Samuel Pepys lays down a paper trail:
…and that I do foresee the Duke of York would call us to an account why the fleete is not abroad, and we cannot answer otherwise than our want of money; and that indeed we do not do the King any service now, but do rather abuse and betray his service by being there, and seeming to do something, while we do not. Sir G. Carteret asked me (just in these words, for in this and all the rest I set down the very words for memory sake, if there should be occasion) whether 50l. or 60l. would do us any good; and when I told him the very rum man must have 200l., he held up his eyes as if we had asked a million. Sir W. Coventry told the Duke of York plainly he did rather desire to have his commission called in than serve in so ill a place, where he cannot do the King service, and I did concur in saying the same. This was all very plain, and the Duke of York did confess that he did not see how we could do anything without a present supply of 20,000l., and that he would speak to the King next Council day, and I promised to wait on him to put him in mind of it. This I set down for my future justification, if need be, and so we broke up, and all parted, Sir W. Coventry being not very well, but I believe made much worse by this night’s sad discourse.
A jewel of a simile in Alex Ross’s survey of composer and performer Tyshawn Sorey:
Anyone who worries whether Sorey has the chops to create “normal” music can sample “Movement,” on Alloy, which opens with a ravishingly melancholy piano solo in F-sharp minor. It’s a bit like Alban Berg playing piano in a hotel lounge at the end of the world.
Mamie Johnson remembers mid-fifties life on the road for the Indianapolis Clowns of the Negro leagues, in Michelle Y. Green’s first-person biography, A Strong Right Arm: The Story of Mamie “Peanut” Johnson:
Sometimes that raggedy old bus would break down and we’d wear our muscles out before the game pushing it uphill. And we never knew if we had enough gas to make it from place to place, ’cause some of the towns we stopped in had “Whites-Only” gas pumps. That never made sense to me. Seems like if folks were so anxious to get rid of colored folks, they’d want to give us the gas we needed to get on down the road. (p. 86)
Cecil Taylor’s passing reminds me of my favorite passage from Craig Lucas, from scene 2 of Blue Window. It’s a good thing that I have a printed copy to refer to, because my recollection of the dialogue, from a production I saw 22 years ago, is faulty.
At a small gathering/party of friends, Tom has put a recording of Cecil Taylor on the sound system.
TOM. But I don’t know if you can hear it, but I mean, he’s literally rethinking what you can do with melody. He’s changing all the rules from the ground up.
* * *
TOM. Like a painter. He’s breaking it up, you know, and putting some parts of it in front of where they belong and he’s splitting up tonalities and colors, shapes —
ALICE. Splitting up did you say?
ALICE. No, I know, I was…
TOM. He’s literally challenging you to hear it, you know, rehear it. What is music?
GRIEVER. No, I know, but this isn’t like a famous melody? Or –?
TOM. Why not?
GRIEVER. I mean it isn’t like “Raindrops on roses and whiskers on kittens” backwards or something.
For some reason I always want to remember that as “‘Mairzy Doats’ upside down and backwards.”