A Night in San Francisco

I’ve had some uninterrupted time lately.  Nobody pulling my chain, no projects, just slack time to do what I want.  Tonight I went back to an old Van Morrison album ( Jesus – 25 years back).  Pulled down my best bottle of Pisco, turned the volume most of the way UP and Listened to the ‘live’ double album which I haven’t sat through completely in maybe, ten years … Wow, what an album … Maybe the best ‘Live’ album and surely the best ‘Live’ Van Morrison album out there…  Take a couple of hours, sip something good and listen all the way through…  truly amazing musicians playing together.

Overlaid on the song titles on the back of this live double CD are the words ballads, blues, soul and funk & jazz. Conspicuously absent are rock & roll. That’s probably a deliberate omission of a style that, in Van Morrison’s eyes, has become corrupted by commercialism and compromised by an ignorance of its own roots. Morrison seeks to redress that imbalance on A Night in San Francisco with a jaw-dropping performance. It furthers a process of re-engagement on Morrison’s part — begun with Too Long in Exile — that finds him grounding his spiritual questing in earthier stuff. A Night in San Francisco is the culmination of a career’s worth of soul-searching that finds Morrison’s eyes turned toward heaven and his feet planted firmly on the ground.

Another key facet of this performance is the sense of community fostered from the stage by Morrison, whose temperament heretofore (apart from his music) hasn’t exactly been endearing. An array of guest artists — most notably John Lee Hooker, Junior Wells and Jimmy Witherspoon — is warmly welcomed by Morrison in duets that result not in hysterical one-upmanship but in revealing give-and-take. He is generous also with his superb cast of musicians, giving them room to breathe and letting them coalesce around him, anchored by guitarist Ronnie Johnson and organist Georgie Fame. Morrison addresses the audience with surprising gusto, identifying band members after solos, heartily disbursing thank-you’s and gamely attempting between-song patter.

Karasumaru Mitsuhiro | Three Poems

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Karasumaru Mitsuhiro, was the offspring of the wealthy Karasumaru family of Kyoto. He was a master of poetry, calligraphy and tea ceremony and an unusual figure in his ablity to influence both the cultivated court nobles in Kyoto as well as the sophisticated cosmopolitan samurai in Edo. He was known for his distinctive calligraphic style.


At Sumiyoshi seashore
It is on the ebb tide and the sea is far.
A fish boat floats.


Beacons stand
In the sea of Sumiyoshi
They are where we rely on in the floating world.


The same day in Naniwa, to see the Sakura flowers at Konryuji-temple.
The cloud of Sakura bloom
Even the sound of bell remains
Iriai-Zakura flowers turn into green.

Karasumaru Mitsuhiro (1579-1638)




“if your mind isn’t clouded by unnecessary things, this is the best season of your life” … Wumen


Wumen Huikai 无门慧开  (1183–1260), Chán master most famous as the compiler of and commentator on the 48-koan collection The Gateless Gate. In many respects, Wumen was the classical eccentric Chan master. He wandered for many years from temple to temple, wore old and dirty robes, grew his hair and beard long and worked in the temple fields. He was nicknamed “Huikai the Lay Monk”. At age 64, he founded Gokoku-ninno temple near West Lake where he hoped to retire quietly, but visitors constantly came looking for instruction.