Memo from the World:
Music in Marble Halls

by David K. Roland

Things happen when I go visiting. My life at home in Florida is very quiet. In contrast, my trips to Colorado last year and to New York City this year have brought me experiences worth telling about.

I had returned on a commuter train from a visit to the step-grandchildren in the suburbs north of the city, and walking through Grand Central Terminal, I came upon an unusual group of musicians, hangers-on, people with clipboards and matching badges, and bemused passers-by like myself. A trio was playing in one corner of a cavernous corridor, all encased in marble on the floors and up the walls, which were several stories high. The trio had brought amplification as well, ensuring that they could be heard by the fourteen people seated in front of them at a horseshoe of folding tables, and everyone else nearby. The saxophonist was young but reasonably tasteful and talented. The bass and guitar provided assured support. They played nice old standards, slightly obscure, the kind Johnny Hartman would sing.

Why were they doing this, I wondered? Eventually my eye lighted on a small sign, lettered MUNY - Music Under New York - Auditions - Public is Welcome. As I scanned the crowd, I began to understand - a good number of those milling around were carrying instruments or otherwise looking like musicians. Press photographers were there - I knew because they had several cameras with large impressive lenses hanging from neckstraps. The fourteen seated people in front of the players must be the judges, I conjectured.

After the trio finished, the crowd applauded politely. Quickly the trio packed up its gear and left the spot in front of the judges. The next act came on - a tall slim young woman with an acoustic guitar. There was a brief exchange between her and a member of the previous band. If she had been asking to use their microphone and amp, she was refused. So she came up really close - maybe a foot away from the center table - and played and sang, inaudibly to me. The judges on the far ends of the horseshoe seemed to be craning their necks to get a better look, or to hear her.

As I wandered, I decided to take out my little snapshot camera - so small it fits in a pocket, which means I actually use it. It still had film in it from the previous evening's family get-together, and I figured what the heck. So here are some of the results:

There is a certain stance adopted by post-folk guitar players, and it looks a lot like this - slight rounded shoulders, sandals - not shoes - if it is even remotely warm, a checkered or plaid shirt, jeans, a wide leather guitar strap (seems to have replaced the macramé and fake tapestry designs of decades past) and a haircut neither kempt nor unkempt - just a little neglected-looking. This young fella filled the bill nicely.

 

Now a tuba is not something I see every day. I was excited to see one, and the incongruity of its surroundings made for a nice little snapshot, I think. I did not have the time to wait to hear it played. Too bad.

 

When I saw this contraption - a small guitar amplifier strapped with bungee cords to a wheeled luggage carrier - I began to realize the kinds of inconvenience a city musician must put up with. I can recall some garage bands my friends and I were in, when I was much younger. If we ever got work (a few times a year), we just threw everything into the jalopy and drove to the gig where there was plenty of parking. I imagined how I would feel arriving at a gig after having negotiated subways, stairs, crowds, possibly heavy rain or blowing snow, bringing with me my guitar, a bag full of paraphernalia - cables, the charts, lists of phone numbers, extension cords, extra strings, duct tape (of course), etc. - plus that amp-on-wheels. I guess it's a sign of old age, but I can't think anyone would be completely unaffected by such a pilgrimage.

I think the tuba belonged to this group. Figures, I guess.

About the Author:

David K. Roland retired from the civil service in 1991, and makes his home in Florida, where he is an amateur cellist. He visited New York City recently. His report on the Internet and its effects on underserved communities appeared in the Newsletter's February issue.

All images are courtesy of the author.

Resources:

Auditions are held annually for the Music Under New York (MUNY) program. Information on performance locations can be found at the Arts for Transit web page - http://www.mta.nyc.ny.us/m ta/aft/munyschd2.htm

A brief history of street performing in New York is available at http://newmedia .jrn.columbia.edu/1996/subway/subhist.html