by Adrienne Bouchard

It is a usual weekend night on Sixth Street. Crowds of people make their way up and down the bar lined street, conversation and laughter leak out of smoky buildings. Bouncers carefully inspect driver's licenses. At the doorway of Jazz, a Louisiana-style bar and grill, the crowd is at a standstill. Standing in the in the middle is a short man full of energy and life. Playing a 1965 Fender Jazz bass guitar, he belts out original, funkafied tunes as his feet take him dancing in all directions. Batman sunglasses cover his eyes, a turban hides his hair, a shiny gold crown lays upon his head, and a cape drapes over his shoulders; this is the King's costume. Gerry Van King, the King of Sixth Street, is noticed and recognized as the most popular street musician in Austin.

On March 9, the King released his first CD. The 40-minute, 10-track album takes you right back into the '70s through various mixes of original funk. The cover of "The Cause of It All" features a bright psychedelic swirl of King in his famous costume. Each song demands dance. The beat, rhythm, lyrics and overall sound start your feet tapping and hips swaying. Studio 54 comes to mind as an appropriate place to play the King. Early funk records are of tremendous influence to King. P-Funk, old school funk, and early FM sounds are apparent, along with a hint of the 90s in King's original jazz.

King's CD was released through Aaron Ave. Records, an independent label based out of Arlington. Matt Key, King's producer, first saw the street musician at South by Southwest in 1997. A year later when Aaron Ave. Records returned they found themselves gathered with a large group around the King of Sixth Street. "King was the only musician that we remembered when we went back in 1998. We remembered him and all his songs," says Key. "My boss asked, 'Do any of you remember anyone but Gerry?'" the answer was a unanimous "No." The folks at Aaron Ave. Records said to themselves, "This guy has something that stands out and sticks with us." Three weeks later King and the independent record label were working out a contract. Five months later they were in the studio.

Key was aware that King had minimal experience in the studio. However, he was pleasantly surprised when King didn't need as much guidance as he had thought. "I didn't know what to expect. I knew that his experience was little, and he had never done a project that was this involved," says Key. "When he came in, he knew what he wanted for each song; he could hear it in his head. I didn't expect that out of him. When we first started he had it all mapped out and all that was left was for it to be done and relayed to the other musicians. Most bands have a general idea of what they want but to have it all laid out as well as he did, I was pleased."

Seven nights a week, for the past 10 years King has graced Austin with his music. Occasionally, he has left to try his hand at a nine to five job but he seems to always find himself back playing the funk. He has appeared in various clubs and played in a couple of bands but playing in front of Jazz feels like home to King. "Many people think that playin' in front of Jazz is down, but that down is up," says the King of Sixth. "This is my up, I am not at my highest point music-wise but I am content."

Playing in front of Jazz, night after night, King has created a small claim to fame. As Key sees it, "Gerry is already somewhat past being just a local musician. Sixth is a tourist thing, and with him being on the street, people all over the world are seeing him when they come to visit. When they go home they are taking him back with them."

MTV producer and head of project research for the MTV Music Awards' printed programs, Victoria Bonadonnal, heard by word of mouth about the King of Sixth. For the most recent music awards Bonadonnal's job was to find totally unknown musicians from across America. King was selected. MTV came to Austin to hear King's original jams and get to know him a little better. "He's just kind of his own enigma," says Bonadonnal. "I think he's fantastic and, in his own category, represents years of artistic struggle."

King was featured in a one page spread of the 1998 MTV Music Awards' program book. Each individual who attended the awards show was given a program in their seat. The MTV gig gave King a new claim to fame. "How many Texans, no, how many people can say they were in MTV's program?" says King. With a huge smile he answers his own question, "none."

As far as promotion goes, Key says that King's approach is working well for him. The street made King who he is today and he feels strongly about being faithful to the place he calls home. "There is no one formula for success. In Gerry's case playing in front of Jazz works. It makes him accessible to tourists and regulars, why mess with a good thing?" says Key.

King refers to himself as a "five star funkateersman," and Key agrees. Key sees him as 100% musician, who reflects it in everything that he does. He is very knowledgeable about music and the industry. He knows that it takes persistence and dedication; his consistency on the streets mirrors that. King, at 45, has big plans for his music career. Plans that include the Grammies, a stretch limousine and plenty of fans to keep his music alive. Speaking of his current line of work as a street musician King says, "this is just a tiny line of what I can do. All this is done just to survive."

"I am going to win eight Grammies just for the hell of it and in a bunch of categories, not in just one. I want a bunch of platinum albums and a command performance. I'll tour and show up in a big long limo, but that is just for show. The fans like that kind of stuff. It's not like it seems. I am not in it for the sex, drugs and rock and roll. I am in it for the music. And what happens, happens and as things get better, that's okay. And if I am supposed to roll up in here instead of getting off a bus then I am going to roll up in here. These are not the most important things, but I wouldn't mind 'em. I wouldn't be mad at all. If and when those things happen, the only things that are going to change are my bank account and my address."

Although King has many expectations and dreams of making it big and being in the spotlight, he's worried about having to leave Jazz behind, "The hard part about the success in my expectations is how do I keep playin' at Jazz? Playin' at Jazz is going to keep me honest and real. If I should, I can't foresee it but if I should get a big head all I'd have to do is go back down to Sixth Street. I would get in place real good," says the King. "I can't thank Jazz enough. But I keep trying." Thank you, Jazz."

It is nearing closing time at Jazz, and the King of Sixth is still playin' the funk. Throughout the night he has had a steady flow of listeners, he keeps smiling and playing like he always has. It has been said that he looks like Stevie Wonder; while he belts out his jazzy tunes his head is held high and it sways back and forth with his music. Faithful to his subjects, the King will continue to proudly wear the famous costume as he plays every night. With Batman sunglasses to cover his eyes, a turban to hide his hair, a shiny gold crown to lay upon his head, and a cape to drape over his shoulders, the King retains his title as an Austin legend, reigning proudly over Sixth Street.