Two weeks into living in Adams Morgans, I’ve noticed that a different kind of dance animates this city. People on the streets move in a more directed and linear way. The movements are metrical and regular. Unlike New York City, where chaos spills and collides into everyone else’s path. Watching tapdancers face-off at peak hour in Times Square’s subway station is joyous, but it’s also irritating if you have somewhere to go. In New York, the movement around you forces you to react and respond — whether you want to or not. In DC, the movement around you channels you towards the rest of your day. And you’re aware you’ve become part of a well-oiled and well-tested pattern of movement.
So it was refreshing to be at Café Nema on Saturday and watching Zack Pride play on the upright base with Nathan Jolley. Managing to express sheer joy and freedom while being bound to a ridiculously complex jazz rift, it seemed as though he had mastered the secret of dancing: making the most difficult thing seem as though it’s as natural as breathing. He’s also adventurous and unpredictable. There’s an intimacy as he holds his instrument close like a woman. Then his breathing quickens and his fingers start to do amazing things, and his entire body swells with the movement and music.
From the distance, the other woman in his life was watching at the table next to us. Brena watched him with affection and marvel, and then turned over to us. “I hope he drives me home or lets me come over. He’s been so moody recently.” She also admits that we’re not seeing Zack at his best. Not that it matters, because it looks and sounds like a breath of fresh air.
