On July 29, 1946, Charlie Parker was arrested in Los Angeles, after starting a fire in his hotel room. Earlier that day, unable to score heroin, scratchy, drunk on whiskey, he recorded this track, which, depending on your point of view, is either one of the worst records he ever made (Parker’s view) or, despite (because of?) its raggedyness, among the greatest (Charles Mingus’s opinion). After his arrest he was confined, for six months, at Camarillo State Mental Hospital.
Charlie Parker, “Lover Man” (CP, alto saxophone; Howard McGhee, trumpet; Jimmy Bunn, piano; Bob Kesterson, bass; Roy Porter, drums), rec. 7/29/46
The cafeteria in the hospital’s basement was the saddest place in the world, with its grim neon lights and gray tabletops and the diffuse forboding of those who had stepped away from suffering children to have a grilled cheese sandwich.
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The next day, I set up an iPod dock and played music, not only in the willfully delusional belief that music would be good for a painful, recovering brain but also to counter the soul-crushing hospital noise: the beeping of monitors, the wheezing of respirators, the indifferent chatter of nurses in the hallway, the alarm that went off whenever a patient’s condition abruptly worsened.
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One early morning, driving to the hospital, I saw a number of able-bodied, energetic runners progressing along Fullerton Avenue toward the sunny lakefront, and I had a strong physical sensation of being in an aquarium: I could see out, the people outside could see me (if they chose to pay attention), but we were living and breathing in entirely different environments.
Arnett Cobb, tenor saxophonist, August 10, 1918-March 24, 1989
“Texas Blues,” live (with Ellis Marsalis, piano; Chris Severin, bass; Johnny Vidacovich, drums), 1984, New Orleans
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“The Nearness of You” (mislabeled “Misty” on YouTube), live (with Wild Bill Davis, piano; Bernard Upsom, bass; Frankie Dunlop, drums), 1982, Germany (Berlin)
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One of my favorite moments comes at 2:48: “I hear ya, I hear ya.”
Sonny Rollins, Joe Lovano, et al., talk about Ben Webster
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mail
You are sending out some great stuff at all times. . . . It’s always interesting, and the one you sent out today, Onmutu Mechanicks, was especially cool, since I hadn’t ever crossed their path.
kaleidoscopic, adj. 1. changing form, pattern, color, etc., in a manner suggesting a kaleidoscope. 2. continually shifting from one set of relations to another. E.g., the music of the Art Ensemble of Chicago.
Art Ensemble of Chicago (Roscoe Mitchell, saxophone; Joseph Jarman, saxophone; Lester Bowie, trumpet; Malachi Favors, bass; Don Moye, drums), live, Europe, 1980s
Part 1
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One of my all-time favorite musicians—no matter the instrument, no matter the genre—is the guy playing bass. If I’m feeling down, he lifts me up. If I’m feeling good, he makes things even better.
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Part 2
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How many trumpeters play so many different colors?
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Part 3
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Part 4
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Part 5
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Part 6
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Avant-garde? Their use of polyphony recalls the earliest New Orleans jazz.
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Part 7
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How many musicians not only roam so widely but swing so hard?
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lagniappe
more
Art Ensemble of Chicago with Fontella Bass, “Theme de Yoyo” (1970)
sui generis, adj.A person or thing that is unique, in a class by itself. E.g., Anthony Braxton, composer, reed player, professor, MacArthur “genius” grant winner, one-time professional chess hustler.
Happy (Belated 66th) Birthday, Anthony! (born June 4, 1945)
Anthony Braxton with his 12+1tet, Ghost Trance Music
New York (Iridium), 2008
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lagniappe
musical thoughts
I wanted to live. I wanted to be alive. This experience goes by very quickly. Part of the radiance of a moment, in my opinion, involves that which we call music.
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Suddenly, Coltrane solos become the “it” of music, when in fact, the records and the notated solos are the sonic footprints, the bone structure of what actually happened in the music.
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I wanted a system that would be equal to the dynamics of curiosity. I wanted to have a music where I could have some fun.
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There is the wonderful discipline of music and the ability of music to keep on opening up fresh prospects. I must say, what a discipline!
Light, fluid, elegant—he is, at heart, a tap-dancer.
Paul Motian Quintet (PM, drums; Bill Frisell, guitar; Lee Konitz, alto saxophone; Joe Lovano, tenor saxophone; Marc Johnson, bass); “How Deep Is The Ocean?”; live, Italy (Umbria Jazz Festival), 1995
music clip of the day 