Free Jazz Quotes

There is something beautiful about a billion stars held steady by a God who knows what He is doing. (They hang there, the stars, like notes on a page of music, free-form verse, silent mysteries swirling in the blue like jazz.) And as I lay there, it occurred to me that God is up there somewhere. Of course, I had always known He was, but this time I felt it, I realized it, the way a person realizes they are hungry or thirsty. The knowledge of God seeped out of my brain and into my heart. I imagined Him looking down on this earth, half angry because His beloved mankind had cheated on Him, had committed adultery, and yet hopelessly in love with her, drunk with love for her.

I think the things we want most in life, the things we think will set us free, are not the thing we need.

Say make me, remake me. You are free to do it and I am free to let you because look, look. Look where your hands are. Now.

That’s the thing about jazz: it’s free flowing, it comes from your soul.

We don't need as much as we have. Hardly any of us need as much money as we have. It's true what they say about the best things in life being free.

Dance to inspire, dance to freedom, life is about experiences so dance and let yourself become free.

And I found Jesus very disturbing, very straightforward. He wasn't diplomatic, and yet I felt like if I met Him, He would really like me. Don, I can't explain how freeing that was, to realize that if I met Jesus, He would like me. I never felt like that about some of the Christians on the radio. I always thought if I met those people they would yell at me. But it wasn't like that with Jesus.

Jazz was about the spaces between notes. It was about what happened when you listened to the thing inside you. The gaps and the cracks. Because that was where life really happened, when you were brave enough to free-fall.

There is something beautiful about a billion stars held steady by a God who knows what He is doing. (They hang there, the stars, like notes on a page of music, free-form verse, silent mysteries swirling in the blue like jazz.) And as I lay there, it occurred to me that God is up there somewhere.

New Orleans' rebellious and free-spirited personality is nothing if not resilient. And so the disruptive energies of the place- its vibrancy and eccentricity, its defiance and nonconformity, and yes, its violence and depravity- are likely to live on.

There is something beautiful about a billion stars held steady by a God who knows what He is doing. (They hang there, the stars, like notes on a page of music, free-form verse, silent mysteries swirling in the blue like jazz.)

And the City, in its own way, gets down for you, cooperates, smoothing its sidewalks, correcting its curbstones, offering you melons and green apples on the corner. Racks of yellow head scarves; strings of Egyptian beads. Kansas fried chicken and something with raisins call attention to an open window where the aroma seems to lurk. And if that's not enough, doors to speakeasies stand ajar and in that cool dark place a clarinet coughs and clears its throat waiting for the woman to decide on the key. She makes up her mind and as you pass by informs your back that she is daddy's little angel child. The City is smart at this: smelling and good and looking raunchy; sending secret messages disguised as public signs: this way, open here, danger to let colored only single men on sale woman wanted private room stop dog on premises absolutely no money down fresh chicken free delivery fast. And good at opening locks, dimming stairways. Covering your moans with its own.

Anti-Americanism is in the process of being consecrated into an ideology. The term 'anti-American' is usually used by the American establishment to discredit and, not falsely -- but shall we say inaccurately -- define its critics. Once someone is branded anti-American, the chances are that he or she will be judged before they're heard and the argument will be lost in the welter of bruised national pride. What does the term 'anti-American' mean? Does it mean you're anti-jazz? Or that you're opposed to free speech? That you don't delight in Toni Morrison or John Updike? That you have a quarrel with giant sequoias? Does it mean you don't admire the hundreds of thousands of American citizens who marched against nuclear weapons, or the thousands of war resisters who forced their government to withdraw from Vietnam? Does it mean that you hate all Americans? ..... To call someone 'anti-American', indeed, to be anti-American, (or for that matter anti-Indian, or anti- Timbuktuan) is not just racist, it's a failure of the imagination. An inability to see the world in terms other than those that the establishment has set out for you: If you're not a Bushie you're a Taliban. If you don't love us, you hate us. If you're not good you're evil. If you're not with us, you're with the terrorists.

We feel fighting for dominance actually shows weakness. It's much harder to hold back the wolf than to let it have free rein.

I only had three teachers, really, that were interesting, and all three of them were women.

I don’t want to be a free nigger; I want to be a free man.” “Don’t we all. Look. Be what you want--- white or black. Choose. But if you choose black, you got to act black, meaning draw your manhood up—quicklike, and don’t bring me no whiteboy sass.” Hunter’s Hunter and Godlen Gray

I envy them their public love. I myself have only known it in secret, shared it in secret and longed, aw longed to show it—to be able to say out loud what they have no need to say at all: That I have loved only you, surrendered my whole self reckless to you and nobody else. That I want you to love me back and show it to me. That I love the way you hold me, how close you let me be to you. I like your fingers on and on, lifting, turning. I have watched your face for a long time now, and missed your eyes when you went away from me. Talking to you and hearing you answer—that’s the kick. But I can’t say that aloud; I can’t tell anyone that I have been waiting for this all my life and that being chosen to wait is the reason I can. If I were able I’d say it. Say make me, remake me. You are free to do it and I am free to let you because look, look. Look where your hands are. Now.

Jazz presumes that it would be nice if the four of us--simpatico dudes that we are--while playing this complicated song together, might somehow be free and autonomous as well. Tragically, this never quite works out. At best, we can only be free one or two at a time--while the other dudes hold onto the wire. Which is not to say that no one has tried to dispense with wires. Many have, and sometimes it works--but it doesn't feel like jazz when it does. The music simply drifts away into the stratosphere of formal dialectic, beyond our social concerns. Rock-and-roll, on the other hand, presumes that the four of us--as damaged and anti-social as we are--might possibly get it to-fucking-gether, man, and play this simple song. And play it right, okay? Just this once, in tune and on the beat. But we can't. The song's too simple, and we're too complicated and too excited. We try like hell, but the guitars distort, the intonation bends, and the beat just moves, imperceptibly, against our formal expectations, whetehr we want it to or not. Just because we're breathing, man. Thus, in the process of trying to play this very simple song together, we create this hurricane of noise, this infinitely complicated, fractal filigree of delicate distinctions. And you can thank the wanking eighties, if you wish, and digital sequencers, too, for proving to everyone that technologically "perfect" rock--like "free" jazz--sucks rockets. Because order sucks. I mean, look at the Stones. Keith Richards is always on top of the beat, and Bill Wyman, until he quit, was always behind it, because Richards is leading the band and Charlie Watts is listening to him and Wyman is listening to Watts. So the beat is sliding on those tiny neural lapses, not so you can tell, of course, but so you can feel it in your stomach. And the intonation is wavering, too, with the pulse in the finger on the amplified string. This is the delicacy of rock-and-roll, the bodily rhetoric of tiny increments, necessary imperfections, and contingent community. And it has its virtues, because jazz only works if we're trying to be free and are, in fact, together. Rock-and-roll works because we're all a bunch of flakes. That's something you can depend on, and a good thing too, because in the twentieth century, that's all there is: jazz and rock-and-roll. The rest is term papers and advertising.

It wasn't until I was an adult that I realized you could buy a packet of cereal with a free gift and then just stick your hand in and root around in the packet until you found the free thing. It seems a much simpler way. But that took me about fifteen years to work out.

This notion of rest, it’s attractive to her, but I don’t think she would like it. They are all like that, these women. Waiting for the ease, the space that need not be filled with anything other than the drift of their own thoughts. But they wouldn’t like it. They are busy and thinking of ways to be busier because such a space of nothing pressing to do would knock them down. No fields of cowslips will rush into that opening, nor mornings free of flies and heat when the light is shy. No. Not at all. They fill their mind and hands with soap and repair and dicey confrontations because what is waiting for them, in a suddenly idle moment, is the seep of rage. Molten. Thick and slow-moving. Mindful and particular about what in its path it chooses to bury. Or else, into a beat of time, and sideways under their breasts, slips a sorrow they don’t know where from.

In Detroit, it was an average night to go and hear the Stooges, Parliament-Funkadelic and the MC5 on the same show. We were all into the 'Free Jazz' movement, the musics of Ornette Coleman and Sun Ra; and experimenting with guitar sounds, and trying different beats, and pushing the rhythm farther...

But, Cass, ask yourself, look out and ask yourself – wouldn’t you hate all white people if they kept you in prison here?’ They were rolling up startling Seventh Avenue. The entire population seemed to be in the streets, draped, almost, from lamp-posts, stoops, and hydrants, and walking through the traffic as though it were not there. ‘Kept you here, and stunted you and starved you, and made you watch your mother and father and sister and lover and brother and son and daughter die or go mad or go under, before your very eyes? And not in a hurry, like from one day to the next, but, every day, every day, for years, for generations? Shit. They keep you here because you’re black, while they go around jerking themselves off with all the jazz about the land of the free and the home of the brave. And they want you to jerk yourself off with the same music, too, only keep your distance. Some days, honey, I wish I could turn myself into one big fist and grind this miserable country to powder. Some days, I don’t believe it has a right to exist. Now, you’ve never felt like that, and Vivaldo’s never felt like that. Vivaldo didn’t want to know my brother was dying because he doesn’t want to know that my brother would still be alive if he hadn’t been born black.

In a society of increasingly mass-produced, assembly-line entertainment, where every individual is treated like an empty pitcher to be filled from above, jazz retains something of the spirit of the handicrafts of yesteryear. The print of the human spirit warms it. Deep down, jazz expresses the enforced & compassionate attitudes of a minority group and may well appeal to us because we all have blue moods and, in a fundamental sense, none of us is wholly free.

AVANT-GARDE / FREE JAZZ: RECOMMENDED LISTENING Art Ensemble of Chicago,”A Jackson in Your House,” June 23, 1969 Albert Ayler, “The Wizard,” July 10, 1964 Ornette Coleman, “Free Jazz,” December 21, 1960 Ornette Coleman, “Lonely Woman,” May 22, 1959 John Coltrane, “Ascension (Edition II),” June 28, 1965 John Coltrane, “Selflessness,” October 14, 1965 Eric Dolphy, “Out to Lunch,” February 25, 1964 Cecil Taylor, “Abyss,” July 2, 1974 Cecil Taylor, “Conquistador,” October 6, 1966

Feel free to put on some music you like." I didn't have the faintest clue how to work the radio or satellite thing or whatever the hell it was. Fortunately, it was already playing what appeared to be classic rock at a volume that still allowed conversation. "This is fine," I said. If it had been opera or jazz or anything weird, I'd have had to figure the damn thing out for my own sanity.

Machinery. His former belief that crime was a matter of choice, a willful act freely taken, was now replaced by its opposite, the conviction that environmental circumstances—poverty, unemployment, illiteracy—determined criminal behavior. Indeed Darrow went farther than Altgeld in his determinism. An individual, Darrow believed, could not choose not to commit crime if circumstances dictated otherwise—free will was an illusion and a chimera,

It is no wonder that so much of the search for identity, among American Negroes, was championed by jazz musicians. Long before the modern essayists and scholars wrote of racial identity as a problem for a multiracial world, musicians were returning to their roots to affirm that which was stirring within their souls. Much of the power of our Freedom Movement in the United States has come from the music. It has strengthened us with its sweet rhythms when courage began to fail. It has calmed us with its rich harmonies when spirits were down. And now, Jazz is exported to the world. For, in a particular struggle of the Negro in America, there is something akin to the universal struggle of modern man. Everybody has the Blues. Everybody longs for meaning. Everybody needs to clap hands and be happy. Everybody longs for faith. In music, especially this broad category called jazz, there is a stepping-stone towards all these.

A lot of time has been spent looking for just a hint of how Jimmy Palao and the Original Creole band sounded. The answer has been right under our nose. As we listen to the music of that day we hear the remnants of Jimmy Palao’s Original Creole Band. We do not hear the music that he would have recorded with the Original Creole Band but we hear the music just as he wished us to hear it … as he freely gave way to the concept of developing the free form of Jazz … that is to let others be heard and display their musical talent. It wasn’t his music from his instrument that he wanted heard. He wanted us to take in the greats as their sounds developed. After all that is why Jazz… is Jazz…

God has wrought many things out of oppression. He has endowed his creatures with the capacity to create and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell the story of life's difficulties, and if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph. This is triumphant music. Modern Jazz has continued in this tradition, singing the songs of a more complicated urban existence. When life itself offers no order and meaning, the musician creates an order and meaning from the sounds of the earth, which flow through his instrument.

But, Cass, ask yourself, look out and ask yourself—wouldn’t you hate all white people if they kept you in prison here?” They were rolling up startling Seventh Avenue. The entire population seemed to be in the streets, draped, almost, from lampposts, stoops, and hydrants, and walking through the traffic as though it were not there. “Kept you here, and stunted you and starved you, and made you watch your mother and father and sister and lover and brother and son and daughter die or go mad or go under, before your very eyes? And not in a hurry, like from one day to the next, but, every day, every day, for years, for generations? Shit. They keep you here because you’re black, the filthy, white cock suckers, while they go around jerking themselves off with all that jazz about the land of the free and the home of the brave.

The pieces of Cholly's life could become coherent only in the head of a musician. Only those who talk their talk through the gold of curved metal, or in the touch of black-and-white rectangles and taut skins and strings echoing from wooden corridors, could give true form to his life. Only they would know how to connect the heart of a red watermelon to the asafetida bag to the muscadine to the flashlight on his behind to the fists of money to the lemonade in a Mason jar to a man called Blue and come up with what all of that meant in joy, in pain, in anger, in love, and give it its final and pervading ache of freedom. Only a musician would sense, know, without even knowing that he knew that Cholly was free. Dangerously free. Free to feel whatever he felt--fear, guilt, shame, love, grief, pity. Free to be tender or violent, to whistle or weep.

I took my solo and beat hell out of the skins. Then Spoof swiped at his mouth and let go with a blast and moved it up into that squeal and stopped and started playing. It was all headwork. All new to us. New to anybody. I saw Sonny get a look on his face, and we sat still and listened while Spoof made love to that horn. Now like a scream, now like a laugh - now we're swinging in the trees, now the white men are coming, now we're in the boat and chains are hanging from our ankles and we're rowing, rowing - Spoof, what is it? - now we're sawing wood and picking cotton and serving up those cool cool drinks to the Colonel in his chair - Well, blow, man! - now we're free, and we're struttin' down Lenox Avenue and State & Madison and Pirate's Alley, laughing, crying - Who said free? - and we want to go back and we don't want to go back - Play it, Spoof! God, God, tell us all about it! Talk to us! - and we're sitting in a cellar with a comb wrapped up in paper, with a skin-barrel and a tinklebox - Don't stop, Spoof! Oh Lord, please don't stop! - and we're making something, something, what is it? Is it jazz? Why, yes, Lord, it's jazz. Thank you, sir, and thank you, sir, we finally got it, something that is ours, something great that belongs to us and to us alone, that we made, and that's why it's important and that's what it's all about and - Spoof! Spoof, you can;t stop now -- But it was over, middle of the trip. And there was Spoof standing there facing us and tears streaming out of those eyes and down over that coaldust face, and his body shaking and shaking. It's the first we ever saw that. It's the first we ever heard him cough, too - like a shotgun going off every two seconds, big raking sounds that tore up from the bottom of his belly and spilled out wet and loud. ("Black Country")

yes, I know, you wouldn’t get anything for your cello and flute and piano lessons, but at least you’d eat every day, child, Garçon Fleur, you remember that don’t you, that’s what they called you when people came from all around to hear you play a Bach sonata on the piano or conduct a jazz band that Garçon Fleur is dead though, just a fake, an illusion the boy murmured sombrely, or perhaps he didn’t and the words simply weighed on his lips and forehead without the strength to force them out of the unseeing shade inside the hood pulled all the way down to his brows; and soon night would fall, time for him to fall asleep like Petites Cendres, his dog stretched out beside him and the flute hidden in the folds of his coat, sleep, thought Fleur, just so I don’t hear or see them anymore, at least not till tomorrow, so even if I play well on any instrument, just a fake, an illusion, it’s because I love it that I can’t get free, now it’s become merely a mechanical longing for the loftiest sounds possible,

After a few sips, he picked up his sax and started jamming with the storm. Most days, Rivers meditated twice, when he awoke and again in the evening before writing or reading. But he still found a special relaxation and renewal in solitary playing. Contemplation through music was different from other reflective experiences, in part, because his visual associations were set free to mutate, morph, and meander; while the other senses were occupied in fierce concentraction on breathing, blowing, fingering, and listening. Within the flow of this activity, his awareness would land in different states of consciousness, different phases of time, and easily moved between revisualization of experience and its creation. The playing dislodged hidden feelings, primed him for recognizing the habitually denied, sheathed the sword of lnaguage, and loosened the shield and armor of his character. His contemplative playing purged him of worrisome realities, smelted off from his center the dross of eperience, and on those rare and cherished days, left only the refinement of flickering fire. Although he was more aware of his emotions, the music and dance of thought kept them at arm’s length, Wordsworth’s “emotion recollected in tranquility.” . . . As he played, his mind’s eye became the fisher’s bobber, guided by a line of sound around the driftwood of thought, the residue of his life, which materialized from nowhere and sank back into nothingness without his weaving them into any insistent pattern of order and understanding. He was momentarily freed of logical sequencing, the press of premises, the psycho-logic of primary process, the throb of Thought pulsing in and through him, and in billions of mind/bodies, now and throughout time, belonging each to each, to none, to no one, to Everyone, rocking back and forward in an ebb and flow of wishes, fears, and goals. He fished free of desire, illusion, or multiplicity; distant from the hook, the fisher, the fish; but tethered still on the long line of music, until it snagged on an immovable object, some unquestioned assumption, or perhaps a stray consummation, a catch in the flow of creation and wonder.

We got into the car. It was my first time. The car was spotless and I liked its smell, the smell of old leather and old steel. When, two minutes later, we reached my building, I began to feel sorry for him but didn't know what to say or how to help. I was too shy to ask him to open up and tell me about the cloud that had cast such a gloomy shadow over him. Instead I suggested something so flatfooted that I'm surprised it did not irritate him even more than he was already. I told him to head home and sleep the whole thing off, as if sleep could free a castaway from his island. No, he needed to work, he replied. Besides, her was looking forward to driving at night. He loved cruising Boston by night. He loved jazz, old jazz, Gene Ammons — especially played en sardine, with the volume really low — as the tenor sax invariably blocked all bad feelings and made him think of romance and of sultry summer nights where a woman dances cheek to cheek with you to the saxophone's prolonged lyrical strains that made you want love even after you'd stopped trusting love exists on this planet.

It’s nice when grown people whisper to each other under the covers. Their ecstasy is more leaf-sigh than bray and the body is the vehicle, not the point. They reach, grown people, for something beyond, way beyond and way, way down underneath tissue. They are remembering while they whisper the carnival dolls they won and the Baltimore boats they never sailed on. The pears they let hang on the limb because if they plucked them, they would be gone from there and who else would see that ripeness if they took it away for themselves? How could anybody passing by see them and imagine for themselves what the flavor would be like? Breathing and murmuring under covers both of them have washed and hung out on the line, in a bed they chose together and kept together nevermind one leg was propped on a 1916 dictionary, and the mattress, curved like a preacher’s palm asking for witnesses in His name’s sake, enclosed them each and every night and muffled their whispering, old-time love. They are under the covers because they don’t have to look at themselves anymore; there is no stud’s eye, no chippie glance to undo them. They are inward toward the other, bound and joined by carnival dolls and the steamers that sailed from ports they never saw. That is what is beneath their undercover whispers. But there is another part, not so secret. The part that touches fingers when one passes the cup and saucer to the other. The part that closes her neckline snap while waiting for the trolley; and brushes lint from his blue serge suit when they come out of the movie house into the sunlight. I envy them their public love. I myself have only known it in secret, shared it in secret and longed, aw longed to show it—to be able to say out loud what they have no need to say at all: That I have loved only you, surrendered my whole self reckless to you and nobody else. That I want you to love me back and show it to me. That I love the way you hold me, how close you let me be to you. I like your fingers on and on, lifting, turning. I have watched your face for a long time now, and missed your eyes when you went away from me. Talking to you and hearing you answer —that’s the kick. But I can’t say that aloud; I can’t tell anyone that I have been waiting for this all my life and that being chosen to wait is the reason I can. If I were able I’d say it. Say make me, remake me. You are free to do it and I am free to let you because look, look. Look where your hands are. Now.

This guy Lobo, whose real and true name was Wolfgang Fink, played better than good flamenco guitar in a place called Mamma Mia in Puerto Vallarta. Had a partner name of Willie Royal, tall gangly guy who was balding a little early and wore glasses and played hot gypsy-jazz violin. They'd worked out a repertoire of their own tunes, "Improvisation #18" and "Gypsy Rock" as examples, played 'em high and hard, rolled through "Amsterdam" and "The Sultan's Dream" with enough power to set you two times free or even beyond that when the day had been tolerable and the night held promise. Lobo, sun worn and hard lined in the face looking over at Willie Royal bobbing and weaving and twisting his face into a mean imitation of a death mask when he really got into it, right wrist looking almost limp but moving his bow at warp speed across the strings, punctuated here and there by Lobo's stabbing ruscados and finger tapping on the guitar top. Good music, wonderful music, tight and wild all at the same time. On those nights when the sweat ran down your back and veneered your face and the gringitas looked good enough to swallow whole - knowing too they looked just that way and them watching the crowd to see who might be man enough to try it - people would be riding on the music, drinking and clapping in flamenco time, dancing around the dinner tables.

Compose and perform your music free of egotism and with a conscious desire to gratify the listener. This conscious desire in time will become subconscious and a part of your natural way. Think of yourself as a channel through which the Divine strives to uplift mankind. What a privileged and honored position you have been placed in. Become aware of the good that you can do through your talents. Once you become aware and accept this responsibility, there will be no more room for egotistical concepts. Your concepts will expand to gratify and uplift the listener and to lead you to the total fulfillment of your destiny. Strive to write and perform in such a manner that others may be gratified and that you may be fulfilled.

CONCERTS IN TOWN “Summergarden: New Music for New York” The Museum of Modern Art turns to music every summer, hosting a variety of classical, jazz, and pop performers in its Sculpture Garden. Juilliard runs the classical department, with Joel Sachs leading members of the New Juilliard Ensemble; this week’s concert offers contemporary works for strings by Roberto Sierra, Eric Lindsay, and the dean of Australian composers, Peter Sculthorpe (the String Quartet No. 15, from 1999), as well as a piece for flute and strings by the Belize-born British composer Errollyn Wallen. (11 W. 53rd St. July 20 at 8. Free with museum admission.)

The jazz funeral celebrates the fact that the person who died is free now to dance on the other side.

It's the start of something loud and soft, classic jazz and wordless love song, free and entangled: forgiving yourself for being human, for the things you want to grab hold of, own and giving yourself permission when you need to let go.

Jazz was the opposite of everything Harry Anslinger believed in. It is improvised, and relaxed, and free-form. It follows its own rhythm. Worst of all, it is a mongrel music made up of European, Caribbean, and African echoes, all mating on American shores. To Anslinger, this was musical anarchy, and evidence of a recurrence of the primitive impulses that lurk in black people, waiting to emerge. “It sounded,” his internal memos said, “like the jungles in the dead of night.”94 Another memo warned that “unbelievably ancient indecent rites of the East Indies are resurrected”95 in this black man’s music. The lives of the jazzmen, he said, “reek of filth.”96 His agents reported back to him97 that “many among the jazzmen think they are playing magnificently when under the influence of marihuana but they are actually becoming hopelessly confused and playing horribly.” The Bureau believed that marijuana slowed down your perception of time98 dramatically, and this was why jazz music sounded so freakish—the musicians were literally living at a different, inhuman rhythm. “Music hath charms,”99 their memos say, “but not this music.” Indeed, Harry took jazz as yet more proof that marijuana drives people insane. For example, the song “That Funny Reefer Man”100 contains the line “Any time he gets a notion, he can walk across the ocean.” Harry’s agents warned: “He does think that.” Anslinger looked out over a scene filled with men like Charlie Parker,101 Louis Armstrong,102 and Thelonious Monk,103 and—as the journalist Larry Sloman recorded—he longed to see them all behind bars.104 He wrote to all the agents he had sent to follow them, and instructed: “Please prepare all cases in your jurisdiction105 involving musicians in violation of the marijuana laws. We will have a great national round-up arrest of all such persons on a single day. I will let you know what day.” His advice on drug raids to his men was always “Shoot first.”106 He reassured congressmen that his crackdown would affect not “the good musicians, but the jazz type.”107 But when Harry came for them, the jazz world would have one weapon that saved them: its absolute solidarity. Anslinger’s men could find almost no one among them who was willing to snitch,108 and whenever one of them was busted,109 they all chipped in to bail him out.

The magical proposition of the gospel, once free from the clasps of fairy tale, was very adult to me, very gritty like something from Hemingway or Steinbeck,

From the mid-1940s, ‘existentialist’ was used as shorthand for anyone who practised free love and stayed up late dancing to jazz music. As the actor and nightclubber Anne-Marie Cazalis remarked in her memoirs, ‘If you were twenty, in 1945, after four years of Occupation, freedom also meant the freedom to go to bed at 4 or 5 o’clock in the morning.’ It meant offending your elders and defying the order of things. It could also mean mingling promiscuously with different races and classes. The philosopher Gabriel Marcel heard a lady on a train saying, ‘Sir, what a horror, existentialism! I have a friend whose son is an existentialist; he lives in a kitchen with a Negro woman!’ The

Who were many people coming together cannot become one people falling apart. Who dreamed for every child an even chance cannot let luck alone turn doorknobs or not. Whose law was never so much of the hand as the head cannot let chaos make its way to the heart. Who have seen learning struggle from teacher to child cannot let ignorance spread itself like rot. We know what we have done and what we have said, and how we have grown, degree by slow degree, believing ourselves toward all we have tried to become— just and compassionate, equal, able, and free.

I can’t explain how freeing that was, to realize that if I met Jesus, He would like me. I never felt like that about some of the Christians on the radio. I always thought if I met those people they would yell at me. But it wasn’t like that with Jesus. There were people He loved and people He got really mad at, and I kept identifying with the people He loved, which was really good, because they were all the broken people, you know, the kind of people who are tired of life and want to be done with it, or they are desperate people, people who are outcasts or pagans. There were others, regular people, but He didn’t play favorites at all, which is miraculous in itself. That fact alone may have been the most supernatural thing He did. He didn’t show partiality,

There are three steps to applying the lessons of this experiment to our regular lives: Very simply, choose something that is unappealing to you. It could be listening to speed metal or free jazz, going to a wine-tasting event, or reading Victorian poetry. Take part in the activity, but instead of doing it as is, search for any three novel or unique things about it. Write down or talk about what you discovered with someone else. Like the research participants, you’ll find you carry this open-minded interest with you in subsequent days and weeks.

bumped into someone on Bleecker who was beyond the pale. I felt like talking to him so I did. As we talked I kept thinking, But you’re beyond the pale, yet instead of that stopping us from talking we started to talk more and more frantically, babbling like a couple of maniacs about a whole load of things: shame, ruin, public humiliation, the destruction of reputation—that immortal part of oneself—the contempt of one’s wife, one’s children, one’s colleagues, personal pathology, exposure, suicidal ideation, and all that jazz. I thought, Maybe if I am one day totally and finally placed beyond the pale, I, too, might feel curiously free. Of expectation. Of the opinions of others. Of a lot of things. “It’s like prison,” he said, not uncheerfully. “You don’t see anybody and you get a lot of writing done.” If you’re wondering where he would be placed on a badness scale of one to ten, as I understand it he is, by general admission, hovering between a two and a three. He did not have “victims” so much as “annoyed parties.” What if he had had victims? Would I have talked to him then? But surely in that case, in an ideal world—after a trial in court—he would have been sent to a prison, or, if you have more enlightened ideas about both crime and punishment, to a therapeutic facility that helps people not to make victims of their fellow humans. Would I have visited him in prison? Probably not. I can’t drive, and besides I have never volunteered for one of those programs in which sentimental people, under the influence of the Gospels, consider all humans to be essentially victims of one another and of themselves and so go to visit even the worst offenders, bringing them copies of the Gospels and also sweaters they’ve knitted. But that wasn’t the case here. He was beyond the pale, I wasn’t. We said our good-byes and I returned to my tower, keeping away from the window for the afternoon, not being in the mood for either signs or arrows. I didn’t know where I was on the scale back then (last week). I was soon to find out. Boy, was I soon to find out. But right now, in the present I’m telling you about, I saw through a glass, darkly. Like you, probably. Like a lot of people.

I bumped into someone on Bleecker who was beyond the pale. I felt like talking to him so I did. As we talked I kept thinking, But you’re beyond the pale, yet instead of that stopping us from talking we started to talk more and more frantically, babbling like a couple of maniacs about a whole load of things: shame, ruin, public humiliation, the destruction of reputation—that immortal part of oneself—the contempt of one’s wife, one’s children, one’s colleagues, personal pathology, exposure, suicidal ideation, and all that jazz. I thought, Maybe if I am one day totally and finally placed beyond the pale, I, too, might feel curiously free. Of expectation. Of the opinions of others. Of a lot of things. “It’s like prison,” he said, not uncheerfully. “You don’t see anybody and you get a lot of writing done.” If you’re wondering where he would be placed on a badness scale of one to ten, as I understand it he is, by general admission, hovering between a two and a three. He did not have “victims” so much as “annoyed parties.” What if he had had victims? Would I have talked to him then? But surely in that case, in an ideal world—after a trial in court—he would have been sent to a prison, or, if you have more enlightened ideas about both crime and punishment, to a therapeutic facility that helps people not to make victims of their fellow humans. Would I have visited him in prison? Probably not. I can’t drive, and besides I have never volunteered for one of those programs in which sentimental people, under the influence of the Gospels, consider all humans to be essentially victims of one another and of themselves and so go to visit even the worst offenders, bringing them copies of the Gospels and also sweaters they’ve knitted. But that wasn’t the case here. He was beyond the pale, I wasn’t. We said our good-byes and I returned to my tower, keeping away from the window for the afternoon, not being in the mood for either signs or arrows. I didn’t know where I was on the scale back then (last week). I was soon to find out. Boy, was I soon to find out. But right now, in the present I’m telling you about, I saw through a glass, darkly. Like you, probably. Like a lot of people.

Five years after Affectionate Fink the musical landscape was vastly altered, and McNair could make an album like The Fence, featuring free pianist Keith Tippett, Tony Carr, Traffic’s Steve Winwood and Ric Grech, and Pentangle’s Terry Cox and Danny Thompson. The same year (1970) he also turned out the Ellingtonian cocktail jazz of Flute and Nut with John Cameron, and appeared in Ginger Baker’s hard-driving Air Force supergroup, featuring the same Traffic members plus Denny Laine of Wings and Graham Bond. On his final cue on Kes, a thirty-eight-second, rain-sodden lament as the bird is buried, he blows a murmuring, unresolved line loaded with trepidation. The cancer that had been killing him since the late 1960s finally finished its work on 7 March 1971.

Jazz was about the spaces between notes. It was about what happened when you listened to the thing inside you. The gaps and the cracks. Because that was where life really happened: when you were brave enough to free-fall.

Look here, he says, what's the matter with you fellows? let's get cracking with this dump. Your road is bad; pave it. Better yet, build a paved road to every corner of the park; better yet, pave the whole damned place so any damn fool can drive anything anywhere is this a democracy or ain't it? Next, charge a good stiff admission fee; you can't let people in free; that leads socialism and regimentation. Next, get rid of all these homely rangers in their Smokey the Bear suits. Hire a crew of pretty girls, call them rangerettes, let them sell the tickets and give the campfire talks. And advertise, for godsake, advertise! How do you expect to get people in here if you don't advertise? Next, these here Arches light them up. Floodlight them, turn on colored, revolving lights -jazz it up, man, it's dead. Light up the whole place, all night long, get on a 24-hour shift, keep them coming, keep them moving, you got two hundred million people out there waiting to see your product-is this a free country or what the hell is it? Next your campgrounds, you gotta do something about your camp grounds, they're a mess. People can't tell where to park their cars or which spot is whose-you gotta paint lines, numbers, mark out the campsites nice and neat. And they're still building fires on the ground, with wood! Very messy, filthy, wasteful. Set up little grills on stilts, sell charcoal briquettes, better yet hook up with the gas line, install jets and burners. Better yet do away with the camp. grounds altogether, they only cause delay and congestion and administrative problems-these people want to see America, they're not going to see it sitting around a goddamned campfire; take their money, give them the show, send them on their way-that's the way to run a business....

I like pleasures when they are shared, that is my definition of luxury. Appetizing but not edible. Edible smells are lazy, something appetizing is exciting. "Appetizing" is a word sufficiently evocative to be turned into a smell. Tocqueville anticipated the fact that, in a democracy, society would tend towards unified tastes. trend may be the price we have to pay for democracy. For Kant, beauty could exist only outside usefulness. A people that listens to jazz is a people that favors human exchange. Green is the only color that makes sense as a smell. Learning a language or any other thing, means opening yourself up to the world once more; it is also a return to humility. I envy the emotion an enthusiast experiences when he smells a perfume for the first time, using words of love that I wish I could come up with again. In Chinese or Japanese culture, perfection exists, it is also a goal to aim for, but the aspiration isn't unattainable and isn't tainted by a sense of guilt. I believe that the best way to develop creativity is to work alone and without evaluation, which does not mean without any dialogue. The majority of ideas are the fruit of assiduous, day-to-day work, sometimes the result of meeting people, country walks, idle strolls, things I have read, moments when my mind is free to roam. My moleskine notebook, in which I jot down ideas, words and the beginning of formulae, is always close at hand. I experience solitude as a freedom I have chosen.

We was all of us free, brother. For that night at least, we was free.

From the mid-1940s, ‘existentialist’ was used as shorthand for anyone who practised free love and stayed up late dancing to jazz music.

Later, I sat down drunk on the corner of Carondelet and Canal Streets, listening for the rumble of the streetcar that would take me back uptown to my apartment, watching the evening sun bleed from the streets, the city shifting into night, when it truly became New Orleans: the music, the constant festival, the smell of late evening dinners pouring out, layering the beer-soaked streets, prostitutes, clubs with DJs, rowdy gay bars, dirty strip clubs, the insane out for a walk, college students vomiting in trash cans, daiquiri bars lit up like supermarkets, washing-machine-sized mixers built into the wall spinning every color of daiquiri, lone trumpet players, grown women crying, clawing at men in suits, portrait painters, spangers (spare change beggars), gutter punks with dogs, kids tap-dancing with spinning bike wheels on their heads, the golden cowboy frozen on a milk crate, his golden gun pointed at a child in the crowd, fortune-tellers, psycho preachers, mumblers, fighters, rock-faced college boys out for a date rape, club chicks wearing silver miniskirts, horse-drawn carriages, plastic cups piling against the high curbs of Bourbon Street, jazz music pressing up against rock-and-roll cover bands, murderers, scam artists, hippies selling anything, magic shows and people on unicycles, flying cockroaches the size of pocket rockets, rats without fear, men in drag, business execs wandering drunk in packs, deciding not to tell their wives, sluts sucking dick on open balconies, cops on horseback looking down blouses, cars wading across the river of drunks on Bourbon Street, the people screaming at them, pouring drinks on the hood, putting their asses to the window, whole bars of people laughing, shot girls with test tubes of neon-colored booze, bouncers dragging skinny white boys out by their necks, college girls rubbing each other’s backs after vomiting tequila, T-shirts, drinks sold in a green two-foot tube with a small souvenir grenade in the bottom, people stumbling, tripping, falling, laughing on the sidewalk in the filth, laughing too hard to stand back up, thin rivers of piss leaking out from corners, brides with dirty dresses, men in G-strings, mangy dogs, balloon animals, camcorders, twenty-four-hour 3-4-1, free admission, amateur night, black-eyed strippers, drunk bicyclers, clouds of termites like brown mist surrounding streetlamps, ventriloquists, bikers, people sitting on mailboxes, coffee with chicory, soul singers, the shoeless, the drunks, the blissful, the ignorant, the beaten, the assholes, the cheaters, the douche bags, the comedians, the holy, the broken, the affluent, the beggars, the forgotten, and the soft spring air pregnant with every scent created by such a town.

Despite his late and haphazard start, Cecchini also became a renowned teacher of both jazz and classical guitar. Students traveled from out of state to pick his brain, and by the early 1980s lines formed down the stairs of his Chicago school in the evenings. His own formal training, of course, had been those free clarinet lessons. “I’d say I’m 98 percent self-taught,” he told me. He switched between instruments and found his way through trial and error. It might sound unusual, but when Cecchini reeled off legends he played with or admired, there was not a Tiger among them.

This notion of rest, it's attractive to her, but I don't think she would like it. They are all like that, these women. Waiting for the ease, the space that need not be filled with anything other than the drift of their own thoughts. But they wouldn't like it. They are busy and thinking of ways to be busier because such a space of nothing pressing to do would knock them down. No fields of cowslips will rush into that opening, nor mornings free of flies and heat when the light is shy. No. Not at all. They fill their mind and hands with soap and repair and dicey confrontations because what is waiting for them, in a suddenly idle moment, is the seep of rage. Molten. Thick and slow-moving. Mindful and particular about what in its path it chooses to bury. Or else, into a beat of time, and sideways under their breasts, slips a sorrow they don't know where from.

[Sebastian explains why he won't leave Boston] "Because I hate the cold and the forty-two different seasons this city experiences and the leaves"—it had to be noted that he said leaves with jazz hands, and I couldn't tell if those were ironic jazz hands or not—"and then cobblestones, which must've been invented by an orthopedic surgeon, and everything is old as fuck and that's supposed to be special, and the roads"—he cringed with his entire body—"the fucking roads look like a child with no object permanence drew them. They make no sense, none at all, and don't get me started on the sports. These people and their sports. My god. Do you know about the turkeys? There are turkeys here, Shap, they're all over the place, they don't appreciate that we're sharing their habitat, and they'll chase the fuck out of you if you're not careful. And then there's the coffee, which used to be the only part of my day that didn't piss me off but now I can't just order coffee, I have to also join a cult. And you can't park. You just can't park in this town. Don't try. Not worth it, but it means you have to walk on the danger rocks and you better believe they'll be slippery as hell because all the leaves came down between hot wind season and cold hurricane season so you'll roll an ankle just to dodge the turkeys and order a regular coffee which you must drink with cream and sugar by order of the cult but it's going to be free because one of the sports teams finally won a game—and thank fuck for that because they're not out driving drunk or beating on each other for one blessed night." He gave a brisk shake of his head. "That's why I can't leave." I had to bite my lip to keep from laughing. "Because you hate everything?" "Yeah. I hate it all so thoroughly that I'm sure I'd never find anywhere else to hate with such completeness. Without all of this resentment, I'd be empty inside.

Magnetic train levitation is based on the Meissner effect, which is a direct result of superconductors. The influence between magnetic fields and electric currents implies that magnetic fields exert forces on electrons, which work to obstruct the flow of a current. Superconductors, with their unrestricted flow of electrons, will expel any magnetic field present in order to maintain the resistance-free flow of the current. Thus, if you place a magnet above a superconducting material, the material's supercurrent, which refuses to allow a magnetic field to enter it, produces a strong mirror image magnetic field, causing the external magnet to levitate. Train tracks made out of superconductors and train "wheels" made of magnets will induce the Meissner effect, causing the train to levitate. This effect played a key role in the discovery of the Higgs Boson particle. The Higgs boson is nothing but a type of super-conductivity, only now the superconducting medium is empty space itself. These achievements, which followed from the groundbreaking discovery of Cooper and his colleagues, are only a few of the reasons why Cooper was my hero.

Jazz was way out front, clearing a path into a new era of truly free music, where the only limits were the musician’s own consciousness and imagination, a music that cut across all boundaries yet still made perfect sense and swung like no music had ever swung before.

I thought somehow he would sense my disapproval and change his life in order to gain my favor. In short, I withheld love. I knew what I was doing was wrong. It was selfish. And what’s more, it would never work. By withholding love from my friend, he became defensive. He didn’t like me. He thought I was judgmental, snobbish, proud, and mean. Rather than being drawn to me, wanting to change, he was repulsed. I was guilty of using love like money, withholding to get somebody to be who I wanted them to be. I was making a mess of everything. And I was disobeying God...I had fallen miles short of God’s aim...I repented. I replaced economic metaphor with something different, a free gift metaphor, or a magnet metaphor. That is, instead of withholding love to change somebody, I poured it on, lavishly. I hoped that love would work like a magnet, pulling people from the myre, and toward healing. I knew this is the way God loved me. God never withheld love to teach me a lesson. Here is something simple about relationships [I discovered]: nobody will listen to you unless they sense that you like them... After I repented, things were different. But the difference wasn’t with my friend. The difference was with me. Before I had all this judgementalism and pride and loathing of other people. I hated it. And now I was set free. I was free to love. I didn’t have to discipline anybody, I didn’t have to judge anybody, I could treat everybody as though they were my best friend, as though they were rockstars or famous poets, as though they were amazing, and to me, they became amazing. Especially my new friend. I loved him. After I decided to let go of judging him, I discovered that he was very funny. I mean, really hilarious. And he was smart. Quite brilliant really. I couldn’t believe I hadn’t seen it before. I felt as though I had lost an enemy, and gained a brother. And then he began to change. It didn’t matter to me whether he did or not, but he did. He began to get a little more serious about God...He was a great human being getting even better. I could feel God’s love for him. I loved the fact that it wasn’t my responsibility to change somebody, that it was God’s. That my part was just to communicate love.