Grand View Park

There are many neighborhoods in San Francisco that seem to have a paucity of parks. Parts of the Sunset. The Excelsior. Endless square blocks of houses, squeezed together like sardines. There may be huge beautiful parks like Golden Gate Park and McClaren Park, but there are not many little ones where you can just get out and escape the confines of your house to walk the dog our throw a ball around. People in each neighborhood really know about these little parks, but outsiders often require time to even find and explore them. One such park in the Sunset District is Grand View Park.

Grand View Park is simply a good-sized hill off of 19th Ave. It is surely used by the local dog walkers and morning exercisers. An interesting way to get there is to go east from 19th avenue on Moraga. When Moraga ends park. There is a most amazing stairway that leads up the hill. This stairway, a product of the Golden Gate Heights Neighborhood Association, has a beautiful mosaic running up its steps.

After climbing these steps, one winds ones way up more steps to the top. The views at the top are stupendous. One can see downtown, Alcatraz, the Golden Gate Bridge, the Marin Headlands and of course the immense Pacific Ocean. Below are some photos of Grand View Park where tourist buses rarely venture.

Thinking has its own laws… a Kitaro Nishida quote

Thinking has its own laws. It functions of its own accord and does not follow our will. To merge with the object of thought – that is, to direct one’s attention to it is voluntary, but I think perception is the same in this respect: we are able to see what we want to see by freely turning our attention to it.

Kitaro Nishida
From a stone on the Philosophers Walk in McLaren Park in San Francisco

Live Bluegrass in SF as the Beauty Operators play all Weekend

Beauty Operators in the house this weekend. Great song writing. Amazing harp player. A mix of old tunes, originals and interesting adaptions of standards from the 70s and 80s.

What is pretty interesting about these venues, is that I doubt any doctors show up at the Doctor’s Lounge
and I never saw anyone drink milk at the Milk Bar.

THURSDAY 8pm Doctor’s Lounge
https://www.facebook.com/events/781986835153741/?context=create
The Beauty Operators play at the Doctor’s Lounge the 3rd Thursday of every month. The club has a great pool room in back. Bar food available.

SATURDAY 8pm Modern Times
https://www.facebook.com/events/305765432910139/

SUNDAY 5pm Bluegrass & Beyond- Sundays at Milk Bar.
https://www.facebook.com/events/1532011310358491/

San Francisco bluegrass.

Butterfly Jazz Trio – First Time Around CD

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There are still a few copies of this limited release CD. Listen to examples and get the CD at Add to Cart at CD Baby!

Album Notes
Kai Lyons – Guitar
Erik Von Buchau – Drums
Dillan Riter – Bass

Recorded at Granada Studios in Half Moon Bay on August, 29, 2013, FIRST TIME AROUND by the Butterfly Jazz Trio is a spontaneous romp through some funky grooves, subtle ballads and straight ahead explorations. The session was inspired by gigs the Butterfly Jazz Trio played in downtown San Francisco in various bars and hotels during the summer of 2013.

All tunes were chosen like they had been on the gigs – spur of the moment, like many of the great sessions of the late 1950s and early 1960s. Two takes were done of most tracks but invariably the first was the one chosen. Freshness and immediacy was the agenda. There are no click tracks, prefabrications or overdubs of any kind. Just real instruments, listening, talented players and a splendid warm-sounding tube amp built by Rico Macalma, the engineer on the session.

At around 5pm, the crew packed up realizing that we all needed a break. We headed up to the Mission District in San Francisco for dinner. Time to chill before another gig at a hotel off of Union Square.

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If you are a fan of the jazz guitar trio, music that swings hard and melodies that stay with you long after you finish that last track, check out the CD. Makes a great gift too. You may just want to listen to it again and again.

A FEW SAMPLES

There are still a few copies of this limited release CD. Listen to examples and get the CD at Add to Cart at CD Baby!

Engineer & Mix by Rico Macalma, Mastering by Rainer Gembalczyk
Executive Producer & CD Design – Paul Lyons
Unauthorized copying and reproduction prohibited.
Copyright 2013 – Butterfly Jazz Trio – All Rights Reserved – kailyons.com

Adventures in YouTube. The Salsa Arrangements that Changed the World

Every now and then you have to pay attention. It seems the older you get the faster time goes by. The other day I searched on YouTube for some of the songs that I composed and arranged back in the late 1990s with various groups in San Francisco. Some of these tunes have 100,000 plays which is sort of cool but I am sure that at this point no one in this group is making money off those plays. We did it for love anyway. And the dancers.

Arrangements by Paul Lyons

Orq. Azabache – This Moment

Hi. This is Paul Lyons the arranger of this song and many tunes on this album – Azabache from 2000. Thanks for posting this video.

What makes this song so cool is that it is a salsa song about breaking up. There are very few of those. Usually salsa songs in English are love songs and are quite corny. Not with this one.

These charts where written originally for trumpet, trombone and baritone sax. Notice that on this recording the band played the song with trombones. What is so strange about this recording is that the second mambo I wrote originally as an afterthought to the song. I always imagined a solo on top of the trombone line. But I love this tune and knew it would touch people.

Julio Bravo, Sin Rencor


Arranged by Paul Lyons from San Francisco. Another tune I actually do not remember arranging. 2000 was such a crazy time. People thought the world was going to end. I just had had my second kid, a daughter Lucia. At the time I was writing about one arrangement a week and every now and then complete originals would be commissioned. The phrasing of the horns is stellar. Bill Thuerer, Derek James, Stephen Khuen. The orchestration is how it was written.

Simplemente Complicada – Orquesta Azabache.wmv

https://www.youtube.com/watch?v=7z7Cr-zIX2Q
Composed and Arranged by Paul Lyons. Lyrics by Ray Martinez. This is a tune/melody that I wrote that Ray wrote lyrics to. It was about a relationship he was having at the time. So Ray put words to the song and then brought it back to my place with a scratch recording. We probably hung out for a while and brainstormed some ideas. I then wrote the arrangement that afternoon. All of the songs on this album came together in one six month period and I am certain this project (Azabache 2000) was self produced. It is not in print anymore. Someone call Ray and tell him to press a few thousand more.

Azabache – Cinco a Diez


Arrangement by Paul Lyons (Azabache 2000). About 100,000 views makes me scratch my head at how crazy the music industry is. This is a very cool tune about a very difficult situation – 5 to 10 years in jail.

Learn How to Write Salsa Charts. Certified by the Club Owners Association of Northern California.

If you are interested in purchasing the sheet music – arrangements for any of the songs above, email

A Week in the Western Highlands, Xela and Antigua Guatemala

After eight years living a life of opulence in San Francisco, we made a return trip to Guatemala the first week in April 2014. Traveling was Andy, my wife, Lucia my 14-year-old daughter, Lisa our friend who is traveling for research work and myself. From San Francisco there are no direct flights, so we were routed through Dallas. A five-hour layover that turned into six, we ate a very poor meal at TGIF Fridays. Over-processed stuff. Chicken that tasted like rubber. Grilled vegetables that were cold and tasteless. You would think in the United States we could do better than this, but apparently not. In most airports food is either fast food or restaurants that are really sports bars, which serve over salted food, and who’s main objective is to tempt you with overpriced mass-produced cocktails.

In Guatemala City, at the airport in the dark we caught a taxi to our Bed and Breakfast, a place we had stayed before. While it was close to the airport the taxi driver ended up roaming around a bit aimlessly. We entered gated neighborhoods with armed guards eventually exiting in confusion. After about 15 minutes, we got our bearings and found the place. It is not easy finding an urban dwelling surrounded by walls. The addresses are often cryptic and the order of streets is frequently unruly and illogical.

The next morning, at the bed and breakfast, after a homemade breakfast of papaya, eggs, beans and coffee, we rode to Xela in a private van with many empty seats. It is important to appreciate ample personal space when traveling in Guatemala, as often you can be crammed into the public chicken buses with three to a seat. Soon on the highway the experience begins to all fall into place. Lots of people walking on the side of the road – Mayan woman in their colorful garb carrying bundles on their heads, men in cowboy hats, kids on bikes patrolling the hood. Volcanoes soaring into the sky off in the distance. The brightly painted walls and signs for everything from hardware stores, to dentists, to political parties to the ubiquitous Tigo – the phone company. I vaguely remember each of the towns on this journey though the road seems a lot better now then it did in 2006. It is two lanes in both directions, which is new. Along the way we ate a roadside restaurant called Kape Paulinos where the food was excellent. The chicken was delicious and the freshly squeezed juices and handmade tortillas were superb.

Muerte de General Rufino Barrios
Muerte de General Rufino Barrios

We arrived in Xela around 3pm, found our hotel, got money from the ATM and chilled out for the rest of the day. After dark fell, we did go to a café that doubles as a museum. On one of the walls was a painting named Muerte de General Rufino Barrios. The date on the work was 1944 and I do not know if it was based on another painting, but I really became enthralled by the tragic scene. Rufino Barrios looms large in the history of Guatemala. In fact, the little town where I am writing this, San Lorenzo is the birthplace of Rufino. He was an enlightened fellow who became president of Guatemala and fought for the empowerment of the poor Mayans and Guatemala in general. He attempted to institute land reform, always a precarious topic for politicians, especially in Latin America. There is something about the painting of Rufino Barrios, dead on the battlefield that metaphorically tells a story that remains tragically the same today. Unlike, Peru or especially Bolivia, in Guatemala the indigenous peoples are pretty marginalized politically.

The next day at 6am we were picked up from our hotel by Eduardo, one of the longtime workers of health studies that have gone on in San Lorenzo for the past two decades and was the reason for our family’s yearlong stay in 2006. Up an insanely steep cobblestone road to 7000 feet and the Altiplano and San Lorenzo.

In the afternoon, Lucia and I got on the bus and made our way down to San Marcos, where we lived for a year. A lot has changed. The new bus station on the north side of town has changed the traffic flow and has surely been a boon for stores in that area. The earthquake last year destroyed many of the old buildings. The building where my kids went to school, San Carlos, was destroyed. I remember that school as being very quaint, with its lathe and plaster walls, little balconies and rickety stairs. Fortunately, when the earthquake hit, there were not many people in the school. Many of the buildings more than eighty years old seemed to have crumbled. Unfortunately, they are all being replaced with the modern cinder-block construction that you see all throughout Mexico and Latin America. Unimaginative and cold. With the loss of these old buildings, the city has lost part of its charm.

We went by the house were we lived for a year in 2006 and ran into the son of our landlord. We met up with Mario and Chaito, some old friends as school was letting out. They then drove us down to Agua Tibia, the spring fed swimming pool at the edge of town. People in San Marcos always complain about Agua Tibia as being too cold but to me the pool is quite pleasant. We swam and dove off the three and five meter platforms. After buying some bread and hanging out in the main plaza, we walked the five or so blocks to the bus station and headed back up to San Lorenzo. It always amazes me how efficient the bus system is in Guatemala. You never have to wait more than 15 minutes and a bus, going exactly where you need to go is available. How these bus drivers make money does not seem logical. Our fare for the 45-minute ride up 2000 vertical feet was only one dollar each. The bus holds about 20 people.

The weather this whole trip has been splendid. It has been warmer than normal and even during the nights it has been pleasant. In times past, staying up here in the Altiplano was a bit grueling as there often is a chill that gets inside your bones. Running water and hot showers are intermittent at best. Heat is often a brick wood stove. But the people persevere. It is an odd paradox that sometimes people with so little enjoy the day more and generally seem happier than those with vast material possessions. For sure, there is a lot of pain and suffering here, mostly caused by the dire poverty, but yesterday, while walking, we ran into an elderly woman, in traditional Mayan garb, about 4 feet tall, with a long grey ponytail and brilliant grey eyes, tending to her sheep. She was sitting by the side of the road, simply enjoying the day. We could have stayed and conversed for a long while and she seemed at peace with the world. The sun was shining. Little kids as they walked by would greet her with respect. Every now and then she would take her 20 foot long whip out and with great control violently smack it on the ground next to one of her sheep who seemed to be wondering too close to the road. It seemed a bit like a scene from the Hobbit Shire in Lord of the Rings. At any moment Gandalf was going to appear on a horse.

The following day, Andy and I headed back down to San Marcos. We met up for lunch with our good friends, Checha, Paoula and their three beautiful kids. Perhaps the best English speakers in town, they cobble together various jobs as English teachers to make ends meet. On the weekends, Checha sings in various rock and cumbia bands. Earlier, on the street, we ran into one of the shopkeepers who sold school uniforms we had met years back. Unlike my old buddies at the hardware store and pool, he actually recognized me. His shop next to San Carlos school had crumbled in the earthquake. We exchanged pleasant greetings but he did not seem the confidant entrepreneur I remember but a man trying to gather his bearings. We made a trip over to San Pedro via taxi and experienced the market that had not changed a bit. A taxi to San Marcos then a chicken bus back up to San Lorenzo. You have not experienced Guatemala, if you have not been on a chicken bus. They are brightly painted old Blue Bird school buses from the United States. They are often packed with riders. On this particular trip back to San Lorenzo, I spent most of the time standing up crammed in with all the campesinos. The driver seemed to be around 18 years old and had mastered driving the bus like a formula one racer. Hairpin turns at top speed, double shifting, avoiding potholes, passing trucks with skill. I noticed a few bicyclists run off the side of the road as well. Meanwhile his assistant did everything from collecting fares, to climbing up to the roof to store rider’s packages, to assisting the driver negotiate tight intersections or an oncoming vehicle. Bus driver assistants never get on the bus when it is still. The bus must be going at least 10 miles an hour. While shouting out the bus’s destination, they will run parallel to the bus and at the last minute grab on to the railing and board. Often they will disappear and ride on the back ladder and make their way in through the back emergency exit. It takes a remarkable athleticism to be a bus driver assistant.

The last few days we spent in Antigua. A bit touristy for sure, but beautiful and full of fond memories. Hot showers, amazing meals, very cool old ruins. One night we walked by THE BLACK CAT Antigua, once a very happening hostel, restaurant, bar establishment. It had changed ownership and right a way I could tell it was not the same place. They did a remodel job that was a bad idea. While I tried to figure out the situation they tried to coerce us in, but we knew better and continued on our way. The place was pretty empty. Word of mouth still travels very fast. It looks like the real BLACK CAT is now in XELA.

Twenty Fourteen WordPress Theme – Very Cool

For anyone who has made a WordPress theme, the default themes have always been lacking something. After this site got hacked, I came around to it and updated the theme of the Pelican Cafe with the new Twenty Fourteen for the WordPress theme. I would give it 5 stars. For future projects in WordPress I will be using this as the base theme. Nice work WordPress!

Thoughts on a Music Called Jazz

There is really no such thing as a music called jazz, or a music called bluegrass or a music called blues, music called black music or music called white music. It is all music from America. A vibrant living music. In the end, the names do nothing but to segregate music at different drinking fountains. The best of American bands can play any of these strands well. I was blown away when the Lyle Lovett large band opened their show with Charlie Parker’s Donna Lee. A band from the heart of “country” music, playing another music from the opposite hue of the musical spectrum. The tempo was blazing. The solos were fresh. But bands with great players from Nashville can do that kind of thing and make it feel natural. The concept that jazz is America’s “classical” music I find disturbing as it means that it has died and run its course. When Bach and Mozart were writing and playing, it was not classical anything. It was just music.

Photo is of Kai Lyons and Paul Lyons.

I feel better now

I don’t know anything and have no perspective, but here is my comment…. I feel better now.

From Barnswarm, commenting on the website Stoke Report and the “Rant – Laird speaks,” bringing up the concept that on the new Internet, everyone has the ability to post, and that the behavior is really about personal therapy.

The Art of Cuing a Salsa Band – The Spontaneous Arranger

From Arranging for Salsa Bands – The Doctor Big Ears Essays
by Paul Lyons (Available as an eBook)

In most every Latin band that I have worked with, I am called upon to call the musical shots – cue the band. Why this is, I don’t know. Sometimes I write a lot of the material, but other times I have not. During the course of my travels and freelance experiences, I have picked up a few tips as well as preferences.

Emblematic Symbols
1. Standard Four Bar Cue: I use a four bar cue starting with my index finger. The second cue is the most important second bar cue – three bars before the entrance. I give this with the index and pinkie finger of my right hand. If I sense uncertainty among players far away from me, this usually clears up the intent. I use the pinkie finger, as this is the most emphatic way to make two fingers visible. One could use the peace symbol for two, but then everyone would mellow out too much. This music is about drive and hitting things! Geeze! These guys walk around with sticks in their pockets!

2. Mambo Cue: When cuing mambos (a section of the song), I give the standard four bar cue. It is important to cue the instruments who start the mambo. Visual contact can be a great benefit here. If the piano and bass start the mambo with a unison line, they need to get the cue. The horns will figure it out. If the horns start the mambo – cue them. Often a singer cuing a mambo looks at the horns with his cue for the mambo when the mambo starts with the piano and bass. The horn players then sort of shrug shoulders and look at the piano player who is often lost staring at the floor or trying to play a one handed montuno so that he can get a sip of his beer. This is incorrect procedure. One always cues by looking at whoever is about to play.

In essence, cues must be forward looking and have a basic understanding of the arrangement and what is coming next.

3. Moña Cue: For moñas, often an ad lib second mambo, one cues it with the fingers to the forehead. Someone, recently gave me their linguistic via cultural take on the reason for this gesture, but I forgot what it was, perhaps due to the late hour or maybe the slurred and mumbled delivery of this theorist. I always interpreted the fingers to the forehead as “think – come up with a line you idiot!” Good bands make up there moñas. Dull ones play the one on the record and never take chances creating their own.

4. Piano Solo Cue: When cuing a piano solo, I wiggle my fingers like a pianist playing the keys. I continue with the standard four bar cue. The most often used break leading into the piano solo is two eighth notes (beats four and four and) on the last bar of the cue.


Marcos Diaz ready to begin his solo after a fantastic “piano solo cue.”

This is often the one chord but depends on the chord changes and musical context. This is a standard musical gesture in Latin music.

5. Percussion Solo Cue: When cuing a percussion solo, I usually just point to the person taking the solo. The standard percussion break is the “five to one” break. This commences on the fourth bar of the cue.


Carl Perazzo and Edgardo Cambon waiting for a “percussion solo” cue at “El Rio” in San Francisco.

This is a standard musical gesture in this music

6. Ending Cue: The universal ending to a song is the closed fist held in plain view. One should hold this cue for only this purpose. The closed fist should never make it into the repertoire of other cues. There are few thing as disconcerting and dangerous as ending a song prematurely.

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Here rests Dr. Big Ears’ 1964 bug. He used it as a getaway car after throwing a premature “ending cue” on a gig in Phoenix. Big Ears ended up hiding out for four months in Baja, Mexico .

These are the emblematic cues reviewed.

1. Standard Four Bar Cue
2. Mambo Cue
3. Moña Cue
4. Piano Solo Cue
5. Percussion Solo Cue
6. Ending Cue

Other Thoughts on “Cuology”
One has to have an artistic conception of the music and musical phrase in the first place in order to cue well. In essence, one only needs to listen, know who the players are and use common sense.

Many players see the clave in terms of longer units. A good percussionist will “sing” on the instrument to the point where his musical phrase will dictate the cue. It has been my experience that this sense of phasing is often in eight bar phrases. Having said this, it is important to respect this phasing during a solo and cue accordingly so as to not cut off the musical thought. Listening is the key here.

One can also tailor the music to the mood in the room – the size of the crowd. Piano solos tend to be mellower than trombone solos. (This however is not the case if you had Eddie Palmieri and Urbie Green in the same band.) One must keep in mind players strengths and weaknesses and bring out the strengths. This may sound stupid, but unlistening musicians can be oblivious to a player who isn’t in the mood to stretch out or is exhausted.

In rooms where visibility is bad, the standard four bar cue can be replaced with a loud whistle. I have used this often. It is important to practice this shrieking whistle beforehand far from persons of the opposite sex. One is never certain what loud sounds have on people’s nervous systems. However around retired percussionists you will probably have no problems.


Tom Bertetta, and his patented listening method for the “shrieking whistle cue” in clubs with bad visibility.

Finally, it is important to watch great musicians who cue and see them at this craft. It is good to pick up little tricks, especially ones that pertain to your instrument. Cuing from the piano has always seemed problematic to me – bass even more so. Chucho Valdez and Tito Puente come to mind first off as great leaders and great musicians at cuing. There are many more out there for sure.

Good cuing allows for flexibility beyond rehearsing. It enables a band to stay fresh with material indefinitely. It allows anyone to solo on any song and a group to never play the song the same way twice. In its purest form, it is spontaneous arranging.