Jazz Night Quotes

I never liked jazz music because jazz music doesn't resolve. But I was outside the Bagdad Theater in Portland one night when I saw a man playing the saxophone. I stood there for fifteen minutes, and he never opened his eyes. After that I liked jazz music. Sometimes you have to watch somebody love something before you can love it yourself. It is as if they are showing you the way. I used to not like God because God didn't resolve. But that was before any of this happened.

Reading was like an addiction; I read while I ate, on the train, in bed until late at night, in school, where I'd keep the book hidden so I could read during class. Before long I bought a small stereo and spent all my time in my room, listening to jazz records. But I had almost no desire to talk to anyone about the experience I gained through books and music. I felt happy just being me and no one else. In that sense I could be called a stack-up loner.

I am the twentieth century. I am the ragtime and the tango; sans-serif, clean geometry. I am the virgin's-hair whip and the cunningly detailed shackles of decadent passion. I am every lonely railway station in every capital of Europe. I am the Street, the fanciless buildings of government. the cafe-dansant, the clockwork figure, the jazz saxophone, the tourist-lady's hairpiece, the fairy's rubber breasts, the travelling clock which always tells the wrong time and chimes in different keys. I am the dead palm tree, the Negro's dancing pumps, the dried fountain after tourist season. I am all the appurtenances of night.

I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz, who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tenement roofs illuminated, who passed through universities with radiant cool eyes hallucinating Arkansas and Blake-light tragedy among the scholars of war,

Now I am old-fashioned. A woman, I consider, should be womanly. I have no patience with the modern neurotic girl who jazzes from morning to night, smokes like a chimney, and uses language which would make a billingsgate fishwoman blush!

Introvert conversations are like jazz, where each player gets to solo for a nice stretch before the other player comes in and does his solo. And like jazz, once we get going, we can play all night. Extrovert conversations are more like tennis matches, where thoughts are batted back and forth, and players need to be ready to respond. Introverts get winded pretty quickly.

Do not enjoy yourself. Enjoy dances and theaters and joy-rides and champagne and oysters; enjoy jazz and cocktails and night-clubs if you can enjoy nothing better; enjoy bigamy and burglary and any crime in the calendar, in preference to the other alternative; but never learn to enjoy yourself.

I never liked jazz music because jazz music doesn't resolve. But I was outside the Bagdad Theater in Portland one night when I saw a man playing the saxophone. I stood there for fifteen minutes, and he never opened his eyes.

you're @ home?"She could hear him moving around..."I'll let you go then." "What if I dont want you to?"he said. She heard the music as he walked toward his room, some sort of jazz.her heart sped up, thinking of him stretched out on his bed too, "Good night, Seth." "So ur running again, then? One of his boots thudded on the floor."I'm not running.".. "Really?" "Really.Its just--"She stopped. "Maybe you should slow down, so i can catch you."He paused, waiting.He seemed to do that more & more lately, make statements that invited her to admit something dangerous to their friendship.When she didnt answer he added, "Sweet dreams, Ash.

The other night we talked about literature's elimination of the unessential, so that we are given a concentrated "dose" of life. I said, almost indignantly, "That's the danger of it, it prepares you to live, but at the same time, it exposes you to disappointments because it gives a heightened concept of living, it leaves out the dull or stagnant moments. You, in your books, also have a heightened rhythm, and a sequence of events so packed with excitement that I expected all your life to be delirious, intoxicated." Literature is an exaggeration, a dramatization, and those who are nourished on it (as I was) are in great danger of trying to approximate an impossible rhythm. Trying to live up to Dostoevskian scenes every day. And between writers there is a straining after extravagance. We incite each other to jazz-up our rhythm.

The memory of things gone is important to a jazz musician. Things like old folks singing in the moonlight in the back yard on a hot night or something said long ago.

I want to be able to listen to recording of piano sonatas and know who's playing. I want to go to classical concerts and know when you're meant to clap. I want to be able to 'get' modern jazz without it all sounding like this terrible mistake, and I want to know who the Velvet Underground are exactly. I want to be fully engaged in the World of Ideas, I want to understand complex economics, and what people see in Bob Dylan. I want to possess radical but humane and well-informed political ideals, and I want to hold passionate but reasoned debates round wooden kitchen tables, saying things like 'define your terms!' and 'your premise is patently specious!' and then suddenly to discover that the sun's come up and we've been talking all night. I want to use words like 'eponymous' and 'solipsistic' and 'utilitarian' with confidence. I want to learn to appreciate fine wines, and exotic liquers, and fine single malts, and learn how to drink them without turning into a complete div, and to eat strange and exotic foods, plovers' eggs and lobster thermidor, things that sound barely edible, or that I can't pronounce...Most of all I want to read books; books thick as brick, leather-bound books with incredibly thin paper and those purple ribbons to mark where you left off; cheap, dusty, second-hand books of collected verse, incredibly expensive, imported books of incomprehensible essays from foregin universities. At some point I'd like to have an original idea...And all of these are the things that a university education's going to give me.

He cared only about people; he was scarcely conscious of places except for their weather, until they had been invested with color by tangible events.

...a habit that had become one of those necessary things for the night... surely a body-friendly if not familiar-lying next to you. Someone whose touch is a reassurance, not an affront or a nuissance. Whose heavy breathing neither enrages nor discusts you, but amuses you like that of a cherished pet.

...the City is what they want it to be: thriftless, warm, scary and full of amiable strangers. No wonder they forget pebbly creeks and when they do not forget the sky completely think of it as a tiny piece of information about the time of day or night.

I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz,

It's nice when grown people whisper to each other under the covers. Their ecstasy is more a 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 flavour 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.

The other night we talked about literature's elimination of the unessential, so that we are given a concentrated "dose" of life. I said, almost indignantly, "That's the danger of it, it prepares you to live, but at the same time, it exposes you to disappointments because it gives a heightened concept of living, it leaves out the dull or stagnant moments. You, in your books, also have a heightened rhythm, and a sequence of events so packed with excitement that i expected all your life to be delirious, intoxicated." Literature is an exaggeration, a dramatization, and those who are nourished on it (as I was) are in great danger of trying to approximate an impossible rhythm. Trying to live up to dostoevskian scenes every day. And between writers there is a straining after extravagance. We incite each other to jazz-up our rhythm. It is amusing that, when Henry, Fred, and I talked together, we fell back into a deep naturalness. Perhaps none of us is a sensational character. Or perhaps we have no need of condiments. Henry is, in reality, mild not temperamental; gentle not eager for scenes. We may all write about sadism, masochism, the grand quignol, bubu de montparnasse (in which the highest proof of love is for a pimp to embrace his woman's syphilis as fervently as herself, a noblesse-oblige of the apache world), cocteau, drugs, insane asylums, house of the dead, because we love strong colors; and yet when we sit in the cafe de la place clichy, we talk about henry's last pages, and a chapter which was too long, and richard's madness. "One of his greatest worries," said Henry, "was to have introduced us. He thinks you are wonderful and that you may be in danger from the 'gangster author.

An inch of gold can't buy an inch of time

saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz

There are quiet places also in the mind,” he said, meditatively. “But we build bandstand and factories on them. Deliberately—to put a stop to the quietness. We don’t like the quietness. All the thoughts, all the preoccupation in my head—round and round continually.” He made a circular motion with his hands. “And the jazz bands, the music hall songs, the boys shouting the news. What’s it all for? To put an end to the quiet, to break it up and disperse it, to pretend at any cost it isn’t there. Ah, but it is, it is there, in spite of everything, at the back of everything. Lying awake at night, sometimes—not restlessly, but serenely, waiting for sleep—the quiet re-establishes itself, piece by piece; all the broken bits, all the fragments of it we’ve been so busily dispersing all day long. It re-establishes itself, an inward quiet, like this outward quiet of grass and trees. It fills one, it grows –a crystal quiet, a growing expanding crystal. It grows, it becomes more perfect; it is beautiful and terrifying, yes, terrifying, as well as beautiful. For one’s alone in the crystal and there’s no support from outside, there’s nothing external and important, nothing external and trivial to pull oneself up by or to stand up, superiorly, contemptuously, so that one can look down. There’s nothing to laugh at or feel enthusiastic about. But the quiet grows and grows. Beautifully and unbearably. And at last you are conscious of something approaching; it is almost a faint sound of footsteps. Something inexpressibly lovely and wonderful advances through the crystal, nearer, nearer. And oh, inexpressibly terrifying. For if it were to touch you, if it were to seize and engulf you, you’d die; all the regular habitual, daily part of you would die. There would be and end of bandstands and whizzing factories, and one would have to begin living arduously in the quiet, arduously n some strange unheard-of manner. Nearer, nearer come the steps; but one can’t face the advancing thing. One daren’t. It’s too terrifying; it’s too painful to die. Quickly, before it is too late, start the factory wheels, bang the drum, blow up the saxophone. Think of the women you’d like to sleep with, the schemes for making money, the gossip about your friends, the last outrage of the politicians. Anything for a diversion. Break the silence, smash the crystal to pieces. There, it lies in bits; it is easily broken, hard to build up and easy to break. And the steps? Ah, those have taken themselves off, double quick. Double quick, they were gone at the flawing of the crystal. And by this time the lovely and terrifying thing is three infinities away, at least. And you lie tranquilly on your bed, thinking of what you’d do if you had ten thousand pounds and of all the fornications you’ll never commit.

ALONE One of my new housemates, Stacy, wants to write a story about an astronaut. In his story the astronaut is wearing a suit that keeps him alive by recycling his fluids. In the story the astronaut is working on a space station when an accident takes place, and he is cast into space to orbit the earth, to spend the rest of his life circling the globe. Stacy says this story is how he imagines hell, a place where a person is completely alone, without others and without God. After Stacy told me about his story, I kept seeing it in my mind. I thought about it before I went to sleep at night. I imagined myself looking out my little bubble helmet at blue earth, reaching toward it, closing it between my puffy white space-suit fingers, wondering if my friends were still there. In my imagination I would call to them, yell for them, but the sound would only come back loud within my helmet. Through the years my hair would grow long in my helmet and gather around my forehead and fall across my eyes. Because of my helmet I would not be able to touch my face with my hands to move my hair out of my eyes, so my view of earth, slowly, over the first two years, would dim to only a thin light through a curtain of thatch and beard. I would lay there in bed thinking about Stacy's story, putting myself out there in the black. And there came a time, in space, when I could not tell whether I was awake or asleep. All my thoughts mingled together because I had no people to remind me what was real and what was not real. I would punch myself in the side to feel pain, and this way I could be relatively sure I was not dreaming. Within ten years I was beginning to breathe heavy through my hair and my beard as they were pressing tough against my face and had begun to curl into my mouth and up my nose. In space, I forgot that I was human. I did not know whether I was a ghost or an apparition or a demon thing. After I thought about Stacy's story, I lay there in bed and wanted to be touched, wanted to be talked to. I had the terrifying thought that something like that might happen to me. I thought it was just a terrible story, a painful and ugly story. Stacy had delivered as accurate a description of a hell as could be calculated. And what is sad, what is very sad, is that we are proud people, and because we have sensitive egos and so many of us live our lives in front of our televisions, not having to deal with real people who might hurt us or offend us, we float along on our couches like astronauts moving aimlessly through the Milky Way, hardly interacting with other human beings at all.

Those who have not lived in New Orleans have missed an incredible, glorious, vital city--a place with an energy unlike anywhere else in the world, a majority-African American city where resistance to white supremacy has cultivated and supported a generous, subversive, and unique culture of vivid beauty. From jazz, blues, and and hip-hop to secondlines, Mardi Gras Indians, jazz funerals, and the citywide tradition of red beans and rice on Monday nights, New Orleans is a place of art and music and food and traditions and sexuality and liberation.

I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz, who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tenement roofs illuminated, who passed through universities with radiant cool eyes hallucinating Arkansas and Blake-light tragedy among the scholars of war, who were expelled from the academies for crazy & publishing obscene odes on the windows of the skull,

I read through the book of Matthew this evening. I was up all night. I couldn’t stop reading so I read through Mark. This Jesus of yours is either a madman or the Son of God. Somewhere in the middle of Mark I realized He was the Son of God.

Love at first sight is not complicated. In our dreams we build a woman, we give her life from our own life, and then we have to wait. Through trial and error we try to find that nameless ghost that’s haunting our most lonely of nights. And I felt as if I had found what I was looking for. Finally, my ghost had a name and a face.

Music was the color of time, that's what it was. Time's color. Pink mornings, blue nights, golden afternoons.

When I walked into the Christian section of a bookstore, the message was clear: Faith is something you do alone. Rick does not have much tolerance for people living alone. He’s like Bill Clinton in that he feels everyone’s pain. If Rick thinks somebody is lonely, he can’t sleep at night. He wants us all to live with each other and play nice so he can get some rest. Tortured soul.

There are times when you almost tell the harmless old lady next door what you really think of her face—that it ought to be on a night-nurse in a house for the blind; when you’d like to ask the man you’ve been waiting ten minutes for if he isn’t all overheated from racing the postman down the block; when you nearly say to the waiter that if they deducted a cent from the bill for every degree the soup was below tepid the hotel would owe you half a dollar; when—and this is the infallible earmark of true exasperation—a smile affects you as an oil-baron’s undershirt affects a cow’s husband. But the moment passes. Scars may remain on your dog or your collar or your telephone receiver, but your soul has slid gently back into its place between the lower edge of your heart and the upper edge of your stomach, and all is at peace.

Have you ever sailed across an ocean...on a sailboat, surrounded by sea with no land in sight, without even the possibility of sighting land for days to come? To stand at the helm of your destiny. I want that, one more time. I want to be in the Piazza del Campo in Siena. To feel the surge as 10 racehorses go thundering by. I want another meal in Paris, at L'Ambroisie, at the Place des Vosges. I want another bottle of wine. And then another. I want the warmth of a woman and a cool set of sheets. One more night of jazz at the Vanguard. I want to stand on the summits and smoke Cubans and feel the sun on my face for as long as I can. Walk on the Wall again. Climb the Tower. Ride the River. Stare at the Frescos. I want to sit in the garden and read one more good book. Most of all I want to sleep. I want to sleep like I slept when I was a boy. Give me that, just one time.

I didnt like being reminded about how self-absorbed i was. I wanted to be over this, done with this. I didnt want to live in a broken world or a broken me. I wasnt trying to weasel out of anything. I just wasnt in the mood of being on the earth that night. I get like that sometimes when it rains, or when i see certain sad movies.

I love the sounds of the French Quarter on mild nights…laughter, chatter, gaiety, Dixieland jazz drifting out of open doors, rock music pounding somewhere—an eternal carouse.

All I have to do is wake up in the morning and go to bed at night, Jazz. Everything else is optional.

Are you gonna be my date tonight, or what?" A night of good food, jazz music, and the chance to see Tiana again? Naveen gave her his best smile. "What time to do we leave?

New Year’s Eve was a night for jazz, and the saxophone could cut you in half if you were alone.

The night window is a pitched dark mirror reflecting back the room's bright warm interior.

She’s the reason he will probably become an embittered old fuck before he’s even of legal drinking age, distrusting women and writing rude songs about them, and basically from here into eternity thinking all chicks are lying cheating sluts because one of them broke his heart. He’s the type of guy that makes girls like me frigid. I’m the girl who knows he’s capable of poetry, because, like I said, there are things I just know. I’m the one who could give him that old-fashioned song title of a thing called Devotion and True Love (However Complicated), if he ever gave a girl like me a second glance. I’m the less-than-five-minute girlfriend who for one too-brief kiss fantasized about ditching this joint with him, going all the way punk with him at a fucking jazz club in the Village or something. Maybe I would have treated him to borscht at Veselka at five in the morning, maybe I would have walked along Battery Park with him at sunrise, holding his hand, knowing I would become the one who would believe in him. I would tell him, I heard you play, I’ve read your poetry, not that crap your band just performed, but those love letters and songs you wrote to Tris. I know what you’re capable of and it’s certainly more than being a bassist in an average queercore band—you’re better than that; and dude, having a drummer, it’s like key, you fucking need one. I would be equipment bitch for him every night, no complaints. But, no, he’s the type with a complex for the Tris type: the big tits, the dumb giggle, the blowhard. Literally.

Billy's native arrogance might well have been a gift of miffed genes, then come to splendid definition through the tests to which a street like Broadway puts a young man on the make: tests designed to refine a breed, enforce a code, exclude all simps and gumps, and deliver into the city's life a man worthy of functioning in this age of nocturnal supremacy. Men like Billy Phelan, forged in the brass of Broadway, send, in the time of their splendor, telegraphic statements of mission: I, you bums, am a winner. And that message, however devoid of Christ-like other-cheekery, dooms the faint-hearted Scottys of the night, who must sludge along, never knowing how it feels to spill over with the small change of sassiness, how it feels to leave the spillover on the floor, more where that came from, pal. Leave it for the sweeper.

The night enveloped me like a giant clammy fist. A cacophony of champagne pops, happy shouts and jazz rose up to meet midnight in the crowded streets all around us, but here in this sheltered courtyard, no one acknowledged the time.

Now I am old-fashioned. A woman, I consider, should be womanly. I have no patience with the modern neurotic girl who jazzes from morning to night, smokes like a chimney, and uses language which would make a Billingsgate fishwoman blush! I

We listened to late-night jazz on the radio and went to jazz clubs, thick with smoke, and drank warm beer. In the daytime I lay on my own bed and read books. I kept a stack by my bed and read them off one by one till they dwindled like a pile of pancakes.

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...

Came Honker's trip to Slice City along about then: our sax-man got a neck all full of the sharpest kind of steel. So we were out one horn. And you could tell: we played a little bit too rough, and the head-arrangements Collins and His Crew grew up to, they needed Honker's grease in the worst way. But we'd been together for five years or more, and a new man just didn't play somehow. We were this one solid thing, like a unit, and somebody had cut off a piece of us and we couldn't grow the piece back so we just tried to get along anyway, bleeding every night, bleeding from that wound. ("Black Country")

I get it right away. Those guys come in guns blazing, Jesus the shit out of everything, maybe even spray a bit of holy water here and there, chant some jazz from the Book of Occasional Services and shoot off. It's hit or miss with them: sometimes it works, sometimes it don't. But if there's something strange in your postcode, who you gonna call?

I'm a person who is unpractical and idealistic. A rebellious dreamer plagued by night terrors. An affinity for the story of Superman, drinking, sex, jazz, writing, drugs, activism, golf, family, cooking, eating good food, reading books and savoring their hypnotic bouquet, for me, is like stumbling over a rock and recovering my equilibrium. This is the story of me.

Then it was horn time. Time for the big solo. Sonny lifted the trumpet - One! Two! - He got it into sight - Three! We all stopped dead. I mean we stopped. That wasn't Sonny's horn. This one was dented-in and beat-up and the tip-end was nicked. It didn't shine, not a bit. Lux leaned over-you could have fit a coffee cup into his mouth. "Jesus God," he said. "Am I seeing right?" I looked close and said: "Man, I hope not." But why kid? We'd seen that trumpet a million times. It was Spoof's. Rose-Ann was trembling. Just like me, she remembered how we'd buried the horn with Spoof. And she remembered how quiet it had been in Sonny's room last night... I started to think real hophead thoughts, like - where did Sonny get hold of a shovel that late? and how could he expect a horn to play that's been under the ground for two years? and - That blast got into our ears like long knives. Spoof's own trademark! Sonny looked caught, like he didn't know what to do at first, like he was hypnotized, scared, almighty scared. But as the sound came out, rolling out, sharp and clean and clear - new-trumpet sound - his expression changed. His eyes changed: they danced a little and opened wide. Then he closed them, and blew that horn. Lord God of the Fishes, how he blew it! How he loved it and caressed it and pushed it up, higher and higher and higher. High C? Bottom of the barrel. He took off, and he walked all over the rules and stamped them flat. The melody got lost, first off. Everything got lost, then, while that horn flew. It wasn't only jazz; it was the heart of jazz, and the insides, pulled out with the roots and held up for everybody to see; it was blues that told the story of all the lonely cats and all the ugly whores who ever lived, blues that spoke up for the loser lamping sunshine out of iron-gray bars and every hop head hooked and gone, for the bindlestiffs and the city slicers, for the country boys in Georgia shacks and the High Yellow hipsters in Chicago slums and the bootblacks on the corners and the fruits in New Orleans, a blues that spoke for all the lonely, sad and anxious downers who could never speak themselves... And then, when it had said all this, it stopped and there was a quiet so quiet that Sonny could have shouted: 'It's okay, Spoof. It's all right now. You get it said, all of it - I'll help you. God, Spoof, you showed me how, you planned it - I'll do my best!' And he laid back his head and fastened the horn and pulled in air and blew some more. Not sad, now, not blues - but not anything else you could call by a name. Except... jazz. It was Jazz. Hate blew out of that horn, then. Hate and fury and mad and fight, like screams and snarls, like little razors shooting at you, millions of them, cutting, cutting deep... And Sonny only stopping to wipe his lip and whisper in the silent room full of people: 'You're saying it, Spoof! You are!' God Almighty Himself must have heard that trumpet, then; slapping and hitting and hurting with notes that don't exist and never existed. Man! Life took a real beating! Life got groined and sliced and belly-punched and the horn, it didn't stop until everything had all spilled out, every bit of the hate and mad that's built up in a man's heart. ("Black Country")

BEBOP / MODERN JAZZ: RECOMMENDED LISTENING Dizzy Gillespie, “Hot House,” May 11, 1945 Dizzy Gillespie, “Salt Peanuts,” May 11, 1945 Thelonious Monk, “Epistrophy,” July 2, 1948 Thelonious Monk, “’Round Midnight,” November 21, 1947 Charlie Parker, “Donna Lee,” May 8, 1947 Charlie Parker, “Ko-Ko,” November 26, 1945 Charlie Parker, “Night in Tunisia,” March 28, 1946 Bud Powell, “Cherokee,” February 23, 1949 Bud Powell, “Un Poco Loco,” May 1, 1951

The conversation swings from the brothers Bush to the war in Iraq to the emerging rights of Muslim women to postfeminism to current cinema—Mexican, American, European (Giorgio goes spasmodically mad over Bu-ñuel), and back to Mexican again—to the relative superiority of shrimp over any other kind of taco to the excellence of Ana’s paella, to Ana’s childhood, then to Jimena’s, to the changing role of motherhood in a postindustrial world, to sculpture, then painting, then poetry, then baseball, then Jimena’s inexplicable (to Pablo) fondness for American football (she’s a Dallas Cowboys fan) over real (to Pablo) fútbol, to his admittedly adolescent passion for the game, to the trials of adolescence itself and revelations over the loss of virginity and why we refer to it as a loss and now Óscar and Tomás, arms over each other’s shoulders, are chanting poetry and then Giorgio picks up a guitar and starts to play and this is the Juárez that Pablo loves, this is the city of his soul—the poetry, the passionate discussions (Ana makes her counterpoints jabbing her cigarette like a foil; Jimena’s words flow like a gentle wave across beach sand, washing away the words before; Giorgio trills a jazz saxophone while Pablo plays bass—they are a jazz combo of argument), the ideas flowing with the wine and beer, the lilting music in a black night, this is the gentle heartbeat of the Mexico that he adores, the laughter, the subtle perfume of desert flowers that grow in alleys alongside garbage, and now everyone is singing— México, está muy contento, Dando gracias a millares… —and this is his life—this is his city, these are his friends, his beloved friends, these people, and if this is all that there is or will be, it is enough for him, his world, his life, his city, his people, his sad beautiful Juárez… —empezaré de Durango, Torreón y Ciudad de

The Lonely Astronomer I have slain the stars and hung them like heads of game on heaven's ceiling. The night has become my trophy room, slung with big cats and hippos, rhinos and buffalos and an exotic barasingha, a swampy cabaret star among the celestial jazz singers who, she claims, take liberties with the sacred lyrics and melodies of the spheres. Their eyes twinkle at me, their light ancient, folded in wrinkles of time like a black velvet purse. I wink back and smile. There is an intimate relationship between the suns and the rain, between the slayers and the slain. I run my fingers through their celestial skins, tracing their ley lines, and for a brief moment, linger in the tactile pleasures within.

He’d been toting it, and checking it, and packing and unpacking, all the way since fate was on the river - that’s how long - the Big River” - Fate Marable and his riverboat caliope (Cleo seemed to recall), who hadastonished the landings between New Orleans and St. Louis with the wild, harsh, skirling Gypsy music, and left there, echoing in the young and restless even as it dies off round the bed; to linger with them thereafter, in the pelting roar of November midnights and the clickety-clack of lonesome valley freights, until they up one night and go after it in a battered bus, following the telephone wires that make a zigzag music staff against the evening sky - some variation of that basic beginning could be told for everyone who jazz has touched and altered.

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.

Queen of the Night Salsa 2.0 This is a jazzed-up version of an earlier recipe from our Precious Darlin’ George. He is ever seeking new and more delicious ways to please us and we adore him for this and other reasons.   MIX ALL THIS stuff together—1 15-ounce can drained and rinsed black beans, 1 11-ounce can Niblets corn, 1 small can chopped green chilis, 1 small can chopped black olives, 2 to 3 chopped fresh tomatoes, at least 8 ounces shredded Monterey Jack, 1 bunch chopped green onions, some cilantro (fresh or dried, to taste), 1/2 teaspoon chili powder, 1/2 teaspoon cumin, 1/2 to 3/4 of a 16-ounce bottle of Wishbone Robusto Italian dressing, and a whole big lot of chopped-up bacon. Obviously, the more bacon, the better—duh. Chill all that overnight in the refrigerator and then eat it all at one sitting the next day with Fritos.

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,

Saturday and Sunday nights the long gray car would be parked among Fords and Chevrolets, as if it had littered or spawned on the gravel quay beside the club. Inside, the five-man Negro band pumped jazz—Button Up Your Overcoat and I’ll Get By and That’s My Weakness Now, interspersed with numbers that had been living before and would be living after: San and Tiger Rag and High Society—while the planters and bankers, the doctors and lawyers, the cotton men and merchants made a show of accompanying each other’s wives through the intricacies of the Charleston, the Black Bottom, the Barney Google, or else backed off and watched one of the women take a solo break, improvising, bobbing and weaving, wetting her thumbs and rolling her eyes, ritualistic, clinging desperately to the tail end of the jazz age—so desperately, so frantically indeed, that a person looking back upon that time might almost believe they had foreseen the depression and Roosevelt and another war and were dancing thus, Cassandra-like, in a frenzy of despair. Jeff

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.

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.

He wrote all the time except during those late-afternoon hours between night and day when he didn't know what to do with himself. When work was over and the evening hadn't yet begun. He saw people going about their business, on their way home on the streetcars, walking with the evening newspaper in their hands. He looked at the dull gray of the city as it settled to dark, the clatter of dishes, children's heads bent over books, cooking smells -- chicken, stews, soups -- drifting into the street. It was in the pauses, in the space between notes, in the slips and breaks, a kind of slow steady interval as if one thing could lead to the next. As if you could go to sleep and wake up and it would be a new day and somehow things would be different than they'd been before. But Benny knew otherwise. Life didn't get better as it went along. It got narrower as if you were walking through a tunnel that was closing in on you, toward a distant beam of light that kept receding. Life got slower and the pauses got longer. Benny didn't mind the day when he was busy, and he waited for the night when he'd go somewhere and listen or play if they let him. It was the in-between time when he felt lost.

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.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

Inside McClintic Sphere was swinging his ass off. His skin was hard, as if it were part of the skull: every vein and whisker on that head stood out sharp and clear under the green baby spot: you could see the twin lines running down from either side of his lower lip, etched in by the force of his embouchure, looking like extensions of his mustache. He blew a hand-carved ivory alto saxophone with a 4 ½ reed and the sound was like nothing any of them had heard before. The usual divisions prevailed: collegians did not dig, and left after an average of 1 ½ sets. Personnel from other groups, either with a night off or taking a long break from somewhere crosstown or uptown, listened hard, trying to dig. 'I am still thinking,’ they would say if you asked. People at the bar all looked as if they did dig in the sense of understand, approve of, empathize with: but this was probably only because people who prefer to stand at the bar have, universally, an inscrutable look… …The group on the stand had no piano: it was bass, drums, McClintic and a boy he had found in the Ozarks who blew a natural horn in F. The drummer was a group man who avoided pyrotechnics, which may have irritated the college crowd. The bass was small and evil-looking and his eyes were yellow with pinpoints in the center. He talked to his instrument. It was taller than he was and didn’t seem to be listening. Horn and alto together favored sixths and minor fourths and when this happened it was like a knife fight or tug of war: the sound was consonant but as if cross-purposes were in the air. The solos of McClintic Sphere were something else. There were people around, mostly those who wrote for Downbeat magazine or the liners of LP records, who seemed to feel he played disregarding chord changes completely. They talked a great deal about soul and the anti-intellectual and the rising rhythms of African nationalism. It was a new conception, they said, and some of them said: Bird Lives. Since the soul of Charlie Parker had dissolved away into a hostile March wind nearly a year before, a great deal of nonsense had been spoken and written about him. Much more was to come, some is still being written today. He was the greatest alto on the postwar scene and when he left it some curious negative will–a reluctance and refusal to believe in the final, cold fact–possessed the lunatic fringe to scrawl in every subway station, on sidewalks, in pissoirs, the denial: Bird Lives. So that among the people in the V-Note that night were, at a conservative estimate, a dreamy 10 per cent who had not got the word, and saw in McClintic Sphere a kind of reincarnation.

There’s a tap on my shoulder. I turn around and get lost in a sea of blue. A Jersey-accented voice says, “It’s about time, kid,” and Frank Sinatra rattles the ice in his glass of Jack Daniel’s. Looking at the swirling deep-brown liquid, he whispers, “Ain’t it beautiful?” This is my introduction to the Chairman of the Board. We spend the next half hour talking Jersey, Hoboken, swimming in the Hudson River and the Shore. We then sit down for dinner at a table with Robert De Niro, Angie Dickinson and Frank and his wife, Barbara. This is all occurring at the Hollywood “Guinea Party” Patti and I have been invited to, courtesy of Tita Cahn. Patti had met Tita a few weeks previous at the nail parlor. She’s the wife of Sammy Cahn, famous for such songs as “All The Way,” “Teach Me Tonight” and “Only the Lonely.” She called one afternoon and told us she was hosting a private event. She said it would be very quiet and couldn’t tell us who would be there, but assured us we’d be very comfortable. So off into the LA night we went. During the evening, we befriend the Sinatras and are quietly invited into the circle of the last of the old Hollywood stars. Over the next several years we attend a few very private events where Frank and the remaining clan hold forth. The only other musician in the room is often Quincy Jones, and besides Patti and I there is rarely a rocker in sight. The Sinatras are gracious hosts and our acquaintance culminates in our being invited to Frank’s eightieth birthday party dinner. It’s a sedate event at the Sinatras’ Los Angeles home. Sometime after dinner, we find ourselves around the living room piano with Steve and Eydie Gorme and Bob Dylan. Steve is playing the piano and up close he and Eydie can really sing the great standards. Patti has been thoroughly schooled in jazz by Jerry Coker, one of the great jazz educators at the Frost School of Music at the University of Miami. She was there at the same time as Bruce Hornsby, Jaco Pastorius and Pat Metheny, and she learned her stuff. At Frank’s, as the music drifts on, she slips gently in on “My One and Only Love.” Patti is a secret weapon. She can sing torch like a cross between Peggy Lee and Julie London (I’m not kidding). Eydie Gorme hears Patti, stops the music and says, “Frank, come over here. We’ve got a singer!” Frank moves to the piano and I then get to watch my wife beautifully serenade Frank Sinatra and Bob Dylan, to be met by a torrent of applause when she’s finished. The next day we play Frank’s eightieth birthday celebration for ABC TV and I get to escort him to the stage along with Tony Bennett. It’s a beautiful evening and a fitting celebration for the greatest pop singer of all time. Two years later Frank passed away and we were generously invited to his funeral. A

Jack Webb had been active in radio for several years before Dragnet propelled him to national prominence. He had arrived at KGO, the ABC outlet in San Francisco, an unknown novice in 1945. Soon he was working as a staff announcer and disc jockey. His morning show, The Coffee Club, revealed his lifelong interest in jazz music, and in 1946 he was featured on a limited ABC-West network in the quarter-hour docudrama One out of Seven. His Jack Webb Show, also 1946, was a bizarre comedy series unlike anything else he ever attempted. His major break arrived with Pat Novak: for 26 weeks Webb played a waterfront detective in a series so hard-boiled it became high camp. He moved to Hollywood, abandoning Novak just as that series was hitting its peak. Mutual immediately slipped him into a Novak sound-alike, Johnny Modero: Pier 23, for the summer of 1947. He played leads and bit parts on such series as Escape, The Whistler, and This Is Your FBI. He began a film career: in He Walked by Night (1948), Webb played a crime lab cop. The film’s technical adviser was Sergeant Marty Wynn of the Los Angeles police. Webb and Wynn shared a belief that pure investigative procedure was dramatic enough without the melodrama of the private eye. The seeds of Dragnet were sown on a movie set.

A flash of light came from deep inside the trees and pulled me to the present. It was so bright the glow kissed the treetops. Within seconds, Torin screeched to a stop beside me. His eyes burned under the glowing runes. “What are you doing?” His voice whipped through the night, and I winced. “Trying to get your attention,” I said. “See, I fixed all the trees you destroyed. Cool, right?” “You do not want to be around me right now, Freckles.” “I disagree. I plan to be around you when you are happy, sad, pissed off, hurting, acting like a jackass, goofing off, or showing off. Whatever and whenever. You and I are a package deal, pal. Equal partners and all that jazz.” I pointed at a nearby tree and moved my finger left and right. The tree swayed. “Any time you want to destroy nature, get me first.” He leaned in until we were eye level. “Go home, Raine.” His voice was mean. “Only if you come with me. You want to stay out here, then I’m staying, too. You want pull a Flash move and sprint to Portland and back, then I’ll either run with you or wait out here until you come back. But I’m not going anywhere without you, Torin St. James.

Isa, we both love jazz, late-night takeout, trashy comedies, and big juicy hamburgers. But that’s the little stuff. We also love each other. And that’s the big stuff. You deserve to be happy. You deserve to have the family you’ve always longed for. I want to spend the rest of my life with you. I want to be a family, make a family for you and with you. I love you, Isa. I swear to you if you give me the chance, I will die sixty or seventy years from now, still making you happy. Isabela Petrovich, will you be my wife?

bababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk! FW 3.15-17 n. Onomatopoeia for the sound of thunder. This is the first of 10 thunder words in Finnegans Wake, it and eight others having 100 letters and the 10th having 101 letters, making 1,001 letters that suggest the Arabian Nights or, in Wakese, “this scherzarade of one’s thousand and one nightinesses.” As a numerical palindrome, 1001 suggests the circular system of Vico and the Wake’s never-ending, never-beginning stylistic structure. In Vico’s system, the Divine Age is the first of three ages in which humanity hears the voice of God in thunder and, driven by fear (“the fright of light”) to hide in caves, pray “Loud, hear us!” “Who in the name of thunder’d ever belevin you were that bolt?” In keeping with this theme, the first thunder word is made up of many words similar to thunder in various languages: “kamminarro” (Japanese kaminari); “tuonn” (Italian tuono); “bronnto” (Greek Bronte); “thurnuk” (Gaelic tornach); “awnska” (Swedish aska); “tonner” (French tonnerre and Latin tonare); “tova” (Portuguese trovao); and “ton” (Old Rumanian tun).

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....

New Yorkers and people visiting New York from the world over go to the night-clubs of Harlem and dance to such jazz music as can be heard nowhere else; and they get an exhilaration impossible to duplicate.

[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.

In the 1960s he had scratched his jazz itch on 1965’s A Shot in the Dark, which sat alongside contemporary scores by Herbie Hancock (Blow Up), Neal Hefti (Barefoot in the Park), Quincy Jones (The Pawnbroker, In the Heat of the Night, In Cold Blood) and Lalo Schifrin (Bullitt).

Does a jazz-band ever sob? They say a jazz-band’s gay. Yet as the vulgar dancers whirled And the wan night wore away, One said she heard the jazz-band sob When the little dawn was gray.

I didn't want to live in a broken world or a broken me. I wasn't trying to weasel out of anything, I just wasn't in the mood to be on earth that night.

Back then he'd hammered out rags as rough as the planks that made up that schoolhouse stage. Over the years he's taken a saw and rasp to those tunes and smoothed them at the edges, sanded them slowly over time with finer and finer grit paper, and applied a polish to them. The songs are comfortable now. People can take their shoes off to dance without fear of a spike in the foot; they can lie back on that smooth and waxed wood to take a nap in the afternoon or make love all night long. Oliver sees himself as a carpenter, a craftsman putting notes and melodies together, fitting them when they will, stepping back to rest and reconsider when they won't.

Sometimes I saw what Espen and I did through Yngve’s eyes, then we were transformed into two nerds sitting alone and reading aloud and playing chess and listening to jazz, as far from the social, sociable world of bands and girls and nights out as it was possible to be. Yngve saw that it wasn’t me, and I carried that view with me, I was the guy in the street who liked football and pop music, what was I doing with all this modernist elitist literature? However, it worked the other way too because what Yngve said didn’t always sound so convincing in my ears any more, but this was such a painful thought that I suppressed it the instant it appeared.

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.

Apparently, it was Braless and No Undies Night at Bacaro Jazz. It was funny to see bras and panties dangling above a dance floor. Ubaid’s party seemed to find this fun as the models started unhooking their bras. Many stared at their voluptuous bosoms and ogled as they took off their underwear, while leaving on their mini dresses. Ubaid, the extrovert, dropped his jeans and then dropped his briefs, in full view of every one. All the patrons were oohing and aahing, cheering them on.

As silly as it sounds, I realized, late that night, that other people had feelings and fears and that my interactions with them actually meant something, that I could make them happy or sad in the way that I associated with them. Not only could I make them happy or sad, but I was responsible for the way I interacted with them.

FLETCHER: The truth is I don’t think people understand what it is I did at Shaffer. I wasn’t there to conduct. Any idiot can move his hands and keep people in tempo. No, it’s about pushing people beyond what’s expected of them. And I believe that is a necessity. Because without it you’re depriving the world of its next Armstrong. Its next Parker. Why did Charlie Parker become Charlie Parker, Andrew? ANDREW: Because Jo Jones threw a cymbal at him. FLETCHER: Exactly. Young kid, pretty good on the sax, goes up to play his solo in a cutting session, fucks up -- and Jones comes this close to slicing his head off for it. He’s laughed off-stage. Cries himself to sleep that night. But the next morning, what does he do? He practices. And practices and practices. With one goal in mind: that he never ever be laughed off-stage again. A year later he goes back to the Reno, and he plays the best motherfucking solo the world had ever heard. Now imagine if Jones had just patted young Charlie on the head and said “Good job.” Charlie would’ve said to himself, “Well, shit, I did do a good job,” and that’d be that. No Bird. Tragedy, right? Except that’s just what people today want. The Shaffer Conservatories of the world, they want sugar. You don’t even say “cutting session” anymore, do you? No, you say “jam session”. What the fuck kind of word is that? Jam session? It’s a cutting session, Andrew, this isn’t fucking Smucker’s. It’s about weeding out the best from the worst so that the worst become better than the best. I mean look around you. $25 drinks, mood lighting, a little shrimp cocktail to go with your Coltrane. And people wonder why jazz is dying. Take it from me, and every Starbucks jazz album only proves my point. There are no two words more harmful in the entire English language than “good job”.

Have you ever sailed across an ocean, Donald? On a sail boat surrounded by sea with no land in sight. Without even the possibility of sighting land for days to come. To stand at the helm of your destiny. I want that, one more time. I want to be in the Piazza Del Campo in Sienna. To feel the surge as ten race horses go thundering by. I want another meal in Paris, at L'Ambroisie in the Place Des Vosges. I want another bottle of wine. And then another. I want the warmth of a women in the cool set of sheets. One more night of jazz at the Vanguard. I want to stand on summits and smoke cubans and feel the sun on my face for as long as I can. Walk on the wall again. Climb the tower. Ride the river. Stare at the frescoes. I want to sit in the garden and read one more good book. Most of all I want to sleep. I want to sleep like I slept when I was a boy. Give me that. Just one time.

Our purpose and passions often seem to fade into the background, and we begin to deny our very nature. You know, the things in our lives that get us so jazzed you would think we had our own theme song playing every time we did them. The things that drive us and wake us up in the middle of the night because we’re so eager to get started.

[...] Another groggy patron wrote, about a night of clubbing: the bartender 'brought me some Benedictine and the bottle was right. But the liqueur was curious -- transparent at the top of the glass, yellowish in the middle and brown at the base . . . Oh, what dreams seemed to result from drinking it . . . That is the bane of speakeasy life. You ring up your friend the next morning to find out whether he is still alive.

The painters were teenage girls and young women who became friendly during their hours together and entertained themselves during breaks by playing with the paint. They sprinkled the luminous liquid in their hair to make their curls twinkle in the dark. They brightened their fingernails with it. One girl covered her teeth to give herself a Cheshire cat smile when she went home at night. None of them considered this behavior risky.

Your restaurant never would have survived in that area. Where it is now, over there in Tremé, is much more suited for your type of establishment." She straightened her shoulders. "Forgive me for being so bold, Mr. Fenner, but I happen to disagree. I think my restaurant would thrive no matter where it's located. And I haven't given up on the riverfront. Me and my daddy are gonna eventually open an even bigger restaurant one day. In fact, we plan to open several." She gave him a sweet smile as she hefted her basket of vegetables up higher on her forearm. "Now, if you would excuse me, I have a very big night ahead. If you would like some good food and good jazz music, might I suggest you come over to Tremé and give T&J's Supper Club a try? The doors are always open to anyone.

it somehow felt dissociating. A world in which I did not belong to, or could never belong to. Parties, as if it was 1920, transpired days and nights, spent in the bliss of alcohol, self-indulgence, sex and drug abuse. As if we humans were whores addicted to the ignorance and bliss of nothingness that drugs, sex and alcohol brought about. A never-ending freedom in which we could always come back to if we needed to. Luxurious, the life of the rich.

At length he threw ‘A Midsummer Night's Dream’ aside, and opened the door to listen to the night outside, advancing cautiously down the steps into the cloistered quadrangle. Looking up from the stone enclosure, he could see the sky full of innumerable trembling stars, and all he could hear was extravagant sounds at a distance—drunken howling from a far street, something that might have been a revolver shot, and, from somewhere in the College itself, the hysterical crying of a jazz record. Close to all was quiet: the slightest of winds breathed over the grass and around the stone pillars, while from the Master's garden came the restless sound of trees. He wondered if a time would ever come when these things would assure him and seem pleasant.

Port Lonely had two bars. Maria had visited each only once before. One bar called Clarence’s charged twelve dollars for a mojito and housed an aging jazz pianist who looked like he was digging his way out of the place through the piano, desperately trying to flee the smell of disinfectant and avocado. The other bar didn’t know what a mojito was, and if they ever encountered an avocado they’d probably shoot it. They served both kinds of alcohol—beer and bourbon. Although on ladies’ night the bartender had been known to blow the dust off a bottle of tequila.

The memory of things gone is important to a jazz musician,” he says. “Things like the old folks singing in the moonlight in the back yard on a hot night, or something someone said long ago. I remember I once wrote a sixty-four-bar piece about a memory of when I was a little boy in bed and heard a man whistling on the street outside, his footsteps echoing away. Things like these may be more important to a musician than technique.

As America suffered from the Depression, Kansas City soared, thanks to the Ten-Year Plan. “In Kansas City,” said Conrad Mann, the president of the chamber of commerce, “we are building the greatest inland city the world has ever seen.” New skyscrapers sprouted from the ground every year, and jazz clubs rollicked into the morning, at a time when, as one agent put it, the rest of the country “couldn’t afford three dollars a night for a musician.” Pendergast liked to think generosity was at the core of his power. When a British parliamentarian named Marjorie Graves visited his Main Street office in 1933, he told her he helped “the poor through our organizations.” It was true that Tom’s Town was built on undervalued workers—immigrants, Black labor, the poor. “The Boss” hosted a fancy dinner for the needy every Christmas and kept quarters in his pockets for the homeless. By the early 1930s, with police brutality against the Black community on the rise, Pendergast seized control of the Kansas City Police Department, taking it back from the state of Missouri, which had assumed leadership in the Civil War era. Pendergast assigned staffing oversight to “Brother John” Lazia, the leader of the Fifth Democratic Ward and a charismatic crime boss, and when dozens more loyal Pendergast supporters were appointed to the force, The Kansas City Call reported that police brutality had declined. But Pendergast’s Ten-Year Plan funds rarely made it to Black communities, and the occasional gifts from his patronage system masked the need for lasting racial reforms.

It was 1929, and the world was alive with fast cars and jazz and dancing all night while drinking bathtub gin. I had experienced none of it. And how was I to become a great writer without having any experiences to write about?

In a restaurant, I can’t sit with my back to the door. Not sure if I’m OCD, but I excel at organizational skills. Slightly claustrophobic, not crazy about heights. Love martinis but one is enough. Tend to be opinionated at times but good at reigning it in. Love long-legged women, clueless about cars, love trucks. I read several dozen books a year, cook every night, and am uncomfortable if music isn’t playing. Don’t like scat singing or modulation, jazz is my preferred music, and my favorite colors are black and dark blue. Have no problem eating on my own in a restaurant, have to have a dog, and hate clowns and circuses. I’d never heard a Pink Floyd album until 2015, Penderecki’s “Polish Requiem” can make me cry, love trains, and am a confirmed sushi snob. I’ve never wanted to be anyone else, but if I had to choose I’d be Michael Caine.

After the show Humphrey Barclay, a highly talented Harrovian Head Boy who could act, direct, and draw cartoons, introduced me to John Cleese, a very tall man with black hair and piercing dark eyes. They were very complimentary and encouraged me to audition for the Footlights. I had never heard of this University Revue Club, founded in 1883 to perform sketches and comedy shows, but it seemed like a fun thing to do, and a month later Jonathan Lynn and I were voted in by the Committee, after performing to a packed crowd of comedy buffs in the Footlights’ Club Room. Jonathan, a talented actor, writer, and jazz drummer, would go on to direct Pass the Butler, my first play in the West End, and also write and direct Nuns on the Run, a movie with me and Robbie Coltrane. The audition sketch I had written for us played surprisingly well and, strange details, in the front row, lounging on a sofa, laughing with some Senior Fellows, was the author Kingsley Amis, next to the brother of the soon-to-be-infamous Guy Burgess, who would shortly flee the country, outed as perhaps the most flamboyant of all the Cambridge spies—for whenever he was outrageously drunk in Washington, which was every night, he would announce loudly to everybody that he was a KGB spy. Nobody believed him

that night in the hotel bar. Little did I know I had entered a different world, one of money and wealth— No, it’s not working. It’s clichéd and predictable. I put my phone down with a sigh and reach for my Old-Fashioned. The drink screams refinement, but as I take another sip, I have to hide a grimace from the strength. I’d ordered it to fit in, too afraid to tell the snooty bartender that I wanted something fruity and sugary. Glancing morosely down at the overpriced drink, it is a decision I regret. I’d come here to research the novel I was working on. To understand the setting, the rich decor, the throbbing beat of unintelligible jazz music. It’s an environment I’m unfamiliar

I never thought this book would be a good romance/ mystery book. Grafitti Moon is about Daisy and her friends Lucy and Jazz go out on a girls' night to have some "fun" in Melbourne, Australia in their town.

There are quiet places also in the mind,' he said, meditatively. 'But we build bandstands and factories on them. Deliberately - to put a stop to the quietness. We don't like the quietness. All the thoughts, all the preoccupations in my head - round and round, continually.' He made a circular motion with his hand. 'And the jazz bands, the music hall songs, the boys shouting the news. What's it for, what's it all for? To put an end to the quiet, to break it up and disperse it, to pretend at any cost is isn't there. Ah, but is is, it is there, in spite of everything, at the back of everything. Lying awake at night, sometimes - not restlessly, but serenely, waiting for sleep - the quiet reestablishes itself, piece by piece; all the broken bits, all the fragments of it we've been so busily dispersing all day long. It re-establishes itself, an inward quiet, like this outward quiet of grass and trees. It fills one, it grows - a crystal quiet, a growing expanding crystal. It grows, it becomes more perfect; it is beautiful and terrifying, yes, terrifying, as well as beautiful. For one's alone in the crystal and there 's no support from outside, there's nothing external and important, nothing external and trivial to pull oneself up by or stand on, superiorly, contemptuously, so that one can look down. There's nothing to laugh at or feel enthusiastic about. But the quiet grows and grows. Beautifully and unbearably. And at last you are conscious of something approaching; it is almost a faint sound of footsteps. Something inexpressibly lovely and wonderful advances through the crystal, nearer, nearer. And, oh, inexpressibly terrifying. For if it were to touch you, if it were to seize and engulf you, you'd die; all the regular, habitual, daily part of you would die. There would be an end of bandstands and whizzing factories, and one would have to begin living arduously in the quiet, arduously in some strange unheard-of manner. Nearer, nearer come the steps; but one can't face the advancing thing. One daren't. It's too terrifying, it's too painful to die. Quickly, before it is too late, start the factory wheels, bang the drum, blow the saxophone. Think of the women you'dl like to sleep with, the schemes for making money, the gossip about your friends, the last outrage of the politicians. Anything for a diversion. Break the silence, smash the crystal to pieces. There, it lies in bits; it is easily broken, hard to build up and easy to break. And the steps? Ah, those have taken themselves off, double quick. Double quick, they were gone at the first flawing of the crystal. And by this time the lovely and terrifying thing is three infinities away, at least. And you lie tranquilly on your bed, thinking of what you'd do if you had ten thousand pounds and of all the fornications you'll never commit.' He thought of Rosie's pink underwear.

the unfolding waves of sound are like an underwater orchestra or the endless improvisation of a jazz band. On the Great Barrier Reef, the humpback whales sing the soprano melody. Fish supply the chorus: whooping clownfish, grunting cod, and crunching parrotfish. Sea urchins scrape, resonating like tubas. Percussion is the domain of chattering dolphins and clacking shrimp, who use their pincers to create bubbles that explode with a loud bang. Lobsters rasp their antennae on their shells like washboards. Rainfall, wind, and waves provide the backbeat. To get the best seat, you would have to attend the concert in the middle of the night at the full moon, when fish chorusing typically crests. But you wouldn't necessarily need to have a front row seat: mass fish choruses can be heard up to 50 miles away, and whale sounds resonate for hundreds of miles.

You were really upset the other night. I know you were trying to put on a brave face, but it was obvious Darcy hurt you. Worse than you let on. Now “You were really upset the other night. I know you were trying to put on a brave face, but it was obvious Darcy hurt you. Worse than you let on. Now you’re agreeing to fake a relationship with her? Because of your family? Elle, if they can’t see how amazing you are . . . this isn’t worth it.” Elle ground the toe of her boot into the rug, tracing the singe mark in the paisley pattern from the Birthday Sparkler Incident of 2017. “I don’t really know what I’m doing,” she admitted. The lump inside her throat grew, forcing her to swallow to keep her voice from cracking. “I’m just tired of falling short, Mar.” Margot’s face crumpled. “Elle—” She jerked her chin and sniffed hard, blinking away the film of tears blurring her vision. She smiled and shrugged. “If I can get my family to take me seriously about one thing, see that I have my life together in a way that makes sense to them, maybe they’ll come around to the rest.” Margot shook her head. “So you’re throwing in the towel? You’re going to be like Lydia now? Dating the sorts of people your parents want and shrinking yourself down to be palatable to people who don’t get you? Who don’t even try?” No. God no. Elle wasn’t going to actually compromise who she was or how she lived her life. No, this was a blip on Elle’s radar, a pit stop, a means to an end. Elle wasn’t settling. She just wanted her parents to be proud of her for who she was. If she had to speak their language for a brief bit of time, what was the harm? “No way. This is fake. I just want them to understand I’m not the letdown they think I am. Maybe hearing how awesome I am from someone else, someone like Darcy who’s the sort of person who satisfies their whole nine-to-five I’m a serious adult vibe, will help.” Margot stuck out her tongue, eyes rolling. “Boring, you mean?” Elle shrugged. “Besides, it’s cuffing season and Lydia’s got a boyfriend. Jane’s got Gabe and Daniel has Mike and I’m just—Elle. I’m not exactly jazzed about spending another holiday alone as the black sheep of the family.” “Just Elle is pretty great.” Margot smiled. “But I get it. I mean, I might not be in your shoes, but I understand where you’re coming from. I just want you to remember that you deserve someone you don’t have to fake it with.” Both her brows rose. “And I mean that in all ways.” Elle cracked a smile. “Thanks.

Louis Armstrong put out a jazz song in 1935 called “Old Man Mose” about an old guy who had “kicked the bucket.” His pals knocked on his door and couldn’t get any response. I listened to it just now and was amused and delighted by how upbeat and joyful the song was. But that’s Louie and the joy he brought to everything he sang and played (even, and perhaps especially, in his so-called old age when he continued to play almost every night in towns and wide spots in the road, all over the country.) Louie’s love of life seemed to increase the older he got, and loving life is what we’re talking about here.

Or other nights when, for no reason, her suddenly girlish heart went Southern on her and gave birth to the blues.

My family was my world, the center of everything. My mother taught me how to read early, walking me to the public library, sitting with me as I sounded out words on a page. My father went to work every day dressed in the blue uniform of a city laborer, but at night he showed us what it meant to love jazz and art. As a boy, he’d taken classes at the Art Institute of Chicago, and in high school he’d painted and sculpted. He’d been a competitive swimmer and boxer in school, too, and as an adult was a fan of every televised sport, from professional golf to the NHL.

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

We went to Speedy Romeo, an Italian restaurant that has a pizza topped with Provel, a processed cheese popular in the Midwest that was virtually unknown in the Northeast. A Bed-Stuy B&B that hosts jazz concerts followed by fish fries in its town house parlor on weekend nights. And Cacao Prieto, a rum distillery that doubles as a beans-to-bar factory, producer of killer single origin 72 percent dark chocolate bars and rum-filled truffles.