Boo!

[Construction paper, ink, colored pencil, twine, by James Leddy]

Sonny Rollins in Illinois

Yes, ladies and gentlemen, we are here tonight, and we must remember that music is the -- one of the beautiful things of life. So we have to try to keep the music alive some kind of way. And maybe music can help. I don't know, but we have to try something these days, right? [Sonny Rollins, Without a Song: The 9/11 Concert, recorded September 15, 2001]

Sonny Rollins at the Tryon Festival Theatre
Krannert Center for the Performing Arts
University of Illinois, Urbana
October 29, 2006

Sonny Rollins, tenor saxophone
Clifton Anderson, trombone
Bobby Broom, electric guitar
Bob Cranshaw, electric bass
Victor Lewis, drums
Kimati Dinizulu, percussion

Salvador (Rollins)
Serenade (Mario - Drigo)
Why Was I Born? (Kern - Hammerstein II)
They Say It's Wonderful (Berlin)
Global Warming (Rollins)
Sonny, Please (Rollins)
Don't Stop the Carnival (Rollins)

I heard Sonny Rollins 17 years ago -- the greatest musical performance I've ever heard. When I read that he was coming to the Krannert Center at the University of Illinois, my first impulse was not to go. Nothing, I thought, could match the performance I'd heard. But go I did, and I'm very glad.

Sonny Rollins is 76, but the only visible evidence of his age is a Fred Sanford gait. Rollins' long face and full beard make him look like a Biblical patriarch or a figure from an El Greco painting. His sunglasses, loose dark-blue shirt, and red pants make him look like Sonny Rollins. His performance last night was filled with countless bright moments of excitement and surprise, spread across two hours of music: three calypsos ("Salvador," "Global Warming," and "Don't Stop the Carnival"), two great standards, a funky modal piece ("Sonny, Please"), and a beautiful out-of-the-way treasure, Riccardo Drigo's "Serenade," from the 1900 ballet Les Millions d'Arlequin.

"Serenade" was for me one of the great moments from this concert. In an online interview, Rollins remembers this melody as introducing "some kind of radio show" from his youth; last night he described it as "an old Italian folksong" that someone "on the wrong side of 40" might know. (I didn't.) "Serenade" is a beautiful waltz melody; like Dvorak's "Humoresque," it sounds as though it was made for jazz musicians to play on (especially with Rollins' reharmonization of the first eight bars). Another favorite moment from last night: "Why Was I Born?" I've listened to the performance of this song from The 9/11 Concert many times in the last few weeks and was thrilled to hear an even more exciting performance of it last night.

Rollins' solos are like entries in the Oxford English Dictionary: lengthy, thorough, discerning, leaving no nuance unexamined. And like OED entries, they are filled with bits of cultural history. Rollins quoted "Oh! Susanna" several times (as on The 9/11 Concert); "52nd Street Theme," "Lester Leaps In," "My Romance," "Rhythm-a-ning," and "Scrapple from the Apple" also turned up in his solos. "They Say It's Wonderful" had a honking moment from "Here Comes the Bride" (the "Bridal Chorus" from Wagner's Lohengrin).

Clifton Anderson -- who when I last saw him played opening and closing themes and only the most modest solos -- has become a worthy second horn, playing with great authority. Bobby Broom is an inventive guitarist, but his sound was often lost in the sonic mud of Bob Cranshaw's bass (whose amp must've been turned up to eleven). Victor Lewis is a drummer of great energy and taste, and Kimati Dinizulu's tuned percussion added detail and texture. Dinizulu contributed the most unexpected moment to the night's proceedings -- an long, understated, melodic solo on "Serenade."

What made this concert especially wonderful for me was the chance to go to it with my daughter Rachel. She was a tyke stuck at home with a babysitter the last time Sonny Rollins came our way. And now she can dig jazz! (Thanks for coming, kiddo.)

Sonny Rollins' new CD, Sonny, Please, is not yet in stores but is available online and at Rollins' performances.

Sonny Rollins (website)
Sonny, Please (CD)

Firefox 2.0 space-savers

Lifehacker has a second terrific post about improving Firefox by minimizing its "chrome" -- the various thingamajigs and whatnots that take up screen space. The comments too offer useful suggestions.

Geek to Live: Consolidate Firefox's chrome

[This post, which first appeared in duplicate, disappeared when I added "Broken, broken, dream." So here it is again.]

Broken, broken, dream

Blogger is broken, at least for now. I have a duplicate post ("Firefox 2.0 space-savers"), which appeared after repeated attempts to publish came back with errors. Now each instance of this post returns a "Page not found" error and cannot be deleted.

Technorati is broken too (as is the case with many blogs). Neither my posts nor links to my posts show up.

A bit of dialogue from a dream last night (whose context vanished when I woke): "I am in baloney recovery." The inspiration here must be Nellie McKay's "Suitcase Song":

try and tempt fate
get pneumonia
recuperate with soy bologna

Technorati tags (Ever the optimist!)
baloney, Blogger, bologna, broken, Nellie McKay, Technorati

Firefox 2.0 tweaks

Lifehacker has a tremendously helpful post for anyone using the new Firefox 2.0. Don't be put off by the words "Geek to Live"; anyone smart enough to use Firefox should be able to negotiate the tweaks described.

I've been using Firefox 2.0 since Tuesday and find it fast and stable. My only dissatisfaction is with the new, washed-out theme, but -- lo! -- the Firefox 1.5 theme is now available for use with 2.0.

Firefox 2.0
Geek to Live: Top Firefox 2 config tweaks (Lifehacker)
Winestripe (default Firefox 1.5 theme for Firefox 2.0)

Proust: fashionable parties

There is no fashionable party, if one takes a cross-section of it at sufficient depth, that is not like those parties to which doctors invite their patients; the patients talk very sensibly, display excellent manners, and would give no sign of being mad if they did not whisper in your ear as an old gentleman passes, "Do you see him? That's Joan of Arc."

Marcel Proust, The Prisoner, translated by Carol Clark (London: Penguin, 2003), 223

Proust posts, via Pinboard

Tower Records

Anthony Tommasini remembers:

Older record collectors have memories of wonderful, quirky independent stores run by managers who were passionate, if opinionated, about the music they sold. I remember when Pamela Dellal, a good mezzo-soprano based in Boston, worked as a saleswoman at the Harvard Coop in Cambridge in the early 1980’s. I used to call her the czarina of classical music at the Coop because she was so informed, efficient and forceful in her recommendations.

For many years Tower Records at Lincoln Center has been the closest New Yorkers have had to those small shops of earlier times. This is a paradox, I know, since the company, which opened its first store in 1960 in Sacramento, grew into a bullying retail chain that pushed out independents. Still, because of its location, Tower Records at Lincoln Center was a mingling place for classical aficionados. There, music students, opera buffs, contemporary-music devotees, everyday concertgoers and, now and then, well-known artists would bump into one another and talk shop.

Requiem for a Store’s Dying Classical Department (New York Times, registration required)

Related post
Record stores (The Relic Rack, Sam Goody's, J&R)

"[I]n my own hand, in my own notebook"

Q. How did you work on the translations?

A. I had this whole routine worked out while doing the Homer. I wrote out every line of Greek in my own hand, book by book, a big notebook for each book. One line to two blank lines. As I went through the Greek and copied it out in my own hand, I would face the difficulties -- any crux that turned up, questions of interpretation -- and try to work them out. I accumulated editions with notes and so on as I went along. So before I was through, I had acquired some of the scholarship that was relevant to my problems. But always, in the end, it was simply the Greek facing me, in my own hand, in my own notebook.

Robert Fitzgerald, "The Art of Translation," interview with Edwin Frank and Andrew McCord, Paris Review (Winter 1984). Reprinted in The Third Kind of Knowledge: Memoirs and Selected Writings, ed. Penelope Laurans Fitzgerald (New York: New Directions, 1993).

The image above, showing the opening line of Iliad 3, is a small part of a reproduction of a manuscript page accompanying the interview. (In the Greek, the episodes of the poem are lettered, not numbered; 3 is gamma.) Fitzgerald's Odyssey appeared in 1961; his Iliad in 1974.

Related post
Words from Robert Fitzgerald

Ethiopian spicy tomato lentil stew

Here's a link to a recipe for something that tastes much better than smoked chicken water. Isa Chandra Moskowitz is the host of The Post Punk Kitchen and the author of Vegan with a Vengeance. Her recipes rule.

My wife Elaine wants me to mention that fenugreek (which the recipe calls for) might be most easily found in an Indian grocery store. The word fenugreek derives from the Latin fenum Graecum, "Greek hay."

Ethiopian Spicy Tomato Lentil Stew, from The Post Punk Kitchen

Vegan nightmare

Or perhaps anyone's nightmare. I was standing in the supermarket, reading the ingredient list on a carton of Silk soymilk:

INGREDIENTS: SMOKED CHICKEN WATER,

and that's as far as I got. Silk really is the soymilk of my dreams -- and nightmares.