It was, I recall, a cloudless morning in Chicago, as it was in New York. I had a hearing scheduled in federal court, but then, after the second plane hit, court was cancelled. We sat in front of the television, unable to turn away.
William Basinski (1958-), “Disintegration Loop 1.1,” 2001
Photograph from September 11
by Wislawa Szymborska (1923-2012, MCOTD Hall of Fame), translated from Polish by Clare Cavanagh and Stanislaw Baranczak
They jumped from the burning floors—
one, two, a few more,
The photograph halted them in life,
and now keeps them
above the earth toward the earth.
Each is still complete,
with a particular face
and blood well hidden.
There’s enough time
for hair to come loose,
for keys and coins
to fall from pockets.
They’re still within the air’s reach,
within the compass of places
that have just opened.
I can do only two things for them—
describe this flight
and not add a last line.
Eric Revis (bass) with Darius Jones (alto saxophone), Bill McHenry (tenor saxophone), Kris Davis (piano), Chad Taylor (drums), Justin Faulkner (drums), “Baby Renfro” (E. Revis), from Slipknots Through a Looking Glass (9/11/20), 8/13/20
other day, Oak Park, Ill.
This morning I stumbled upon this after encountering the phrase “the crowded air” in an Emily Dickinson poem (229 [Franklin], “Musicians wrestle everywhere –”) and googling it. The moment it ended, I wanted to hear it again.
Milton Babbitt (1916-2011), The Crowded Air (1988); Boston Modern Orchestra Project, 2013
other day, Chicago