Wednesday, December 23, 2009
Number 29 December 23, 2009
The piece was performed by the Kronos on Stroh instruments which have horns attached as resonators. Stroh violins were invented before microphones to amplify the acoustic violin, and have a midrangey almost sitar-like buzz to them. These instruments were designed to sound a fifth lower than concert at Riley’s request. He has written 25 pieces for Kronos. Whether one likes his music or not (and I do) Riley is a consummate writer for string quartet. I’ve always admired the Kronos for building their own audience and careers from the ground up.
Gregory James
Monday, December 7, 2009
Number 28 December 7, 2009
I started my own label, Rogue Records, in 1981, after having been on the Inner City label out of New York. To me Rogue represented rebellion, and also possibly the Rogue River. From time to time, other Rogue Records have surfaced. (One, an LA punk label with an elephant logo, sent me nasty letters 10 or 15 years ago for a few months, until they went out of business). Recently I’ve noticed a few Rogue Records around the world. They must not do very thorough internet searches. Because I’ve been in international commerce with the name for over 25 years, my attorneys are confident I would prevail in any legal proceedings. But the name seems tired to me. The eighties to me were about rebellion; I see the 21st century as about collaboration and co-operation. But the final straw for me is the title of Sarah Palin’s book, “Going Rogue”. I will not have my record label name associated with a woman who shoots wolves from helicopters for sport. Hopefully the former governor and her husband the first stud will take their royalties and retire.
Gregory James
Tuesday, December 1, 2009
Number 27 December 1, 2009
How ideas travel. A couple of years ago Paco de Lucia released Cositas Buenas. Like Miles, Paco has changed the way players think about the music several times, and I always buy his recordings the minute they come out. It’s a marvelous record, as his records always are. Imagine my delighted shock, when the last track, Casita Bernardo, has a trumpet line that repeats the melody of my tune Jeanetta (from my Ananda recording) note for note throughout the tune as the main hook. I like to think I have a pretty healthy ego, but I don’t have a picture of Paco buying 15 year old Gregory James cds for inspiration. Then I noticed that the trumpet player (with the exception of some orchestral recordings, I don’t believe Paco has used a trumpet in a small group setting) is Jerry Gonzalez. Jerry is a New York avant-garde jazz player. The trumpet player on my recording Jeanetta, is Ron Miles, also a modern player who has recorded with Bill Frisell and has several recordings under his own name. My thinking is Jerry probably heard Jeanetta (which has overtones of the flamenco toque taranta) years ago, and somehow the melody stuck in the back of his mind. Many years later when asked to play over a similar harmonic structure (albeit a rumba), the melody came back to him. Again, I was delighted. I probably picked up the melody from somewhere myself.
Gregory James
Monday, November 30, 2009
Number 26 November 30, 2009
I’ve spoken before of my dear friend, the brilliant composer/conductor Butch Morris. http://www.conduction.us/ Butch comes from the jazz tradition, and played with Steve Lacey in Paris, among many other legendary improvisers. For 25 years he has been performing what he calls conductions. Working with symphonies (largely in Europe) improvising musicians, even spoken word ensembles, Butch directs various members of the group to play, to repeat passages, to lay out, etc. using hand signs, as a conductor. The result is a fresh, spontaneous, performance that builds and follows its own internal logic. (These are my descriptions, Butch has a very developed methodology, and is writing a book on his conduction methods.)
While Butch is the foremost practitioner of this, it is not without precedent. Count Basie (especially in the early days in Kansas City, before the pieces became codified in recordings and countless gigs) would signal a horn section to improvise a riff, and would then signal other sections of the band to comment on, or repeat, variations of the riff. In the Count’s band, he would usually start with piano, then bass and drums, and the tunes would build in volume and density (think One O’clock Jump). My record label (I will be changing the name from Rogue Records to Valence Records, more on that shortly) will be releasing some very important work of Butch’s in the new year.
Gregory James
Friday, November 27, 2009
Number 25 November 27, 2009
Perhaps because I’ve entered a new level of understanding, but a few years ago Ornette started to sound “inside” to me. Still fresh, and strange and beautiful (to paraphrase Jimi) but very much like “home”. (In truth, the Prime Time band of the early eighties, with Blood Ulmer, Berne Nix, Jamaldeen Tacuma, another bass player and drummer, plus Denardo, was SERIOUSLY harmolodic).
“The Shape of Jazz to Come” and “Out to Lunch” and “Conference of the Birds” all seem rooted in the blues to me, if not overtly. It’s been said that Charlie Parker played the blues over ballads, and ballads over the blues. This night Ornette would occasionally start a melodic line on alto, and finish it on trumpet or violin. It was a triumphant concert in Ornette’s 80th year.
Gregory James
Monday, November 16, 2009
Number 24 November 16, 2009
The next night we saw Pat Martino. Rightfully a legend (I’m very proud that I also played with Jimmie McCracklin and Brother Jack McDuff) he’s always fresh and inspirational too me. He has a very unique philosophy on the fret board, which he explains in The Nature of The Guitar. His website is well worth visiting. I like to get instructional dvds of my favorite players, just to see how differently they see the instrument. Pat is very geometric, McLaughlin is of course modal, and Robben Ford is very vertical, with wonderful whole tone and diminished seasonings. Sophisticated blues, as Robben says. Miles was certainly happy with him.
Gregory James
Wednesday, November 11, 2009
Number 23 November 11, 2009
Gregory James
Saturday, November 7, 2009
Number 22 November 7, 2009
Gregory James
Sunday, October 25, 2009
Number 21 October 25, 2009
“Ah but I was so much older then, I’m younger then that now”
- Dylan, My Back Pages
Gregory James
Saturday, October 24, 2009
Number 20 October 24, 2009
Those of us who play, or listen to live music a lot, live for the magic moments. When Anoushka Shankar at the age of fifteen came out on stage with her father, how could I have guessed she would already be his equal as a performer. The critic Leonard Feather was asked what his most memorable night of music was. He said that after a Charlie Parker/Dizzy Gillespie gig on 52nd Street, they hopped in cabs and jammed at some joint in Brooklyn until daylight.
Years ago I walked out of a smooth jazz show at The Great American Music Hall, desperate to hear something real. There was a club called Milestones (before the 89 quake) south of Market. It was John Handy’s gig, and sitting in with him, just out of prison, was Hank Morgan. I have never, before or since, heard bebop so alive. They were playing the music of their youth.
In Paris in July 1994 (the French were celebrating D Day – it was amazing to be treated with reverence just for being an American) I decided to catch the last night of Antonio Hart, who was playing a small, but air-conditioned club just next to my hotel. There were a few Japanese businessmen. And Betty carter sipping cognac at the bar. Around midnight Antonio asked Ravi Coltrane, who was just getting started in the music business, to sit in. Then they asked Betty up, and she in turn asked her young pianist, Jackie Terrason to the stand. They played for hours, for the shear love of the music.
Greg James
Number 19 October 24, 2009
The greatest joy to me in music is discovering the new, and discovering new artists. Friends took me to see Rob Rhodes the drummer this week, and playing with him was the brilliant young guitarist Terrence Brewer, who I had been meaning to check out for some time. After their sets a reggae funk band set up in the other room, named NIAYH. It stands for “Now is all you have”. They were fabulous, and I bought cds for myself and my friends. Completely different music than the jazz trio, but wonderful. In my last blog I mentioned the violinist Emily Palen. She plays in the band Dolorata, in a duo called The Royals, in a country blues band The Goldenhearts. She also improvises as a solo violinist. As she comes from a classical, and then blues and rock background, it sounds very fresh to me. I believe she may bring something very special to the music world, and I admire and learn from her fearlessness.
Last night I played a gig with my dear friend Alex Popovics on bass, whom I’ve played with for 30 years. The alto player, David Bullers, I discovered jamming in a club near my house, and the percussionist, Rachael B, I heard recently with my friends Caminos Flamencos. Only Alex and I had played together before. No rehearsal (why rehearse when you can gig, I like to say). I knew it would sound good, as the players are all excellent and listen, but I didn’t know how good it would be. By the second set it felt to me as if we had been a band for years. Tonight I’m going to hear Rachael B’s band Locura.
Gregory James
Tuesday, October 20, 2009
Number 18 October 20, 2009
OK, Cookie, this blog is for you. I should mention that for some years Goldman was my investment banker. I’ve mentioned the Shock Doctrine earlier as a must read. The reason that booms, and busts, and bubbles and scams and cowardice and bravery are enacted cyclically in markets lies in the fact that human nature hasn’t changed. The two great motivators in markets are fear and greed, with fear being an even stronger force. Which is why markets crash faster than they go up. The Crash of ’29, by John Kenneth Galbraith is also indispensible reading. (Goldman played a major role in the crash). The head of the NYSE displayed great bravery the week of the crash, openly buying for his own account on the floor, only to be convicted of embezzlement some years later to support his lavish lifestyle.
Fast forward 75 years, and Stan O’Neil walks from Merrill with a $160 million severance after having ruined the entire company with the aid of little more than a dozen derivative traders. (I can’t remember what Thain walked with, probably only $50 million). Ken Lewis will forfeit this year’s pay, and leave B of A with $60 million (and I imagine he feels victimized). And yes, a year after being saved by TARP dollars, Goldman is in the black and the bonus pool is looking good. It wasn’t until this year that I fully understood why the Federal Reserve was created in 1913. To protect the banks, not the depositors. History will record this as one of the largest wealth transfers of all time. And it’s from the tax payer, and little guy, to people who were already fabulously wealthy. (Andrew Carnegie actually thought the wealthy should have all the money, as they spent it more wisely). Joseph Cassano, head of financial products for AIG in London, was formerly with Drexel Lambert, and walked with millions just before Drexel was shut down. 20 years later, after having made hundreds of millions at AIG selling what would become worthless CDO and CDS’s to greedy regional European bankers, he’s actually paid a few million dollars a month in his final days at AIG to try to help unravel the mess he made. If you’d like one villain for the world-wide credit crisis, he’ll do nicely. He should have gone to jail for the Drexel crimes. (More on those, perhaps later). On a brighter note, The Ascent of Money by Niall Ferguson, is brilliant, entertaining, and somehow even uplifting, in its portrayal of the rise of civilization.
I’m going to re-read Das Kapital this year; the preamble on the value of commodities is almost mystic, and a favorite of hedge fund managers (those presumably still out of jail).
Gregory James
Monday, October 19, 2009
Number 17 October 19, 2009
It’s no coincidence that Wayne Shorter played with Miles. Miles, who once fired a sax player he heard through a hotel room door practicing hard bop lines he intended to play that night. Miles, who could change what a band was playing by what he was NOT playing; just by listening. “I pay you to practice on stage” as Miles said to Coltrane.
I saw Dylan at The Greek Theater last week, and Wayne Shorter at Zellerbach Saturday night. There are some artists I see whenever I can. I’ve been going to Ravi Shankar concerts since I was 15. McCoy Tyner, Dylan, Eric Clapton, Shorter, Mariza. I saw Miles many, many times. Benny’s first show with Miles, he was shaking on stage. Miles had him take the first solo. It was a little rough, but the groove was fine after that. Bobby Scott (A Taste of Honey, One Is the Loneliest Number) once told me he’d rather listen to 5 minutes of Clapton than an hour of most other music. “Because at my age, I don’t have time for anything but the truth”. I saw Miles’ second to last show. A completely new band, very dark and moody. He was getting ready to do something new, that would doubtless frustrate his recent fans. My newest musical discovery, Emily Palin, busks on the street in front of Niman Marcus. She plays in a lot of different bands and contexts. I realize what I find so inspiring about her playing is that she is fearless. I think Mr. Shorter would appreciate her.
Gregory James
Number 16 October 19, 2009
“You know why I never play ballads anymore? Cause I love to play ballads” Miles Davis to Keith Jarrett, after a disastrous attempt at Stella By Starlight with one of his late 60’s groups.
What separates good artists, even ones we love, from great artists (even those we don’t) is an almost insatiable desire for change. In an interview a couple of years ago, Dylan gave that hint as to perhaps how he is able to disguise some of his best known tunes until he’s halfway into them. And I thought, I should try that! But do I have the nerve to play one of my tunes at half tempo, or double time, so that my audience won’t recognize them?
Keith Jarrett hated electric piano, but he played it for Miles, because that’s what Miles wanted, and Keith loved to play for Miles. The fact that Miles would consciously give up playing something he loved, to make sure he changed, seemed an act of great bravery to Jarrett. When asked why he didn’t play All Blues, and other gems from the 50’s, Miles replied, “That’s why there are records”.
I’ve frustrated some friends in that I often don’t play pieces from the last record. In truth, as there is usually about a year lag between the recording and it’s release, even on my own label, I’ve often moved on to other things.
Gregory James
Thursday, October 15, 2009
Number 15 October 15, 2009
Old Chinese Curse
President Obama does not seem like a man easily surprised (except perhaps by his daughters). But the Nobel Peace Prize certainly must have surprised him, as he admitted. What a perfect passive/aggressive way for the Nobel Peace Committee to both praise America’s return to diplomacy, and remind us that much remains to be done. President Obama’s challenges are staggering, and simultaneous. (Roosevelt was in his second term at Pearl Harbor, and had seen the war coming for years. He came to his first term over two years after the crash of ’29, and had watched the Hoover administration’s errors). Obama faces two wars (albeit one we have decided to end) an official unemployment rate of 17% (which doesn’t include all the people I know who haven’t worked since the dot com bubble burst), a banking and credit crisis on a par with the 1907 panic, a worldwide if somewhat less enthusiastic jihad, and the possibility of instability in the nuclear armed Pakistan. Throw in Iran, North Korea, and a desperate and economically brutalized Russia. China and our economic, political, and military challengers there, must seem like a pleasant diversion. I realize I just forgot about Palestine, Israel, and Africa, particularly Sub-Sahara. His refusal to simply ignore problems (which Bush did with virtually everything ) is laudable. Even some of his biggest supporters (of which I am one) feel he should prioritize. I don’t believe he really can. They are all critical to our welfare, and survival. Oh, climate change…
Roosevelt made many mistakes, but we wisely kept re-electing him. As Bush (both of them) made me long for one term limits, I hope we will give this man the eight years he’ll need.
Gregory James
Sunday, October 4, 2009
Number 14 October 4, 2009
(I used to encounter a form of ta’arouf from gypsy flamencos when I would ask them for lessons: “Oh Gregory, I couldn’t teach you anything. You are a MARVELOUS guitarist. By the way, show me The Shadow of your Smile…”
It is encouraging that in Obama we now have a president who believes in the concept of dialogue and negotiation. I read in the New York Times today that we are even approaching the Burmese regime.
I did finally find a flamenco teacher, the incredible Jason McGuire, who performs with Caminos Flamencos. Along with my friend Chuscales he is one of the best accompanists for dance and cante in the world, and is a great teacher. As Jason says, they never show you all the little rest strokes and ghost notes, that keep the playing in time. Respect the compas, as they say.
Gregory James
Sunday, September 27, 2009
Number 13 September 27, 2009
I’m very fortunate in that I’ve very rarely experienced writer’s block in music. (In fact the only time I recall was when my friend the producer David Kahne needed a song immediately – I think it was for Jorma Kaukonen. I came up with something dreadful, I think I called it “ Not Quite Magdalena (But You’ll Do) that we both agreed wasn’t usable. I rarely have entire songs come to me out of the blue, though. Usually I’ll have a phrase, and I’ll play it for a few days or weeks or months until the next phrase comes along. I write things that are easy for good players to improvise over; often a fairly complex head with a simple modal section for solos. Although I’m facile with words and am the product of a Jesuit education complete with Latin and Greek, I’ve always felt that I was not a good writer of song lyrics. Idolizing Jimmy Van Heusen and Cole Porter (as sung by Frank) and then Dylan and The Beatles, the bar was a little too high.
But on a new band I’m involved with called The Valence Project, I’m really enjoying writing lyrics. The players are wonderful. We have Brain on drums, Jon Herrera and Kai Eckhardt on bass, and Melissa Reese and Deborah Charles on vocals. We are recording in a very unique way. Brain will record a drum pattern to 2” analogue tape (I’ll suggest rhythms; a samba, something African, something in 6/8) and Brain will then download the drum tracks to his computer and start making loops. Borrowing an idea from Dylan’s last three recordings, I’ll suggest an old blues lyric married to a modern phrase to Melissa, and we massage the words around until we have something new. Some of the songs may be about two or more completely different things. The end result is something very fresh, and yet vaguely, or eerily familiar. It’s probably the most positive creative environment I’ve been in. Everyone is excited about being involved, and there are no pre-conceived notions.
Gregory James
Friday, September 25, 2009
Number 12 September 25, 2009
I love the physicality of ordering cds from Amazon, getting the package, opening it up. They are not LPs, but they are as close as I’m probably going to get. Recent purchases have been Robben Ford Live at The Independent (I was there!) Moby’s Play, from 1999, the latest Vicente Amigo recording, Paseo de Gracia. And today, Herbie Hancock’s debut solo recording, Empyrean Isles, from 1964, and the two Boz Scaggs standards recordings, But Beautiful, and Speak Low. Of all the pop stars who have done the American Songbook (Rod Stewart being the most dismal) no one comes close to Boz. A true bluesman, he understands the music. “I improvise very little on the melody; rather, I try to coax nuance and expression out of timing and tone”. “It is the stillness we tried to preserve, a transcendent feeling of stopping time – doing nothing – and letting these great songs carry us along.” It’s taken me 40 years to learn what not to play.
Gregory James
Sunday, September 20, 2009
Number 11 September 20, 2009
I’ve written about instruments having their unique stories. I’ve always wanted a Gibson Byrdland (named after and designed for Billy Byrd and Hank Garland, two top Nashville guitarists in the 1950’s).
I think they are the prettiest arch top guitars ever made. They are not everyone’s cup of tea; the neck is short scale to facilitate speed and unusual chord voicing’s. A wide range of guitarists have played them over the years: Eric Clapton (Concert for Bangladesh) Blood Ulmer, Ted Nugent, John McLaughlin.
So, in the summer of 2007 (before the financial meltdown) I finally decided to order one. (They have only been available as a custom shop special order for some years). I prefer to deal with small, independent stores, so I went to Blue Note Music in Berkeley. The owner, James, is a guitarist. Bless him, he tried to talk me out of it, as many people do find the neck challenging. I ordered a blonde (of course) with a Venetian (soft) cutaway. James told me it would be 6 months to a year; they wait until they have several orders to do a run. I was delighted when he called me in December, after just 5 months, to tell me that it had arrived. It was beautiful! When I got home I looked inside the body with my reading glasses. The label stated that it had been assembled, tap tuned and inspected by James W. Hutchins, on October 11, 2007. My Birthday!
There is a good Wikipedia article on The Byrdland.
Gregory James
Thursday, September 17, 2009
Number 10 September 17, 2009
For someone who aspires to Buddhist thought, I’ve always been intrigued and horrified by the idea of impermanence. How many shared experiences; picnics, hikes, sails, are gone forever, because my friends are gone. Good times that I was sure would be repeated more than once, were in fact a once-in-a-lifetime experience.
There is apparently a section of the brain that exists solely to give us the illusion that we are in complete control (it was discovered by researchers working with head injuries). Samsara is often defined as the pain, or suffering of this earthly plane. A more accurate definition would be unsatisfactoriness. On the most beautiful day, driving down the coast with the most beautiful girl, there is always the dim, nagging thought that this can’t last. And, in fact, the only certainty is that it CAN”T last. We all die. And yet, in the realm of art, Mary Travers still shakes her long blonde hair out of her eyes in rhythm as she sings at The March on Washington, The Beatles are still witty and young as they chain-smoke their way through Hard Day’s Night, Jimi still reinvents The Star Spangled Banner. And with one note from Miles, it’s April 1959, and September 16, 2009, at the same time.
Gregory James
Wednesday, September 16, 2009
Number 9 September 16, 2009
Among the players are Brain (Primus/Tom Waites/Guns N’ Roses) Kai Eckhardt (John McLaughlin/Wayne Shorter/Clarence Clemmons/Garage Mahal) Jonathan Herrera (Zigaboo Modeliste/Miguel Megs)
Deborah Charles, Melissa Reese, Enrique Padilla, Baron Shul (Indigo Swing ) and the mysterious Blu Cube.
Gregory James
Friday, September 11, 2009
Number 8 September 11, 2009
After 9/11 my love of Arabic culture and music was a great consolation to me. I have a saz and a beautiful Najarian oud. I play a little saz on Reincarnation. “The Ornament of the World” is a great scholarly book about Cordoba from the 700’s to 1492 (when Ferdinand and Isabella exiled the Jews). It also has the best analysis I’ve ever read of the Sunni/Shia schism. It is good to remember that there have been hundreds of years (also in Jerusalem) when Arabs, Jews, and Christians lived together in relative harmony.
Last year many of my friends were insisting I read “The Shock Doctrine”. I found it a little strident and conspiratorial. After the financial meltdown, I find it accurate and profound. One of the few things I like about myself is my ability to change my mind, and admit that I was wrong.
Gregory James
Wednesday, September 9, 2009
Number 7 September 9, 2009
Gregory James
Number 6 September 9, 2009
Gregory James
Friday, September 4, 2009
Number 5 September 4, 2009
By this time I was determined to stop buying more guitars (I’ll mention the electrics and amps next time). Jason introduced me to Glenn Canin, who I started studying Alexander Technique with. (Guitar players have notoriously poor posture. McLaughlin, perhaps because of yoga, being a notable exception). Glenn is also perhaps the most gifted young guitar builder today. I’ve just taken delivery of a Brazilian rosewood negra with a cedar top. It is so loud, and has so much tone, it’s amazing. There is a youtube video of Jason playing Glenn’s guitars that has gone viral, for good reason. Then a few months ago, Glenn stopped a gardener hauling a cypress stump to the wood chipper. He pleaded with the guy, who finally let him haul it away. So, as a fourth generation San Franciscan, I figured I had to have a San Francisco blanca. It should be finished in a few months, and I’m sure it will have many songs to sing.
Gregory James
Number 4 September 4, 2009
The first flamenco guitars I commissioned were from Keith Vizcarra in Santa Fe. Keith builds for Chuscales and Otmar Liebert, among others. The first was a blanca, delivered in 1994, and then a Brazillian rosewood negra, a couple of years later. (Flamenco guitars were almost always blancas – cypress – until Paco De Lucia introduced the darker sounding rosewood negras in the 1970’s) Paco, like Miles, and Picasso, is one of the very few artists to have changed the way other artists are forced to look at their art several times in his career. Just as Paco says he is a flamenco player who is influenced by jazz, and sometimes plays with jazz musicians, so I am a jazz guitarist, who has studied and loves flamenco. Flamenco guitars are wonderful for jazz, and many of the great modern flamenco guitarists, Tomatito, Paco, Geraldo Nunez, and the great Vicente Amigo, are heavily influenced by jazz and rock, while still retaining their flamenco tradition.
Gregory James
Wednesday, September 2, 2009
Number 3 The Teacher of My Teacher’s Guitar
“These instruments all have stories…”
- George Gruhn
Tuesday, September 1, 2009
Number 2 September 1, 2009
Tibetan Buddhists have a concept of direct transmission. If your teacher studied with a great recognized master, he is thought to have a direct transmission of the teachings, and hence the line can extend to your teacher, and to you. (These ideas are also in Christian and Muslim thought, with perhaps less emphasis). So in music, I’ve always felt there was a tradition of direct transmission. All the great players who came through Miles’ bands, many of them to become important leaders of the music. When I lived in New York in 1979-80, I was fortunate to play with Jack McDuff, who had nurtured Pat Martino and George Benson. I was also playing with Chico Hamilton, who had had so many great guitar players in his band; Jim Hall, Blood Ulmer. Chico’s band when I was with him had three guitarists, including Rodney Jones. Chico told me I reminded him of another of his guitar players, Gabor Szabo. (I think I was doing some sitar-like droning, as Rodney was playing a lot of linear be-bop lines). Chico meant it as a great compliment, and I took it as such. I got to play with Ray Charles as a sub one night in Croydon, England. “Let me hear some more of that Git Tar player!” is probably the highest compliment I’ll ever hear. My dear friend Eddie Duran, who, played with Cal Tjader for years, backed up Charlie Parker for a week in San Francisco. Eddie used to let me sit in with him when I was in my early twenties. There is a buzz, a direct transmission, if you will, that musicians can give if they have learned it from the source. It astounds me that I’ve played and recorded with Benny Rietveld, who played for years with Miles, and has been with Carlos since then. Or that I’ve played with and recorded 2 projects with Kai Eckhardt, who has played and recorded with John McLaughlin and Wayne Shorter, who of course are Miles alumni. I envy Benny, and Robben Ford (and anyone that ever played with Miles) to have been able to hear his playing, night after night, from the stage.
I guess the big lesson from the masters is that every note, and every space, counts.
Gregory James
Monday, August 31, 2009
Number 1 August 31, 2009
“My favorite time of year is fall” Lama Surya Das
Perhaps because I’m a Libra, fall is my favorite time of year. There is always one day, and today was the day for me, when the angle of the sun changes subtly, and I know that summer’s days are numbered. There is a bittersweet nostalgia to autumn; first days of school, and romances of long ago. Watching Roger Federer play his first round US Open match this morning, a consummate artist doing what he loves, I know that the US Open will always carry a reminder of 9/11/ for me, as it was just two days after the 2001 US Open Final. I never thought I would witness an event as shocking as Pearl Harbor, or a bigger financial disaster than the crash of 1987. How foolish of me. The world needs art, and new myths, and fresh beauty. It is not coincidental that along with closing schools for girls, the Taliban bans music. (Al Qaeda recruiting videos seem to use pretty bad music). As Ellington said, there are three kinds of music, good, bad, and indifferent. As a great athlete like Federer can remind us of the nobler aspects of the human race, so a Miles, or Duke or Jimi can take us to the sublime.
Gregory James