Woodburn: Small audiences, big enchantment

Recalling a handful of my all-time favorite concerts in this space last week, I made the knee-jerk mistake of focusing on big venues — baseball stadiums, basketball arenas, outdoor bowls — and thus remembered The Who, Paul McCartney, Fleetwood Mac, and James Taylor while suffering temporary amnesia of two unforgettable musical gigs in small settings.

Small is actually a sizeable overstatement. My daughter and I saw award-winning songstress Amber Rubarth perform in a private “house concert” in Seattle, in a suburban living room, in front of 24 attendees filling one couch, a loveseat, an array of dining room and kitchen chairs, and some split-level stairs.

With no mic and amplifier required, Amber’s voice was twice as pleasant as on recordings and three times more so than in a big venue. Before songs, she shared personal stories behind the lyrics; after songs, she asked audience members about themselves. It wasn’t a concert so much as an intimate party.

Even more intimate was a night of music I enjoyed with my son in New York City, in Harlem specifically, more precisely in “Bill’s Place,” a former speakeasy in the 1920s and ’30s that features live jazz again since its revival nearly two decades ago.

“Bill’s Place” is off the beaten path, a fair hike from the nearest subway stop, eventually down a narrow block on West 133rd Street — long ago known as “Swing Street” because it was swinging and jamming on both sides with jazz, but is now so quiet you can hear birdsong.

Address number 148 is a brownstone apartment, shotgun narrow, with a step-down entrance guarded by a shoulder-high black wrought iron fence. Only a modest red awning featuring “Bill’s Place” in small white script lets you know you have arrived.

Closer inspection affords two more telltale signs: a plaque on the brick facade, just to the left of the black front door, reads “Harlem Swing Street / Jazz Singer / Billie Holiday / Discovered Here in 1933 / Bill’s Place Speakeasy” and above it is a framed black-and-white photo of the legendary singer.

Back in those days, during the Prohibition years, bathtub gin was served here in coffee cups so that when police raids came the cups served as decoys. Ironically, these days the bygone nightclub serves no alcohol — although patrons are welcome to bring their own spirits.

Back during my nights and days as a sports columnist, I sat courtside at Lakers games and saw Pete Sampras from the first row; sat two feet behind the out-of-bounds back stripe of the end zone in Candlestick Park for a 49ers-Rams playoff game and walked inside the ropes while following Jack Nicklaus and Tiger Woods; and on and on; but I have never been nearer to the action than I was at Bill’s Place.

My son and I sat in the front row, which was also the back row because the time-capsule room was so narrow there was only one row of seating — eleven mismatched cane chairs and wooden stools, all backed up against the wall opposite the stage, the seats shoehorned so closely together that patrons’ elbows rubbed and their rear ends bumped. Additionally, there was standing room only off to either side of the stage for a dozen people.

We were so close to the stage, which by the way was only three inches high, that if I, at 6-foot-4, straightened my legs out my heels would rest on it, albeit at the risk of tripping the star saxophonist — and venue namesake — Bill Saxton should he roam two steps forward.

To be concluded next week…

Woody Woodburn writes a weekly column for The Star and can be contacted at [email protected]. His books are available at www.WoodyWoodburn.com.