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I walked in as The Bridge Trio announced their next tune, “125th and Broadway,” where I had just come from, a bit flustered that the trains weren’t running on schedule yet again. The place must be self-service at the bar, because nobody came to take my order at the table. Joe Dyson, who had been placidly providing rock solid beats behind the kit, ran up to the mic in the blink of an eye and went on a tirade about how he would introduce the tunes too, if only he had a microphone. Hailing from the same high school in New Orleans, the members of The Bridge Trio have played together as one unit and together as sidemen with mentors from their hometown. To your left before you enter the back music room, you will see two unmarked narrow black doors to the unisex restrooms.
Though the venue acknowledges that it can’t be all things to all people, it presents an unclear identity in seemingly trying, with a menu offering Austin-inspired fare, the tagline “subterranean music parlour” using British spelling, and the name ZirZamin meaning underground in Farsi. A couple weeks ago, I caught the final night of pianist Angelo Di Loreto’s month-long Tuesday residency at The Kitano.  He played duo with three saxophonists, executing virtuosic lines and rhythmic harmonies with his signature heavy-handed touch reflective of his solid, grounded character.

Isn’t it amazing that three people playing the same instrument can sound so different?  The individuality of each was even more apparent paired with the same pianist back to back in the same room.
The restrooms marked ladies and gentlemen are of typical hotel standards, with the thick quality paper towels.  The ladies space consists of a sitting room and a bathroom with two stalls.
A few Wednesdays ago, I walked down to The Underground Lounge in below 20 degrees Fahrenheit weather, testing the effectiveness of my Uniqlo Heattech top.  I stepped through the door more South of the two, marked “The Underground Live,” to enter directly into the performance area. Excited to finally hear my friend’s brass quartet, I didn’t even mind the cold draft coming in as the door opened and closed with more people.  I thawed quickly enough with body heat from the many enthusiastic audience members but it must have been challenging for the brass musicians to play in the cold. I couldn’t quite put my finger on it but there was something whimsical about The Westerlies.  Was it Riley Mulherkar (trumpet) and Andy Clausen’s (trombone) matching chambray button-downs, red pants and brown dress shoes?  Was it Willem de Koch’s (trombone) jaunty bass lines?  Was it Zubin Hensler’s (trumpet) effusive enthusiasm for the ensemble that I had heard much of?  Maybe it was Andy’s rosy cheeks? Perhaps it was the visual configuration reminiscent of a music box, only with a row of four Seattle boys similar in height, instead of a twirling ballerina. Go through the door dividing the live music area and the lounge to get to the men’s and women’s bathrooms.

Eva from the band sang convincingly in Turkish and Romanese, even though she speaks neither.  She mentioned that the Drom is run by Turks and directed me to an employee who could translate our key phrase for us in Turkish. Jetlagged and feeling like I’ve been hit by a ton of bricks by the abrupt beginning of the new semester, I decided to go for a walk down Broadway to get fresh air and check out Cleopatra’s Needle last night. The inadequate lighting cast shadows over their faces if they stepped back and the slide of the trombone hit the frame of the red curtains as I feared, but the small corner stage was not too big, not too small and just right for The Westerlies.

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