Tag Archives: The Basement

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Sydney, 1985: As the Manly Ferry cuts its way to Circular Quay

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Part 1 of our trip is here- https://mickeytales.com/2024/11/10/sydney-1985-catch-the-bus-to-bondi/

And now for Part 2!

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Brendan’s skin was peeling.

The attendant mythology grew when he announced his molted skin was being kept in a bedside cup. For some days he’d been adding to his store of discarded epidermis. Happily, his flesh was less burnt than another friend who was hospitalised after a scorching, shirtless day at the cricket.

But one afternoon we returned to the Sydney apartment and from Brendan’s room there were shouts of horror. ‘No, no, no!’ Someone, likely Woodsy or Swanny, rushed to his aid. ‘We’ve been burgled,’ he cried, ‘Someone’s stolen my cup of skin.’

We’d all enjoyed many days together during cricket season at the Adelaide Oval so welcomed a Day/Night fixture against Sri Lanka. Earlier that day Claire and Trish arrived by train, and joined Chrisso, Woodsy, Swanny, Trev, Paul, Stephen, Brendan, and me. The girls had an epic adventure, and they’d already been to Ballarat, and Melbourne.

It’d be our collective SCG cricket debut. We won and the eternally salvaging AB made 79, while the eternally angry RM Hogg took 4/47. It was punishingly hot, and even our eyeballs sweated as we sat in front of the mammoth scoreboard on their Hill.

Like Sydney itself, it was fun and filmic in scale and more vivid than conservative Adelaide. Leaving, the Hill was a graveyard for countless, abandoned thongs. It seemed to be where all rubber footwear went to die. ‘Hey, you,’ smiled Claire and promptly whacked me on the leg with a thong. She was always doing stuff like that.

Back at the Gem, it was so humid the dew was draped on the roof and windows as if there’d been a monsoon. What a strange, sultry country Sydney was! It was also the era of Derek and Clive, so waiting for the traffic, Stephen, Trish, Claire, and I listened to those horrendously drunk British men known properly as Dudley Moore and Peter Cook.

…he come up with the name of ‘John Stitch’. He come up to me. He said, “I’m John Stitch and I, I do non-stop dancing.”

Trish laughed in that bright, instantly infectious way that always amplified the fun of the joke. We cackled as if we’d never previously heard a word of it. As is her way, Claire didn’t get why we were snorting and giggling so we’d take turns explaining. Often this was unsuccessful.

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Specialising in jazz, The Basement is an iconic music venue, essential for anyone wanting to immerse themselves in Sydney’s culture. We went along one night, just to take it in. Vince Jones, Don Burrows, or Galapagos Duck weren’t playing, and while this was disappointing, it was something we did in our unquenchable desire to extract what we could from this alpha metropolis. I can’t remember the music but the distillation of memory remains: we saw live music at The Basement.

Later, crossing the Harbour Bridge, we climbed up inside a pylon to take in the panoramic sweep of the city. As we gazed down at the traffic and water, some (me) were fearful of heights, while others like Paul (assisted by being in the Air Force) and Brendan (assisted by being unfathomable) welcomed the flirtation with the deathly descent.

The Centrepoint Tower also afforded dizzying views and at the top I was a screen showing how many centimeters the tower swayed in the wind. I don’t recall the number, only my deep, unsettling fear. I didn’t like it.

Varied groups visited Luna Park, Taronga Zoo, the Moore Park Golf Club, Manly Beach, and Kings Cross where a burly bouncer asked us, ‘Is this your first time in the Cross?’ to which Woodsy replied with nodding honesty, ‘Yes!’

Then, in The Rocks, we stumbled upon a Rolls Royce, its blue elegance gleaming like a jewel. The licence plate declared a single word: Kamahl. It seemed an odd name for a car, but we later realised this referred to its singing owner! We stood by it, all thin limbs and emergent irony. His music meant nothing to us, but he was famous, and this regal car added a sparkle to our kaleidoscopic view of the city.

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Beach culture was inescapable in Sydney. Courtesy of the 2Day FM radio surf updates and Stephen’s knowledge — as an air traffic controller he’d lived there a while — Curl Curl Beach presented itself to us as a (satirical) pilgrimage. Open to all things local, we ventured there simply because we could. A couple of carloads headed, en convoy, over the Bridge, through the leafy streets of Mossman and past painterly Manly.

We didn’t even swim at Curl Curl — something about the waves didn’t look overly inviting and we carried fresh scars from Bondi — but did pose for a photo by the modest brown sign. Chrisso snapped it, and while Paul and Brendan lingered to the side, it captured us at that exact instant: young and fresh-faced and with our categorically eighties hair.

In the photo a tanker drags itself across the horizon while below us in the carpark is the now retro cool of an EJ Holden. It has roof racks so likely is anticipating the return of its surfer-owner. Claire and I are the bookends. Huddled close together are Stephen, Swanny, Woodsy, Trish, and Trev, their faces now fuzzy, washed in the soft, faded colours of the photo. It projects a wistful affection, a feeling that belongs to the past, even as it unfolds.

Gleefully oblivious, we were on the edge of things — not just a shallow cliff at Curl Curl.

We were untouched by the weight of the world, and unburdened. A modern view might be that we were merely living in the moment. We were about to plunge into adulthood, but that morning, standing above the beach, responsibility was as distant as Vladivostok.

A twentysomething birthday gift from Claire and Trish, a block-mounted copy of this photo now sits on my desk. It reminds me quietly of my privileged youth and favourite people. I don’t have a witty or poignant story about that visit to North Curl Curl and I’m perfectly content with that. What does it mean to look back and know that we were unaware of how precious those days would become?

What matters is the warmth of attachment and love that stays, how this now blurry image, taken decades ago on an East Coast beach, has come to embody our teenage years — our abundant fortune, and the deep connection we shared in Kapunda.

This summer, I’ll look at the photo again, and, outrageously and sadly, it will be forty years since our Sydney trip. Time moves like that — faster than we ever expect. One day soon, I’ll go for a drive, pick up Trev, and put on Midnight Oil.

After lunch, he might announce, ‘I’ll just get a nut sundae.’

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Jazz and me

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trumpet

My own musical career was fleeting. When I was eight I learnt guitar until the teacher moved, and Kapunda being a country town, that was it. I remember strumming in that measured, funereal way to “Banks of the Ohio” and being uneasy at having to sing

 I plunged a knife into her breast

 And told her she was going to rest

 She cried “Oh Willy, don’t murder me

 I’m not prepared for eternity.”

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While at university I discovered Vince Jones, jazz vocalist and trumpeter and his album For All Colours. Its sophistication reminds me of Frank Sinatra, and “Straighten Up and Fly Right” stars a rowdy Wilbur Wilde sax solo. I then knew that the saxophone could be as cool as a guitar.

The first concert I attended was Midnight Oil at Memorial Drive (Julia) and Vince Jones at Le Rox in Light Square was the second. Standing with other students in the airless dark I note that Vince wears a suit and tie, and in contrast to Peter Garrett’s frenzied jumping the jazz ensemble appears uninterested.

But, I was in. Jones himself once said, “I want to be inside every atom of every note.” Over the next decade I saw him often, usually in the Piano Bar of the Festival Theatre. And then, I don’t know why, he stopped regularly touring Adelaide.

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One wet Saturday in England I heard a BBC Radio 4 documentary on John Coltrane’s A Love Supreme, so immediately jogged up the high street to a HMV and bought it for ten quid. And as rain and sleet lashed our windows, its saxophonic hymn brightened the crushing winter sky.

The storms of Coltrane’s personal life thundered in counterpoint to the spiritual still of A Love Supreme, and within two years of its 1965 release he would be dead.

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One distant summer some Kapunda boys and I drove across the Hay Plains to spend a fortnight in Sydney with an air-traffic controller mate. He was among rude privilege in a Drummoyne apartment. We parked Woodsy’s Datsun 180B on the street. As we’d daily exit the Western Distributor there was a looming billboard with a huge fanged spider warning us to watch out for funnel-webs. We did. I still do.

Besides playing cricket by the Parramatta River, and body-surfing at Bondi and Curl Curl I hauled everyone to The Basement in Circular Quay. I was a fan of Live at the Basement on ABC Saturday evenings, and Galapagos Duck was the house band, and Don Burrows and James Morrison were often guests. I can’t tell you who played that sultry evening, but I liked it. The wooden tables, the ambiance, the enveloping melodies.

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Among the more brilliant things about living in England is chucking a sickie, and knicking off at dawn on a Friday to another country. Easyjet flew us from Luton to Cologne so we could explore their Christmas markets.

The city is largely unremarkable save for its compelling cathedral; the Dom. With twin spires ascending to 515 feet, it was the world’s tallest building until the Washington Monument. Similarly astonishing is that in 1162 Emperor Barbarossa secured for the Dom the authenticated remains of the Three Magi. We drifted about its vast interior and leaving, presented some Euros to a nodding priest.

Papa Joe’s En Streckstrump is Cologne’s premier jazz venue so we find our seats early for Sun Lane Ltd, an ensemble from nearby Aachen. Slender waitresses disperse wine and beer. We can scarcely see through the stinging blue smoke. The punters surge in. Bespectacled, ample musicians squash timorously onto the picnic-rug stage. The pianist looks like a sheet has been stretched about a lumpy, wobbling refrigerator.

Standing unnaturally close, an energetic type suddenly clambers up and straddles a nearby stair- and me, as if he and I are posing for a gay fire-fighters’ calendar. I am startled. Forgetting that Europeans are often bilingual I blurt, ‘What the fuck are you doing?’

As the gentleman dismounts the step, and my groin, I mutter, “Thank you.”

“You’re welcome!” my intimate twitters.

“Say what you really want!” adds his friend. We don’t see them again.

The traditional jazz is brisk and zestful, and spilling out onto the Rhine’s bank Nina’s “99 Red Balloons” bursts from a heaving club. Lingering at the chilly Alter Markt, the wife sips a concluding gluhwein; the spiced, red wine and we confirm that Cologne jazz goes pretty well.

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It was nearly an hour commute across Adelaide’s most miserable suburbs; Snowtown territory. After many months afternoon radio had become tiresome; especially when the old-age surrender of organising life around news bulletins, those ridiculous frissons began, so I fought this inevitability, by committing to Miles Davis. I submerged myself in Bitches Brew.

Menacing and swirling about you like a phantasm, the music is a sexual maelstrom, and its recording began within hours of Hendrix and his pyrotechnics at Woodstock. Was it jazz? Was it rock? Was it funk? I wasn’t sure, but I again knew that the trumpet could be as cool as a guitar.

Despite its ominous cadences and rhythms, I found it transportive and therapeutic as I’d make my way home to the beach. Bitches Brew is vital to jazz-fusion, and while the opening two tracks are rightly celebrated, “Miles Runs the Voodoo Down” on side four is the standout. I still love getting lost in this 94-minute ocean.

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This story begins with Mum and Dad’s record collection. Don’t they all? In among the usual 1970’s fodder of Ripper ’76 and the Best of Abba there’s some curios, and in the not on 5AD or 5KA and certainly not on Countdown section are some jazz albums, one a Dixieland compilation. I don’t especially recall any of the tracks, but these made significant impacts upon my psychology and vocabulary.

The jazz evoked widescreen travel and the speaking of strange tongues and moving about in dazzling metropolises that one day I might be permitted to visit. It was New York and Chicago and New Orleans. It wasn’t that I was trapped in dusty little Kapunda, it was that a planet was out there, and Mum and Dad’s jazz records captured these teeming, thrilling possibilities.

They still do.

BB