in a community of people who understand, and say “Yeah, we know.”

In between numbers, Reed also reminisced about the Vanguard owners giving him a chance 20 years ago when he was in his twenties, and he talked about the up-and-coming generation in the audience on Sunday night. Some of these up-and-comers were on stage with him as well. Young pups Michael Gurrola on bass and McClenty Hunter Jr. on drums laid down a strong gospellation of groove and amens.

It’s fascinating to watch a piano master at work, whatever the music genre. I remember watching the Buena Vista Social Club pianist Rubén González and his incredibly long fingers seemed illuminated with Wim Wenders’ divine light. Another Cuban-born pianist, David Virelle’s amazing spider fingers dance on the keys with a distinctive pouncing movement. Reed’s soulful jazz piano hands are mesmerizing in a different way, with resiliency and spiritual presence actually curving the ends of his fingertips up away from the keys, so that the pads connect with a caress each time they touch down. Then the blur of movement picks up tempo to faster than the speed of light, and the sounds of 10 notes at once fills the ear space with joyful jazz improvisation.

Philadelphia-born Reed has a 27-year career as a recording band leader, from 1990’s Soldier’s Hymn to the 2014 release Groovewise, and also recorded on numerous Wynton Marsalis albums in the 90s, including Live at the Village Vanguard (1999). More recently he played on Christian McBride’s Kind of Brown (2009). At the time of the April Vanguard show, Reed was in rehearsal for his upcoming release, A Light in Darkness.

This release will be Reed’s thoughtful, deliberate response to current events “Yeah, I see what’s happening out there–I’m not living under a rock or sticking my head in the sand. My faith is undaunted by the ugliness of racism, greed, and blatant ignorance of, seemingly, a world gone even madder than one can imagine. It’s easy to get away: prayer, the soft, mild chords on my piano in my solitude.

“These are all the things I think about as I prepare for a new recording… I can tell you, it will be highly emotional, more so than any of my other works. It will be a creation, a compilation, a collaboration and it will illuminate love, love, love!”

Reed toured with Ravi Coltrane to the Jazz on the Odra Festival in Poland this spring, followed by various dates in California and DC. He’ll be playing with his Eric Reed Quartet in New York, NY for his CD Release Party at Smoke Jazz Club on November 10-12, 2017, featuring music from A Light in Darkness.

The disappointment of Guns N’ Roses

I was thrilled to see Guns N’ Roses last Sunday at Madison Square Garden. At least, until I was actually in the stadium watching the show. Then it was a bit of a snooze, I am disappointed to say.

I had previously seen early GNR shows in 1989 at the LA Coliseum (where they backed the Stones) and in 1991 when they headlined at the Tacoma Dome. I can clearly recall the thrill in LA of seeing Axl twirling with the microphone stand, and performing his signature sideways sashay. Somehow, as the old blues song says, the thrill is gone.

“Welcome to the Jungle” was song #4 in their setlist, and I thought, finally, this show is getting going:

But it never sustained this level of energy… By the time they did “Coma,” 9 songs later, I was pretty much in one.

Surprisingly, the covers they performed had more energy. I especially enjoyed the freshness and emotion of Glen Campbell’s “Wichita Lineman.” But honestly, I just saw Paul McCartney do “Live and Let Die” last month at Barclays Center, and his version was better! I could feel the heat from the flashpots in the nosebleed section.  I also saw Roger Waters do his own “Wish You Were Here” last month (see my video on YouTube), and again–his was of course WAY better than GNRs, though the crowd loved the song and sang along over GNRs instrumental version. It was a fun moment, don’t get me wrong. Just not the GREAT moment I was expecting.

What surprised me was that the audience was on its feet much of the time. A lot of reviewers loved the show, and here’s one by Loudwire. GNR are the 41st best-selling artists of all time, with Appetite for Destruction being the best-selling debut album of all time in the US, 11th best-selling album period. The “Not in this Lifetime” tour was the highest-earning per-city global concert tour of 2016, and the fifth-highest grossing concert tour of all time. People love this shit. And I did too. But maybe I’m not the fan I thought I was.

By comparison, I was blown away by Mötley Crüe in their final tour, which I saw at Madison Square Garden in 2014, on my first trip to New York. And AC/DC rocked the house in Vancouver last October–one of the best shows I have ever seen, with one favorite song after another, and the aging rockers kicking ass like you wouldn’t believe. I thought GNR would be equally exciting, but their show just wasn’t as good as these others. I guess it’s hard to live up to a memory. Nuff said.

Oh, except for one more fun fact:

Am I right?