“Ultimate New Yorkers”

Flaco Owns The Charmer Under Me

Written by Kenn Sava. (None of these Photos are mine. If they are yours, please contact me for credit.)

The throng hoping for a Flaco sighting in the Park in the early days after his escape last year. Photo- goodmorningamerica.com

If you live here, and possibly if you don’t, you might be glued to the latest news and social media updates for sightings of Flaco, the male Eurasian Eagle-Owl, who escaped from the Central Park Zoo after his habitat was vandalized in February, 2023. I am, too. In spite of EVERYTHING else going on in the world, it’s a story that seems to have captivated a lot of folks, probably for many reasons.

After early attempts to recapture him were abandoned due to the public outcry, Park Zoo officials opted to let him live as a free bird in the Park. He’s been on his own for 11 months now.

“Yes, I’m cashin’ in this ten-cent life
For another one”*

Shortly after his escape. Photo- goodmorningamerica.com

Of course, he drew immediate and large crowds (as shown up top), including countless Photographers. To date, I haven’t seen any clips of him in flight, where his 6-foot wingspan must be breathtaking to see. Nonetheless, the countless Photos I have seen reveal him to be extraordinarily beautiful, particularly his riveting orange eyes.

“Everywhere around me
I see jealousy and mayhem
Because no men have all their peace of mind
To carry them”*

Photo- newsbrig.com

Ok. I’m biased. My last name means “Owl.” Still, his is a story with wings! People seemed to love the idea of the “caged-bird set free.” I worried. But, as long as he stayed in the Park, he was relatively safe (though another Owl was hit and killed by a truck there) because they don’t feed the rats, a staple of his diet (another reason we love him) poison that could harm him. Then, Flaco suddenly began making trips out of the Park! While this led to more spectacular photo ops, it raised the worry, and the danger, quotient exponentially.

Why did he leave? The Park is as close to “nature” as we have, though it’s all man-made.

New York City’s other Owl. A sighting on the Upper West Side. Photographer unknown.

After living in the confines of the Zoo for 10 years, to suddenly be thrust out into the “wilds” of Manhattan has got to be like being dropped off on another planet would be for us. Like all New Yorkers, and he is certainly one, he’s on his own out here. Somehow, 11 months later, he’s survived on his wits, like many other New Yorkers- this one included.

I never through I’d see a 2 foot tall Owl walking the same streets I do at night, but I’m ready! Let’s hit the town! Photographer unknown.

As more information came to light, the poignancy of it all hit another level. Apparently, Flaco began going further afield searching for a mate.

What could be more human? More universal? Who couldn’t be moved by that?

Being a rare bird- 100,000 to 500,000, total, are believed to exist, and being THIS far from Eurasia, where most of them are, his chances of finding one are not good, to say the least.

Looking for love in the East Village. I’ve been there, man! *Photographer unknown.

When I saw this incredible Photo someone took in the East Village during his sojourn there, I found it heart-breaking. It speaks to me of the extremes he’s gone to. It also speaks to all he’s up against in his search.

“When the joker tried to tell me
I could cut it in this rube town
When he tried to hang that sign on me
I said ‘Take it down'”*

Pounding the pavement, watching out for “the man,” eyes on the prize. Photo- amsterdamnews.com

So, where to with this story?

My read is that the larger public would freak out if the Park tried to recapture Flaco. I wouldn’t. I’d be relieved and I think quite a few others would be, too. The possible bad outcome to this story is too tragic to think about. So, as a passionate Owl lover, myself, I can’t help wonder if an alternative might be for the experts to scour the world’s zoos, forests and jungles for a potential mate for this special Owl. It’s the least we can do for him!

Fatherhood might be the only outcome the larger public would accept.

Then, the lines to see him at The Zoo, would be longer than to see Van Gogh’s Cypresses.

From newyorker.com

And, instead of worrying about him, or listening for the sound of a large Owl landing on my window sill, I can sleep in peace.

“Well I don’t really care
If it’s wrong of if it’s right
But until my ship comes in
I’ll live night by night”*

*Photo by the Central Park Zoo

Happy New Year, brother New Yorker! Hoping you’re safe and wishing you LOVE and every happiness in the New Year!

*-Soundtrack for this piece is “Night By Night” by Steely Dan from their album, Pretzel Logic. The title of this piece is adapted from their song “Brooklyn (Owes the Charmer Under Me)” from Can’t Buy A Thrill. As in somewhere inside me lies a charmer…

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Louise Bourgeois’s Guarantee of Sanity

Louise Bourgeois: Paintings is now over. If you missed it, this is one of the few places you can still see a bit of it. If you appreciate that, please donate to support it. Thank you.

Written & Photographed by Kenn Sava

Show Seen: Louise Bourgeois: Paintings at The Metropolitan Museum of Art

In spite of having seen at least two prior shows of her work, until the moment I walked in through the entrance, above, I had no idea that Louise Bourgeois was also a Painter. This wonderfully concise show proved a revelation. Her Paintings, which predate her well-known Sculpture, turn out to be every bit as unique, personal, and captivating as her free-standing pieces.

The Runaway Girl, 1938, Oil, charcoal and pencil on canvas. After marrying in Paris, Louise moved to NYC. She came to feel guilt about her sudden departure. Here, she shows herself, with long hair as usual, suitcase in hand, with symbolic references to what she left behind in the background as she floats over jagged rocks, implying a difficult path.

“The Runaway Girl who never grew up…
I do not need a safety net,
Breakfast, big lunch or afternoon snack
I do not need any visitors, telephone
Calls or small mash notes…
I don’t need anything, I don’t confuse anything.
I can wait, I am not afraid. I am grown up.
Nothing is missing.”
Louise Bourgeois1

They’re also as open-ended, and each is autobiographical, beginning with The Runaway Girl, 1938, at the entrance. Beyond her guilt at running away was the pain she suffered discovering her father’s affair with Louise’s nanny- a dual betrayal. “Fear and pain were her main subjects,” her friend, the Art historian Robert Storr said2.

Yves Tanguy, Title Unknown, 1926, Oil on canvas with string and collage. This is about as close as I’ve come in looking for a predecessor to Louise Bourgeois’ Paintings. Seen at The Met. Not in the show.

Some Art historians mention Surrealism as a possible influence on Ms. Bourgeois’s Paintings. Personally, I don’t see it. The Surrealists largely Painted fantasies, dreams and nightmares. Ms. Bourgeois works from her life and her own experiences, even when they take imaginary forms. I don’t consider this Surrealism. The same was said about Chagall, who also worked largely from his own life experiences. Frankly, like Chagall’s, her Paintings don’t remind me of anyone else’s. The great Charlotte Salomon Painted her life, too, at the same moment Louise Bourgeois was (until Ms. Solomon was murdered by the Nazis in 1943). Ms Salomon’s work seems closer to Chagall’s, stylistically, than to Louise Bourgeois’s Paintings to me. Given all that went on in Art just in the first half of the 20th century, creating a unique style is pretty remarkable, and, along with the stellar quality of the work, begin the list of things she should be given more credit for. A good number of these pieces linger in my mind weeks after the show closed- like a person you encounter who has much on his or her mind and much to say, but didn’t say it out loud at the time.

Untitled, 1945, left, Painting: Red on White, 1945, center and Untitled, 1944, right

Louise was born on Christmas, 1911, left France for NYC in 1938, and lived many of her final years until her passing in 2010 around the corner from where I live now, unbeknownst to me.

For much of the last part of her life, Louise lived and worked in the two buildings to the immediate left of the red brick. They now are home to her Foundation. Late in her life Louise moved her bedroom to the first floor, behind one of the two windows, because the stairs were too difficult.

I might have passed her on the street. After she passed away, her home became the HQ of her Easton Foundation, which owns most of the work on display. (Take a look inside here.) Walking by it now, except for some intricate grating on the front door and windows (which was there when she was), it looks just like every other townhouse on the street. Given how unique all her Art is, this is somewhat incongruous.

Themes recur in Louise Bourgeois’s work. One is buildings as seen in each of these pieces. Her series of 4 canvases titled Femme Maison, 1946-7, Oil and ink on linen, center, will be addressed next. Later, buildings appear without human parts (as in both works to the far left), and they are stand-ins for humans. One building stands for a lonely person. Two separate buildings stands for an estranged couple. Three buildings is a triangle. These would seem to be influenced and inspired by life in the tall building jungle that was, and is, Manhattan, home of “Manhattanhenge” as Neil deGrasse Tyson calls it.

Louise Bourgeois’s Art was largely motivated by “her emotional struggles,” as former MoMA curator and Louise Bourgeois researcher Deborah Wye says, “This was something that plagued her for her whole life. And she said by making a work of art she could make these emotions tangible. Try to understand them. Try to cope with them. Try to hack away at them. And she actually called her art ‘her guarantee of sanity3.’” 

Femme Maison, 1946-7, Oil and ink on linen, occupy the central position in the show, as I show in the prior picture. Femme Maison translates as “woman house,” or “housewife.” In each, a woman is confined within a building, which references a part of the Artist’s past, as her role in society confined her. All 4 figures are naked from the waist down, exposing them to the viewer’s gaze. Her trademark long hair is seen in two. A stunning and singular expression, times 4, of a woman trapped in her role in Art history, at least that known to me.

In what appears to me to be one of the final shows, and perhaps the final gallery show, mounted under Sheena Wagstaff’s tenure as Chair of The Met’s Modern & Contemporary Department, Louise Bourgeois: Paintings is quietly spectacular. The feeling of discovering something “new,”exciting, and previously unknown, when you walk in is quickly reinforced by the variety, and similarities, in her work. Themes emerge. The mystery remains.

“1932,” 1947, Oil on canvas. 1932 was the year Louise’s mother passed away after a long illness. They had been very close, with Louise often serving as her mother’s nurse. Her passing precipitated the first of the Artist’s two suicide attempts, and recurring bouts of depression. According to the wall card, the figure to the left was a “more realistically rendered self-portrait in earlier stages.” Its closed room, its railing, the “anguished(?)” lone figure, and central spotlight, remind me of the settings of many of Francis Bacon’s Paintings that would coincidentally begin at this very moment.

I missed what looks to have been a terrific show at the Jewish Museum, Louise Bourgeois, Freud’s Daughter, due to the pandemic, but did see Louise Bourgeois: Holograms show at Cheim & Read and MoMA’s Louise Bourgeois: An Unfolding Portrait excellent show of her Prints and book work, both in 2017. The variety of the work on view in these four shows (thanks to the Freud’s Daughter catalog) is extraordinary, and all of it is compelling.

Her Paintings were done in the FIRST decade of the SEVEN she eventually spent here. In the end, Louise Bourgeois lived, and worked, in New York City for an unheard of 72 years! In my book, she is what I call an “Ultimate New Yorker,” i.e. someone who has defined both what it is to be a New Yorker and who helped shape NYC in the Arts in my opinion, along with Patti Smith, Miles Davis, and others. Though she professes that these Paintings are “American, from New York,” in the quote above, I don’t sense much of the City in them beyond those that depict apartment buildings that look like those found here. They are more about a person living in the City. Buildings, though, are a metaphor for persons, as I said.

Reparation, 1945, Oil on canvas. Though the Artist shows herself as a girl bringing flowers to her family’s cemetery plot, there is no name on the sparsely Painted stone. So it could reference her mother’s or grandmother’s passing, or in a larger sense, mourn those she left behind.

In each of these de facto “Self-Portraits,” the Artist lays herself and her feelings daringly bare. While her Art didn’t “solve” her problems, it helped. Seeing them now, these Paintings may prove to be a touchstone for viewers, now and in the future, as I expect them to continue to rise in stature. Stylistically, they blend abstraction and realism selectively, often in the same piece. Finally, they also provide fascinating background material for pondering her Sculpture and Prints that followed for the rest of her career.

Untitled, 1946-7, Oil on canvas. World War II, guilt, and here, fear, are subtexts in many of her Paintings. I should say I see fear in this piece, which is one of a few pieces that depict this building in the show, the others having an unstated dread and menace to them as well, perhaps part of her agoraphobia.

Thinking about this show, I couldn’t help but recall the case of Jack Whitten, who had a long career as an important Painter, only to leave a comparably important,  large body of unknown Sculpture behind when he passed in 2018. Louise Bourgeois’ Paintings were shown and known, but it was early in her career, before she attained the status her Sculpture brought her. Both bodies of unknown and lesser known work were shown by Sheena Wagstaff in two of the more fascinating and memorable shows under her remarkable tenure. I imagine that this show may have been originally planned to be installed at The Met Breuer before its sudden closing.

Untitled, Oil on canvas, left, Untitled, Oil and chalk on canvas, right, both 1946. During one visit, another visitor asked me if the work on the left was a guillotine.

In the Press Release announcing the show, Sheena Wagstaff said about it, “To date, it is not widely known that Bourgeois was active as a painter in New York for ten years, a period when the city became a vital international hub amidst critical debates around painting. This exhibition reveals the foundational DNA of the artist’s development of themes that would subsequently burgeon into three dimensions, and preoccupy her for the remainder of her long career.”

All of this was “just” preliminary to her long career as a Sculptor, and work in other mediums. Her late Paintings, like these two, begin to look like her Sculpture. Sculpture, she said, enabled her to see what she was feeling in three dimensions. Deborah Wye said, “She said there was no rivalry between the mediums for her in which she worked. She said she just said the same thing but in different ways4”

And so, “Painting” as painting was over for Ms. Bourgeois.

Moving from Painting to Sculpture. Femme Volage, 1951 left, and Dagger Child, 1947-9, both Painted wood and stainless steel. Woman in the Process of Placing a Beam in her Bag, 1949, Oil on canvas, far left.

Being a self-professed and long-standing Paintings guy I really wish Louise had kept on Painting in addition to Sculpting, but her Muse carried her to 3 dimensions. Some Prints on view in An Unfolding Portrait involve brush work, continuing the thread in a sense. She made Prints for the rest of her life. Her Prints were first the subject of a 1995 MoMA show and their 2017 Unfolding Portrait show, which lives on in its wonderful catalog. Deborah Wye, then a MoMA curator who devoted a large part of her career to studying Louise Bourgeois’s output, curated both Print shows as well the Louise Bourgeois Retrospective at MoMA in 1982, the very first show of its kind given to a woman Artist at MoMA5. She has also created a website of Ms. Bourgeios’s complete prints, which may be seen here.

Fallen Woman (Femme Maison), 1946-7, Oil on canvas. As in almost all of her Paintings, her past and present experiences and the resulting guilt, angst and duality are transformed into wonderfully succinct compositions. “The woman depicted here, visually cut in two by a dark building, embodies the rejection, fragmentation, and abandonment that the artist experienced and feared…,” per the wall card.

“Why have there been no great female Artists?,” is the title of a book, and a question I’ve heard many times over the years. There are, and have been. MANY of them.

Untitled, 1946-7, Oil on canvas. Bacon, de Chirico, Miro, Chagall come to mind when I see this, but none of them combined these elements into one piece before Louise Bourgeois did here in what may be her most iconic Painting, which, again, features her long hair.

The history of Art has been largely written by men, museum collections largely curated by men, to this point. It’s only been this century that that has begun to change. It’s really only since the opening of the global Art market in the late 1980s and the accompanying relentless search for Art of value- anywhere by anyone, that more women Artist have begun to get the attention so many have stood up and demanded for so long. There’s still a long road ahead.

Beyond her iconic Sculpture, her Prints that I saw at MoMA in 2017, her Holograms that I saw the same year, and her Installations, Louise Bourgeois created an important body of Paintings, one that deserves a special place of import among those created by women Artists in the 20th century, as well as by Artists, period. I believe that as time goes on, more and more people, who know her name, but not much about what she did beyond her Spiders, Louise Bourgeois will be an Artist who moves more and more into the mainstream. Her work is so diverse, extending across mediums, techniques and time, that it actually reminds me a bit of one of her contemporaries- Pablo Picasso. That’s said not as a comparison, but to mention the similarities and variety in their work. I would not be one bit surprised to see a Bourgeois/Picasso show one of these days. Maybe MoMA’s next Bourgeois-related show6 show ?

Louise Bourgeois, with her long hair, with Untitled, 1946-7,  on her easel, circa 1946. It’s fascinating to compare what we can see of it in this Photo with the Painting we have, above.

Louise Bourgeois channeled her problems through unending creativity into an extraordinary and extraordinarily varied body of work. In spite of two suicide attempts7 earlier in her life, she overcame everything she lived through and felt about it to survive to be 98! There is much in that, as well as in her work, to inspire others. Jerry Gorovoy, her assistant and friend for 30 years, wrote in late 2010 after Louise’s death-

“Though her work was raw self-expression, it was also her way of understanding herself. It has a timeless dynamic that goes way beyond the visual: a profound capacity to awaken in others a heightened consciousness of what it is to be alive.”

Her ceaseless multi-dimensional creativity is up there with Picasso’s, Joan Miro’s, Marcel Duchamp’s and Robert Rauschenberg’s- the giants of endless invention in the 20th century. Add her name to that list if you haven’t. For her own creativity, as well as the quality and timelessness of her Art, it belongs there. 

*- Soundtrack for this Piece is “Cherry-Coloured Funk” by Cocteau Twins from Heaven or Las Vegas, 1990.

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  1. Quoted in Louise Bourgeois, Askew and d’Offay, 2013, p.42. ↩
  2.  Robert Storr, Ted Talks, 5/11/18 ↩
  3. Deborah Wye, MoMA Talk, 9/17/2017. ↩
  4. Deborah Wye, MoMA Talk, 9/17/2017. ↩
  5. In 2018, I published my own list of these in my Yoko Ono piece, since there is no “official” list- still! I wonder why. ↩
  6. Update 9/2/22- Since writing those words I’ve discovered a gallery show, Louise Bourgeois – Pablo Picasso: Anatomies of Desire, was held at Hauser & Wirth, Zurich, in 2019. From seeing the catalog, it sure looks like it’s not only an idea who’s time has come, but there is more to mine in it. ↩
  7. per The Met’s wall card for “1932.” I can find no other reference to more than one attempt. ↩

Directions In Listening By Miles Davis

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Written & Photographed by Kenn Sava.

A ShortList Of Recommended Miles Davis Albums

Timeless. Miles on an Apple “Think Different” Billboard, I shot in June, 1998 on West 23rd Street.

This is an Addendum to my “Riffing On Miles Davis” Post in response to a note I’ve gotten asking what specific recordings I’d recommend listeners check out to hear Miles, and/or get a fuller appreciation of his accomplishment over the 40 years he recorded albums under his own name1. Personally? Miles Davis was my biggest musical influence, as he was for many of the musicians I worked with or admired. He was a living legend to us, akin to what Picasso was to visual Artists during his lifetime, and yes, there are quite a few interesting similarities between Miles & Picasso, but that’s a different piece. Ok. So, here’s my “ShortList” of essential Miles albums- suggestions for both a listener new to Miles Davis to start with, and for where to go from there. To clarify- Miles’s earliest records are almost 65 years old now. Older albums get re-released, if they continue to be worth hearing!, all the time, often with different names. Almost all of Miles’s are still available. I’m using their original album titles here. Disclaimer- This is a “ShortList”- a place to start. If I’ve left your favorite out? I hear you. I’m leaving out some of mine, too. I think we can all agree that there is A LOT of great music in his Discography. Dip your toe in and see where the River Miles leads you. I hope we can all agree on that.

First, Kind of Blue– Yeah. What else would be first? It seems to be every critic’s #1 choice as the first Jazz album you should have. Ok, I get that. For me, it’s much more. It’s a record I’ve lived with for most of the 56 years since its been released. I’ve gone through phases with it. First, there was the “tunes” phase- listening to, and loving the songs as songs, while marveling that they were basically composed at the recording sessions, or as legend has it, by Miles in a taxi on the way to them.

The Official Soundtrack of The Night. I go to The Met to see Art. I listen to this to hear it. I wore out the Lp, then bought this, the first CD release. There's now a 50th Anniversary 2 Disc edition with outtakes- Get that.

The Official Soundtrack of The Night. I go to The Met to see Art. I listen to this to hear it. I wore out the Lp, then bought this, the first CD release. There’s now a 50th Anniversary 2 Disc edition with outtakes- Get that.

Then, there was the Miles-“So-What”-Solo-Phase, which most musicians probably go through. I’m talking about Miles’ solo on “So What,” the first solo on the record. First, you marvel at its utter perfection. Finally, you write it out, study it, and learn to play it on whatever instrument you play. Then? You realize that was easy enough, but it doesn’t come within miles (sorry) of what he did. You start to wonder why not, and you then start to become a “Musician.” Further, jazz can be taught, but Jazz can’t be taught, I believe. The intellect, the sensibility, the taste, the creativity, the feeling, and the unique essence that makes a Master Musician are either there, or they’re not. Even if they are all there? You’re still not Miles. Only Miles was Miles. If you want to know why he was so great, or hear music that is Art, in my opinion, listen to this.

In the 1990’s I was fortunate enough to know, and once work with, the multi-intrumentalist & vocalist Mark Ledford. He passed way far too soon and is probably best known for having been in Pat Metheny’s Band, and having a solo CD out on Verve called Miles 2 Go. He also played with the late, great Joe Zawinul, the co-founder of the legendary band, Weather Report. Joe composed “In A Silent Way,” now a Miles Davis classic, and performed on some of Miles’ classic albums. Mark introduced me to Mr. Zawinul, one evening at the Blue Note, NYC. I was a very long time lover of Joe Zawinul’s music going back before his days with Weather Report, to those days he spent with Miles. Yet, when I finally got to meet him, all I could ask him was, “Have you heard Led play trumpet?” I wondered if he felt about Mark’s playing the way I did. Mark Ledford uncannily sounded like Miles on trumpet. Believe me, I don’t say that lightly. The highway of Jazz is littered with “Miles-wannabees,” who never were. Like me, Mark Ledford had grown up with Miles, and unlike me, he played trumpet. I guess I shouldn’t have been surprised, but when I first heard him play, I was like “WOW. This is uncanny.” I was lucky enough to have him play trumpet on one of my records.

Anyway, the point is that even Mark Ledford, a brilliant multi-talented musician, who could sound more like Miles than any of the millions of Miles imitators, wasn’t Miles. He would tell you that. Listening to Miles and trying to think where he was going…what would come next…was a game I still play. Then? There was that sound. As I wrote earlier, for me, his sound defines living in NYC as much as any sound I can think of. People in London, Cairo, Tokyo and Moscow probably feel the same way. Well? Sorry, but Kind of Blue was recorded here, within walking distance from where I’m writing this, so we’ll take dibs on it. Yet, Kind of Blue is as much about Miles’ sound when he plays, as it is about the sound when he didn’t play. It’s a masterpiece of silence, as much as it is of music, of “negative space,” as Artists call it, as I mentioned in my first Miles Post. When you go back and listen to earlier Miles albums you can hear it there, too. But, it’s a featured player here, and something that became integral to listening to Miles henceforth. For me, this silence is what puts Miles’ legendary coolness over the top. No other musician, in any kind of music has ever been as revered for what he played as for what he chose not to play.

Another view of the “Think Different” Billboard, June, 1998. This one shot from under what is now the High Line

Time would go by, and I’d come back to Kind of Blue, again. This time for Trane. John Coltrane is a world unto himself. He was as revolutionary a figure as Miles was, in his own way. One of the first “mainstream” jazz musicians to experiment and adopt elements of the avant garde in his work, he was a man who was on a mission. A mission that ended far too soon, when he suddenly passed in 1967, age 40! Look at his discography and you’d think he lived to be 100, almost no one was as prolific a recording Artist as John Coltrane (Thank goodness!) Like Miles, all periods of Trane’s work are important, and his period with Miles, which would end shortly, was certainly up there with any of them. While Miles was creating perfect statements with the utmost economy, John Coltrane was wailing. He often sounds like a man who knows he doesn’t have a lot of time to get it all in. Possessing one of the most formidable techniques in the long & storied history of the Tenor Sax in Jazz, he used every ounce of it, seemingly, all the time. Miles once said, no doubt referring to him, “I had seven tenor players, once.” Yet, in spite of what some critics say, I don’t ever hear him overplaying. Later, his explorations carried him much further afield than we hear him here, and that’s a different story, but on Kind of Blue, he is the perfect counterfoil for Miles (as he is one virtually all of his recordings with him.)

So, you can listen to “Kind of Blue” for the music. You can listen to it for Miles. You can listen to it for Trane.

And, you can also listen to it for the great Cannonball Adderley. Or the great Bill Evans, or for the band as a whole (Paul Chambers bass and Jimmy Cobb’s drums complete the band, with Wynton Kelly on piano on one track), a unique combination of master musicians, all at their peak, all together in one room. Thank Buddha there was recording equipment, engineers present, and someone remembered to hit the “Record” button! (I’ve been to sessions where someone actually forgot to.)

After Kind of Blue, there are many different ways you can go in exploring Miles’ recorded legacy. For me, I’d go with the music of the group that took acoustic music further than anyone has- before or since- Miles’ Quintet of 1965-67, the so-called “Second Great Quintet.”.

You’re looking at nothing less than what remains the State of The Art in small group Jazz. Available as individual records, or in this Complete Box Set, seen at Barnes & Noble, Union Square, one of the few CD Stores left in NYC this week. I never leave home without it…on my Phone.

To clarify- Miles’ “First Great Quintet” was the working group (i.e. they performed live) he had from 1955-58 that included Tenor Saxophonist John Coltrane. The group that recorded Kind of Blue is referred to as his “Sextet.” For me, everything the Second Great Quintet recorded is essential. Miles was joined by Wayne Shorter (Tenor, and later, Soprano Sax), Herbie Hancock (Piano), Ron Carter (Bass) and Tony Williams (Drums)- a group of young, and already accomplished, talents who grew to become masters on their instruments during this experience. One of their albums was titled “E.S.P.,” which perfectly summed up the previously unheard level of group intercommunication they attained as well as anything could. Therefore, the “album” I’m recommending is The Complete Columbia Studio Recordings Of The Miles Davis Quintet January 1965 To June 1968, a 6 CD set, pictured above. It’s a compilation of their albums of the period. It would be very very hard for me to pick one album. If you held a gun to my head? E.S.P., then Nefertiti, The Sorceror, Miles Smiles, but we are splitting hairs now.

E.S.P. as a single Lp/CD. While the music inside is telepathic, the cover, with then wife Cicely Tyson, makes me wonder, too. See note below about Japanese pressings.

E.S.P. as a single Lp/CD. While the music inside is telepathic, the cover, with then wife Cicely Tyson, makes me wonder, too. See note below about Japanese pressings.

This is music that features Miles at the peak of his powers, in the company of 4 young musicians (Tony Williams was 17 when he joined Miles!) who are becoming Masters, themselves, right in front of our ears. A key point in this evolution occurred when when the band was performing live early on. Miles wondered why the group played differently, more adventurously, behind Wayne’s solos than it did behind his. So he called them out on it and told them to play the same way behind his. In short order the group was matching its leader at every turn, and, by the time of their later recordings, even push him. It’s exciting, fresh, exploratory and endlessly vital music, that, in my opinion, redefined what acoustic jazz could be. Those terms are carried on in the superb Wayne Shorter Quartet of 2001 to date, one of the few bands that carries on in the spirit of the GQ2, perhaps at the behest of Miles, himself, who reputedly passed the torch to Wayne the last time they spoke. I digress.

If, like me, you get to the point where you must hear every note the GQ2 played, than by all means check out The Complete Live At The Plugged Nickel, Miles In Berlin, and the Live In Europe 1967: The Bootleg Series Vol. 1, (a 2011 release that only scratches the surface of rare live recordings by this band that are avidly traded among collectors. These are not on the “Shortlist,” however. Many of these are in surprisingly good recording quality, having originated from Radio or TV Broadcasts- or both.)

Many Miles fans will part ways with me here, when I make my next selections, and that’s fine. It’s my personal opinion. I think we’d all agree that it’s best to hear as much of Miles’ music as one can and decide for yourself, what speaks to you. There are about 50 studio albums to choose from that Miles recorded, 36 or so live albums, but, as I said, these are augmented by hundreds of live tapes that collectors trade. This list is merely a suggested starting point to help you figure out where you’d like to go, or suggest new roads if you’ve dipped your toe in Miles’ Ocean.

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This one changed my life. Oh, and music has never been the same since, too. Perfectly titled. Perfect cover art. Perfectly Revolutionary.

I’d suggest Bitches Brew next. As I touched on previously, Miles Running The Voodoo Down. it was a revolution in a career of many innovations. It still sounds ahead of its time to me. It has that air of improvisation that Kind of Blue has, but in an entirely different way. Wayne, Keyboardists Joe Zawinul, Chick Corea, Larry Young, Guitarist John McLaughlin, Bass Clairnetist(!) Bennie Maupin, Bassist Dave Holland, and Drummers Lenny White, Jack DeJohnette, Billy Cobham and Percussionists Airto and Don Alias, joined Miles in brewing up a concoction that melted the borders not only between rock and jazz but between so many other kinds of music at the same time, it was like the flat earth had suddenly become round. I don’t think it’s an overstatement to say it had the equivalent effect of The Beatles going psychedelic 2 years earlier with the release of “Strawberry Fields Forever.” The influence of this album is everywhere I turn today- every time I see a jazz group that includes an electric instrument, there it is, or a group of some other kind of music that has jazz elements (including Prince) and an electric instrument or two.

Miles’ work with Gil Evans is also revolutionary, and much less controversial. Many consider it his most beautiful music. It extends as far back as 1949-50 and is collected on the legendary, and highly recommended, album The Complete Birth of The Cool, which is exactly what it was. Miles has been “cool” ever since. For me? He defines it. The shot below is from a radio session done the year before the record. Miles was playing Gil Evans Arrangements that featured unusual instruments for small group jazz, like the tuba and french horn. So, the band became known as “Miles’ Tuba Band.”  About 10 years later, they reconvened to created the masterpieces “Sketches of Spain” and “Porgy and Bess,” (yes, the Gershwin Opera). Add them to your list.

Pre-Birth of the Cool. Miles, NYC in 1948 with Lee Konitz on Alto, and Gerry Mulligan on Baritone Saxes, Left, John Barber on Tuba. From my collection.

Ok, it’s been hard to leave off other albums featuring John Coltrane, so I will wait no longer.

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No. He’s not posing here, or in the silhouette. Only Sinatra and Ella can “sing” standards with Miles. (Louis and Billie ain’t bad, either.)

Milestones is a classic. Along with Trane, it contains another (like on Kind of Blue) rare appearance by Cannonball Adderley, along with Red Garland (Piano), Paul Chambers (Bass), and Philly Joe Jones (Drums). This band, without Cannonball, comprised Miles “First Great Quintet.” “‘Round About Midnight,” and “Miles Ahead” would be your next stops for the studio work of this group. Two points should be made here- 1) Miles created these records for Columbia Records, who he signed with in 1955. Before that, this group recorded for Prestige. Among the Prestige titles, I love Workin’ and Steamin’, though Cookin’ and Relaxin are right up there as well.

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Workin’” but not Steamin’ “It Never Entered My Mind” is on this. One of his greatest performances for my money.

After these, head to the even earlier Blue Note recordings Miles made, that were released as Young Man With A Horn, and then Miles Davis Volume 2 and Volume 3, from 1952-54. They have been collected in a Blue Note “Complete” CD set.

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Miles Davis Volume 2 on Blue Note. One of their most iconic cover designs.

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The back cover of the above proves that Music is the universal language.

Oh. The other point, 2) is that the Miles in that as great as their studio records are, and they are among the greatest ever made by anyone, Miles and Coltrane MUST be heard together live, in my opinion, to get any kind of full appreciation of their chemistry together. As I’ve said, they were the perfect foils- Miles the genius of understatement, the inventor (to my way of thinking) of musical silence, contrasted by John Coltrane, who was at that time working on development of the final stages of what would be called his “sheets of sound” style. What might sound on paper like a musical train wreck (no pun intended), was in reality magic. Art. From there, there are, once again, bootleg recordings around, many of which belie the late 1950’s dates, with more than acceptable sound. The greatest “official” live album is Jazz At The Plaza, a somewhat unintended album (the musicians didn’t know they were being recorded), but a miraculous live document of the Miles Davis Kind Of Blue Sextet.

Ok. Still with me? Want to hear more? Good! We still many Miles to go! (Sorry.)

Before, and after, Bitches Brew was a very fertile period for Miles. In A Silent Way, and Jack Johnson are bookends in a sense- the former beautiful, subtle, crystalline, thanks in no small part to the presence of Joe Zawinul, who wrote the title track, in a band that includes 4/5 of the Second Great Quintet, along with John McLaughlin (Guitar), Dave Holland (Bass) and Chick Corea joining Hancock and Zawinul on Keyboards). Recorded in 1969, it’s the album right before Brew. “Jack Johnson” was recorded immediately after Brew in February and April, 1970. Miles Backed by “the greatest rock and roll band you have ever heard” (QUOTE) (McLaughlin, Sonny Sharrock- Guitars, Hancock & Corea- Keyboards, Benny Maupin on Bass Clarinet and Jack DeJohnette and Billy Cobham on Drums, he wasn’t lying.

You’ll notice that many of the albums pictured are the Japanese CD’s. Why? The choice of Lp or CD is up to you. I actually have both of many of these, but my CD’s were nearer to hand.) In records and CD’s there are some who think the Japanese pressings sound better than the American versions. For Miles’ albums, this was true years ago, both in the later days of vinyl Lp’s and the early days of CD’s when many were rushed into production here in the US while paying little attention to sonic quality, sometimes, not even bothering to find the correct master tapes. So, early on, I went for the Japanese CBS/Sony pressings, which are what I still have and are shown here. CBS/Sony (Japanese Columbia Records) was legendarily fastidious in their attention to sound quality.

A bigger potential issue is that Columbia, which owns most of Miles recordings up to the 1980’s undertook a reissue program that saw them scour their vaults for unreleased takes to include as part of a series of “Complete” Box Sets. You should also be aware that they remixed (and remastered) the original tapes. This is something I find potentially troublesome in some cases. There is a lot to be said for having the original mixes, when an album was orignally mixed (i.e. was recorded on multi-track equipment.) Off the top of my head, I’m not sure what the current state is of mixes one would get if buying these albums on CD’s today. They might be the original mixes, which would have been done by Miles’ legendary Columbia producer, Teo Macero, more likely, they may have been remixed. It should say somewhere on the packaging. I don’t have them, so I can’t check. The Japanese CBS/Sony pressings I show are both. Bitches Brew states that it is a “New Remix,” but there is no additional information anywhere in the package.

Really? By Who? They're not sayin

Really? By Who? They’re not saying.

I’d have to compare them side by side with the original Lp versions out now to know if they’re different. Does it make a difference? Possibly not. Miles music was acoustic up to 1969-1970 and performed in small groups. There’s really not a lot to mess up there, though anything is possible. (Note- Sony, who bought Columbia, issued a 9 CD Box set called Miles Davis: The Original Mono Recordings in 2013, of his Columbia albums through 1961, with a few extras. I haven’t heard this because I prefer Stereo, when it issued that way, along with mono.) With the later albums, there’s much more potential for difference. I’m saying all of this to make the buyer aware of it, though it’s a subject I have not as yet seen anyone mention. It applies to other artists, especially rock artists, much more than it might to jazz artists for the reasons I mention.  Still, with any classic recordings, it is something to keep an eye, and ear on. IF you really want to get to the heart of the matter? Go for the original Lp’s. Yes, you can spent a fortune on original pressings, but if you are only looking to get the original mixes, any of the issues from the Lp era will contain them (I can’t vouch for the currently available Lp reissues.) The front cover images of these Japanese CBS/Sony CD’s are the same as the original Lp’s.

Ok. back to the matter at hand. While Miles’ recording career lasted about 40 years, he took about 6 years off from about 1974 to 1980. In 1981 he suddenly returned, with a new album, and a live tour. He continued to do both until he passed in September, 1991. We miss him, still.

The return from retirement.

In 1980 Miles came back after over a decade off. He recorded a string of quite popular albums, but only two of them are going to make my “Shortlist.”

Tutu is a different type of masterpiece. Produced by the very underrated Marcus Miller, for me, it harkens back to Gil Evans while using every bit of a contemporary sound, with utmost taste. Brilliant and unexpected, it’s matched every bit by the incredible photography on the cover and in the booklet.

The Prince of Darkness looms out of the Darkness.

The “Prince of Darkness” looms out of the Darkness on the cover of. Tutu, by Irving Penn, part of what I think is the greatest photoshoot of Miles ever. The 4 foot poster of this was pictured in my prior Post.

And finally, Miles & Quincy: Live At Montreux. Recorded two and a half months before Miles’ passing, it was one of only two times Miles looked back musically, and WHAT a time! With an orchestra led by Quincy Jones, Miles actually plays the music he made famous with Gil Evans on “Porgy & Bess” and “Sketches of Spain,” 30 years earlier. Most of his fans thought he would NEVER play them again. It was the last musically revolutionary thing he did. Then, two days later in Paris, France, he, again, walked down memory lane, but this time in the company of many of the now Masters who were once his sidemen, including- Wayne Shorter, Joe Zawinul, Herbie Hancock, Chick Corea, Jackie McLean, John Scofield and Dave Holland, among others. Thankfully, Audio and Video recordings of both concerts exist.

The sun never sets on great music. June, 1998 on West 23rd Street.

A perfect conclusion to one of the most important careers in the history of recorded music.

Oh! Lest I forget to at least mention that Miles also recorded extensively with no less than Charlie “Bird” Parker, who he was obsessed to find after moving to NYC to study at Julliard, at age 18. He not only found him, Bird moved in with him, and the two played together off and on regularly during Davis’ key formative years. Many of these recordings are still available, and while they are quite good, and endlessly fascinating, I’d recommend them to fans who have become obsessed with Miles as “something else” to hear and enjoy. It turns out that Miles Davis, perhaps, knew Bird, another of the greatest and most important musicians of the 20th Century, who died at age 34, as well as anyone did. Amazing!

Ok!

So? There you have it.

Once you make your way through these, you’ll have a good idea which direction you want to go in next. Well? You’re in the right place. Miles’ late 1960’s albums are perceptively labelled-

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‘Nuff said. Now…where are my headphones?

*-Soundtrack for this Post is “Someday My Prince Will Come,” from the 1937 Disney film, Snow White & The 7 Dwarfs, as recorded by Miles Davis on the album of the same name, which I did not list, but chose because it’s a classic performance of a song that was never intended to be a jazz standard and now is one, and…because it fits. All photos are items from my collection.

NighthawkNYC.com has been entirely self-funded and ad-free for over 6 years, during which over 250 full length pieces have been published. If you’ve found it worthwhile, you can donate to keep it going & ad-free below. Thank you!

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 years, during which 300 full length pieces have been published! If you’ve found it worthwhile, PLEASE donate to allow me to continue below. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here. 

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

  1. He took about 6 years off from about 1974 to 1980 ↩

“Patti Smith For President”

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Written & Photographed by Kenn Sava

I’ve had the honor of meeting Ms. Smith, and wrote about it earlier this year, but I’ve never had the pleasure of hearing her perform live. (How is this possible??) The free concert she gave at Lincoln Center tonite, July 20th, presented a chance to rectify that at long last. It almost didn’t happen tonite either. I got there way early and got in fine. Then I went back out.

Don’t ask.

All of NYC had shown up in the meantime, so I had to wait on two ridiculously long lines to try and get back in. Luckily, I barely did but wound up about 350-400 feet away from the stage, as you can see below. Luckily, the sound system was excellent all the way to the back, so I could hear fine. Well, this is Lincoln Center for the Performing Arts, so that’s to be expected, right? Being that far away, though, if there is one tall person between you and the stage, you’re not getting a picture. There were 2- one on each side of me. So, I had to wait and wait and wait, finger on the shutter release, until I was finally able to get a few.

Ok, now! Before one of them moves!

Patti, blissfully oblivious to my travails, and her band, augmented by her daughter, Jesse, on piano early on, tore the roof off roof-less Damrosch Park, under one of the biggest full moons I’ve ever seen, in the shadow of the Metropolitan Opera’s south fascade, as much with their music as with Patti’s “state-of-the-union” rebuttle comments as the generous 90+ plus minute set progressed.

She opened with reading poignant passages from Just Kids, her instant classic memoir that is chock full of them. Yes, she opened by reading from a book to a sold-out house of a few thousand folks, who had just heard some mariachi band(?) futiley try to get them to dance or clap for 45 minutes. While she read, it was so quiet you could hear a safety pin fall out of an earlobe.

How many authors read before this many fans?

As she slowly, and beautifully, built the set from there, about half way through, she did a wonderful rendition of Prince’s “When Doves Cry.” adding her own lyrics(!) towards the end. Shortly after starting it, she stopped, to let an intrusive photographer have it, and when she resumed things promptly took off to another level, and stayed there the rest of the night. Setlist, here. (Per Kitty, my go to source for all things Patti, she compiled her own and confirms it’s correct. Thanks, Kitty!).

“When Doves Cry”

Between songs, she then spoke about the Republican Convention, the lack of media coverage about the remarks made therein calling for the execution of the other party’s nominee(!), “enemies” in politics, and where things are really at for “the people.” While she stayed away from saying who she was backing or voting for, she made it very clear how she felt about the state of the rhetoric that seems to get a pass in the media these days. She said that she doesn’t get scared easily, but she is scared now. Form then on, she spoke about what is at stake for us and our children, “the future, and the future is now,” she said.

I found it stirring, and her call to “use your voice,” struck me, since, well? I have a voice. Though my focus is Art & Music, my cards also list “Life” as the third realm of NighthawkNYC. Along with some other things I’ve Posted under “Life” thus far, is this, during Pope Francis’ visit to NYC, questioning the prison-like installations along 5th Avenue, around the corner from Moma.

I think Patti is right. Things seem to be going to hell in a hand basket. It’s getting harder and harder to find sanctuary in the worlds of Art & Music when every single new day seems to bring some new horror to light, be it mass shootings,  or verbal violence, espousal of racism, and an increase in the “us versus them” vitriol to never before seen heights. How long will this go one before it spills over into actual physical political violence? Haven’t we been through all of this before?

 

I don’t care what side of the political coin you’re on, or if you’re like me, you’re on a totally different coin, i.e.- my own. I think we can all agree that this is going too far, it’s dangerous, and, as Ms. Smith said tonite, it’s un-American.

While I wasn’t around for World War 2, it seems to me that we fought that war to fight fascism, anti-semitism and racism. Talking about barring this or that group of people sure doesn’t sound like anything I was taught this country was about. As we also see daily, there are too many guns in the wrong hands, and too many guns only the police or the military should have, for anyone to feel safe, and no matter the horror unleashed NOTHING changes. And, along with this there are, also, too many questionable deaths happening at the hands of the law (Morrissey seemed to “warn” us about this in his last NYC show).

Too many things are amiss in our society, our systems and our government. I don’t know where this is going to end, but I fear it’s going to get even worse before it gets any better.

I’ve said that the reason to live in NYC is for the Art. One of the other great things about living here is the diversity. People from all over the world live here. I, for one, am proud of this. They enrich the City and all of our lives in countless ways, including culturally. And? People from 115 different countries died here on 9/11. Take a ride on the Subway and you see what America is supposed to be, right there in front of you- the “great melting pot.” I believe it when people here say- “Hatred is not one of our values.”

I like to believe that most people in this country feel that way, and they will be heard. We live in a very difficult world in a very challenging time. Yet? We have a say in where this goes. One of Patti’s closing songs was “People Have The Power.”

“And the people have the power
To redeem the work of fools”*

For me, and perhaps many others, Patti Smith IS New York City. She represents the best of what New York is. She came from nothing and became a star here, while remaining true to her self, and retaining and exuding cool. She’s both street smart & wise. She’s creative, multi-talented and constantly evolving, like NYC is. She takes no shit from anyone, while remembering the best of everyone. She warns us of the difficult road life is, while exalting all of us to the beauty and joy possible in life- big and small. She lives in the moment but never forgets the past. That she is also a touchstone in the guise of a Poet for so much of this City’s recent & glorious past is no small part of her mythology, and a blessing for those of us now living, and yet unborn. And? She’s Rock and Roll! She will kick your ass on stage with her band, or off it if you intrude on it. As New Yorkers like to say, she is “the real deal.” My respect for her continues to grow. As I learned tonite, she is one of those rare people that when you are in their presence, be it one on one in a room together, or 400 feet away among thousands of others, you FEEL you are in the presence of someone special, someone who has the “sacred knowledge” she’s gained  from both revered mentors, and on her own. And, someone who has the power to relate it, to transmit it to you, naturally, effortlessly, and poetically, like a zen master. As she travels the world (so I don’t have to), and meets countless people in countless other Cities, I know my City is in the best of hands. It’s like saying, “Here’s New York for you. Show me what YOU got.” I know, I know…good thing I stay home.

At one point, between songs, someone actually yelled out that Patti run for President! She replied “I’d rather be the janitor in any public school,” than be President.

This fall, if you’re still at a loss for a candidate? I feel your pain. It could still finally be time to make a woman President.

In spite of what she said? Write “Patti Smith” in, anyway.

There are far worse people you could vote for. What scares me most is- They are actually running.

“Because the night” is over. The crowd spills out. Lincoln Center- Left to Right- City Ballet, Damrosch Pk (Blue Dome), Metropolitan Opera, Lincoln Ctr Library, Geffen (Philharmonic) Hall.

*Soundtrack for this Post is “People Have The Power” by Patti Smith and Fred “Sonic” Smith, published by Druse Music, Inc.

NighthawkNYC.com has been entirely self-funded & ad-free for over 8 years, during which 300 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate to allow me to continue below. Thank you, Kenn.

You can also support it by buying Art, Art & Photography books, and Music from my collection! Art & Books may be found here. Music here and here.

Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. Subscribe to be notified of new Posts below. Your information will be used for no other purpose.

Table For One – Patti Smith’s “18 Stations”

Written & Photographed by Kenn Sava

One of the small pleasures of going to The Strand Bookstore are the quirky, usually ironically humorous yellow signs one of the staff places in random books. This one was sticking out of a just released book one day last October- Patti Smith’s “M Train,” featuring its author looking incognito sitting at a corner table by herself lost in thought…

October 30, 2015. I bought one.

Patti Smith, who many years ago briefly worked one floor down in The Strand’s basement, is a living legend now, but, she’s not stopping there.

From here to… The Strand’s basement. Not one of the 18 Stations. The “Patti Smith section” is now down here.

Beyond her groundbreaking music career, she’s had a second career as an award winning writer of prose, which seems to grow in stature all the time. “M Train,” which she calls “a roadmap to my life,” is both similar, and different, to her previous book, the instant classic “Just Kids.” While also a memoir, like “Just Kids” was centered on her relationship with Robert Mapplethorpe, this time, it’s about her life before, during and after her late husband, Fred “Sonic” Smith, guitarist of the MC5. It differs, too, as her Polaroid photography is a central part of this book. While, she’s been doing photography for years, and books of them have been published, she seems liberated here by not having a brilliant photographer as the co-subject, one she felt a responsibility to, and who’s pictures of her are now classics. Her photos enhance the story and go hand in hand with her imaginative telling of it, which almost feels improvised (she mentions listening to John Coltrane’s 1964 album “Live at Birdland” at one point and that is how her writing here feels to me). The book serves to pique interest in this aspect of her creativity. Now, many of those photos, and others, are on view in her show, “18 Stations,” at Robert Miller Gallery on West 26th Street, through April 16.

 

 

3 of the “18 Stations.”

While rock stardom is rare, something few can relate to, along the way, she’s also become something many more can relate to- single, and on her own. The show arranges images from her seemingly never-ending travels from, and returns to her NYC homes, and her beloved Cafe ‘Ino, at 21 Bedford Street in the Village, (spoiler alert), which closes for good near the end of the book. At the figurative and literal “heart” of the show, half way back in the Gallery, in the first “Station,” is an installation of her real table and chair from Cafe ‘Ino (“My portal to where.”) flanked by a bulletin board containing what appears to be the genesis of this show on one wall, and pencilled notes hand written right on the adjacent wall, making me wonder if the show originated during her time there.

Table For One. The wall on the right is covered with her writing in pencil.

“It occurred to me I could preserve the history of ‘Ino…like an engraver etching the 23rd Psalm on the head of a pin.” The iconic first picture in M Train in a unique version with Patti’s pencil inscription in her caligraphic script.

“We seek to stay present, even as the ghosts attempt to draw us away.”

It’s as if the thoughts she was having while sitting there are now real before us, though she is absent.  The other 17 “Stations” tell the story of her journeys, partially with her late husband, “M Train” dedicatee, Fred “Sonic” Smith, but mostly alone.

2 more Stations.

Reading the book, one discovers quite a bit about the “real” Patti Smith- her unquenchable thirst for (good) coffee, her obsession with detective TV shows….which, of course, reminds me of a song. You know…”She’s filing her nails while they’re dragging the lake…”

…her amazing connectedness to her influences to the point of traveling to their homes, gravesites or other memorable places in their lives- like visiting the chess table Bobby Fischer played Boris Spassky for the World Championship in 1972 in Iceland (she then had a late night meeting with Mr. Fishcher, and subsequently visited his grave after he passed the following year). She remembers so many of her dreams! I don’t. She also has a love of birthdates and anniversaries. Along the way, we meet Tolstoy’s Bear, Herman Hesse’s typewriter, Frida Kahlo’s medicine bottles and Schiller’s portal. I mean oval table.

Schiller’s Table. This inscribed version is labelled Schiller’s Portal

If you’re curious about how she works, or how she goes about her daily life, this is the book for you. For the rest of us, its a book about honing in on what really matters to you, about persevering and continuing to do you work and hone your craft. We’re lucky to have it. I found myself wishing we had something similar by Da Vinci, to go along with his Notebooks, or Michelangelo, who left us about 500 letters and possibly ghost wrote a biography of himself, that is frustrating for many reasons, where Patti’s paints a vivid picture. The amount of detail she recalls is staggering (and perhaps a bit too much). Well? I can’t have it both ways, so I’ll opt for too much rather than not enough. It’s interesting to contrast this intense detailing in the prose with her photographs. Some are a bit blurry, some off center or kilter (see below) providing (purposely) less detail than you may want.

“Speak to me, speak to me heart
I feel a needing to bridge the clouds, softly go
A way I wish to know, to know
A way I wish to know, to know”*

While most of these Polaroids are silver gelatin limited edition prints of 10, a few of these remarkable and beautiful images are graced with her equally beautiful handwritten inscriptions creating one of a kind works, they all, consciously, have an old feel to them, belying the fact that some were taken barely 3 years ago, which gives them a dream-like, seen in a vision quality, which Ms. Smith says she likes about early photography. The effect strikes me as not unlike that achieved by the great graphic artists, like Rembrandt, Goya and Whistler.

Herman Hesse’s Typewriter. I would have guessed it was William Burrough’s.

It’s also interesting to ponder what isn’t- here, or in M Train. There is no Robert Mapplethorpe. There are no shots of the Hotel Chelsea, West 23rd Street or Chelsea. No CBGB’s (How many of you remember that Patti Smith was also the last Artist to perform there?). There are only a few (as far as I can tell) of Manhattan. The two shots of Cafe Imo, of course, a shot of the West 4th St Subway Station, a shot of her house, among them. In that sense, for someone who, (for me and perhaps quite a few others) is associated so strongly with New York City, this is a show (like the book) that is largely about the world “outside” of it. ‘Ino being the “portal” to it. Memories of people and places outside of Manhattan (even in the case of Ginsberg and Burroughs who spent so much time here).

“Speak to me, speak to me shadow
I spin from the wheel, nothing at all
Save the need, the need to weave
A silk of souls, that whisper, whisper
A silk of souls, that whispers to me”*

Among my dozen visits was one on April Fool’s when a few hundred of us were blessed to have our paths cross with hers at a reading here that served to highlight for me, at least, the conversational nature of both her recent books, then hearing her tell stories about them, and her life, in ways no “audio guide” ever could. I’ve heard a lot of Artists, and Musicians for that matter, speak about their work. Rarely have I felt like they were speaking of their children the way these stories felt. The memories behind each shot is so personally present, it lies as close to her skin as the image lies on the surface of the paper. Quite a few of the stories are told in the books, and hearing her read them changed the way I will re-read them. (I have not heard the audio books she’s done of them.).

I missed hearing Joyce read Ulysees, Kerouac read On The Road, Ginsberg read Howl, but…

I didn’t expect to hear her read from Just Kids, expecting this to be about M Train, but she did. I don’t know Patti, and didn’t know Robert Mapplethorpe, but I know well know the area much of the book inhabits, as well as some of the venues it takes place in, so the book lives in me, as few I’ve read do. Hearing her read it brought it alive, pulling it from the realm of “living history,” to something that, yes…really did happen. I pass by some of those places a few times a week.

Every single time I do I think about what happened there.

A fan’s tribute left leaning against the wall. April 15.

This is one of the most personal shows I’ve seen, certainly recently. I found myself returning to it over and over, like she did to Cafe ‘Imo. It’s like being able to walk around in someone’s memories, rather to get on a train and stop at each Station along her journey. Along the way, we encounter influences, living, passed and once living among you and now passed, objects that speak to a large meaning or significance, memories, hardship, distant places went to, seen and conquered. We see life being lived and places where it famously was lived. We see that life goes on, all the time, around us- everywhere, while weather happens, dirt gathers on graves, dandelions grow and stuffed bears eternally await calling cards.

M Train sweeps the dirt that accumulates on the many graves it visits, without need for tenders in traditional wear and using a literary broom to do so- the kind those buried within would possibly prefer. It’s a Testament to Life- surviving on your own, through deaths, Holidays without others, long trips, your birthday, sudden illness, blackouts, meeting legends, unexpected connections that prove life changing, and most of all, change. In the end, you can’t even go home any more.

___

Postscript, April 16-

Each of the dozen times I went to this show, I especially looked forward to seeing her table and chair from Cafe ‘Ino, which I show in the 6th photo above, and below.

Walking over there today for the last time, I asked myself – Why? Why do they “mean” so much to me?

I was never even in Cafe ‘Ino. I had to look it up on Apple Maps to even see where it was. I’d never met Patti Smith. I didn’t follow her music career very closely. I wasn’t aware of the extent of her work in photography.

?

I don’t get it.

I read Just Kids and loved it for many reasons, including those I mention above. One of those was the sense of the Manhattan that is now gone- both people and places lost, it so beautifully captures. Patti stands for that lost Manhattan for me for that reason and also because her music was a vital part of it. When I started reading M Train, all I knew about it was that it was about writing alone in a cafe. I could relate. I spent 10 years drawing alone in bars. Inside the book, the very first picture is of her table & chair in situ at Cafe ‘Ino. We’ve all lost a lot in our lives- it’s an inevitable part of living. Patti is no different. Neither am I. Neither are you.

When I reached the Gallery today, I walked down the hall and rounded the corner to visit their installation. When I looked in, I was stopped in my tracks completely in shock. The table and chair were taken.

Patti Smith was sitting there, alone, signing books.

At that moment, it hit me. What they say to me is that they speak for what’s been lost in her life. They, in ways even her pictures aren’t, are physical representatives of what’s been lost. They are still here. They are continuing with their “lives.” Like we all must- like Patti is.

For me? I feel so very lucky…so blessed. Getting to see her sitting in her chair at her table…NOTHING could have been a more fitting culmination to her show. Though, this was close…

Patti walks down memory lane one last time before her show ends. April 16.

“Speak to me heart
All things renew
Hearts will mend
‘Round the bend

Paths that cross
Cross again
Paths that cross
Will cross again”*

It is the ultimate “P.S.” to it.

As if the universe was saying to me- “P.S.- Life goes on.”

Hopefully.

*Soundtrack for this Post is “Paths That Cross” by Patti Smith, from her ablum, Land (1975-2002), written by Patricia Smith and Fred “Sonic” Smith, published by Druse Music. All other quotes in the text are from M Train by Patti Smith and published by Alfred A. Knopf.

January, 2019- This Post is dedicated to all the Patti Smith fans from around the world who’ve written to me about it. 

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Riffing On Miles Davis

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Here we go, again. Or, to quote the late, great Eddie Jefferson in “Moody’s Mood for Love”- “Here I Go, Here I Go, Here I Go, Again…”

The film, Miles Ahead, gives me cause for concern. No, I haven’t seen it yet. I’m not sure I’m going to see it. Why? Probably for the same reasons I didn’t go to see the Steve Jobs movie. While I’m all for artistic freedom and creative license, as time goes on it seems that “docudramas” that purport to be “about” someone real tend to paint incomplete pictures of their subject. They “riff” on them. Whether they are “good” movies, or not, whether they do any justice to the truth of their subject, or not, the public comes to base their opinions of their subjects on these films. Sometimes, (like Lady Sings The Blues “about” Billie Holiday, which “incongruously transforms Holiday’s messy, bisexual, masochistic romantic history into a glossy romance about a troubled, needy woman-child and the endlessly patient dreamboat who could slow but never entirely halt her march toward self-destruction,” according to Nathan Rabin of The Onion AV Club), even worse, they may leave them feeling there’s no need for them to look past the film for themselves. (Both Billie Holiday and Miles Davis wrote Autobiographies.)

This is very sad.

I’m hoping the film, whatever it’s “about,” will inspire viewers to want to hear more of Miles’ music, ideally, all of it, and that will be the primary result of it.

Last time I checked, very few Artists or Musicians had been canonized as saints, though in my personal Church of Art, they’re revered to me. They’re human. They had flaws. Some did very bad things. Allegedly committed crimes, even murder. Some did drugs, and weren’t exactly nice or easy people to know. Miles Davis has been accused of doing some bad things. Does creating great timeless Art or Music that effects millions of people make that Ok? That’s not for me to say.

Larger Than Life. Miles in a 4 foot poster from Tutu. From my collection.

I do know this-

Miles Davis was probably the most influential Artist in my life. While I never met him, his signature and mine actually did wind up on the same piece of paper once, a few inches apart, and I was fortunate enough to see him perform about 40 times. That’s as close as I got to him. But, his music, especially his albums? They’ve been closer- they’ve been a part of me since I learned how to work a record player.

When his album Bitches Brew came out, only the latest in a string of game changing albums he released every few years, it was so controversial, it led to the break up of the band I was in at the time. At that point I was playing electric bass in a friend’s blues band, and listening to jazz. After Bitches Brew, an unprecedented mix of jazz, rock, funk, avant garde, and what came to be called “world music,” and the first-shot-over-the-bow that something very new and different was going to be happening hence forth, a lot of us realized it was possible to play electric instruments and play jazz. So, I started looking around for a band to do that with, eventually found one, and went on the road with them for five years. They were all far more accomplished musicians than I was. Miles was a legend, even back then, to all of them, too. He has been as long as I can remember.

It’s hard to think about the impact that every single one of Miles’ albums had at the time it came out, going back to the Birth of the Cool, which is exactly what it was, in the late 1940’s . It must’ve been like Picasso creating a new work to the artists of his time. Miles had the ability to move mountains with every new album. Musicians would listen to them and think about them vis a vis what they were doing. Miles was always Miles beyond. In fact, all of his albums from the late 60’s bore the moniker “Directions in Music by Miles Davis.” That said it all. With Bitches Brew, people began to argue that it “wasn’t jazz.” If you had followed the thread of his music through the 1960’s, you could hear where he was going and you could also hear the same thing that always defined Miles, more than anything else- His sound.

No one could play a melody like Miles. And then, no one else had his sound.

He started the 1960’s fresh off what is widely considered the greatest jazz record ever made- Kind of Blue  in 1959. His 1960 group, now referred to as his “First Great Quintet” included that other great master of post war jazz improvisation- the tenor saxophonist, John Coltrane. The two couldn’t be more different, and made perfect foils for each other. Miles was the inventor of space- what Artists call “negative shapes,” that is, what isn’t there- in music’s case, silence. Miles could say more with less than any Artist in Jazz history- even with one note. (Even when I heard him in a concert late in his career, racked will illness and apparently having trouble moving on stage, there would be that one moment, that one note that would sear the night and make your jaw drop. The silence that inevitably followed making it infinitely more poignant.) John Coltrane was on his way to developing what became his signature “sheets of sound” style, would solo after Miles and his voluminous brilliance would serve to frame Miles the way black velvet sets off a diamond. Of him, Miles famously once said, “I had 7 Tenor players once.” Coltrane left to form his own group, but somehow Miles managed to put together another great group- his, so-called “Second Great Quintet” with Wayne Shorter on Tenor, Herbie Hancock on Piano, Ron Carter on Bass and Drummer Tony Williams. As the sum of its parts, this band of Masters, was, for me, the pinnacle. To this day, I revere every note I have heard them play in the slightly over 2 years they were together as I do no other group I have heard. No group has taken the art form of the acoustic jazz quintet further.

Then, it changed, again. He went from the Second Great Quintet to an increasingly more electric sound. This was the mid-1960’s and rock and funk were influencing him. Herbie and Wayne remained for the first few albums, and then they, too, left and were replaced by people like Keyboardists Joe Zawinul, Keith Jarrett & Chick Corea, Guitarist John McLaughlin, Bassist Dave Holland, Drummer Jack DeJohnette, and many others, quite a number of whom went on to have had long and important careers.

Today, Miles’ influence is everywhere. His legacy lives on. While many of his side men, like Hancock, Shorter, Corea, Jarrett, Holland, Marcus Miller, Mike Stern, et al, are still among the biggest names in jazz, his legacy is being handed down to their side men, and on it goes. For me, a day doesn’t go by that I don’t hear a piece of his.

So? Why do I dread this movie?

Because unless you grew up with this, it’s really hard to capture on film. Jazz was (and still is) a very hard way to make a living- mostly in small clubs in an environment filled with drugs, alcohol, crime, trouble and little to no money for most. Yes, there was  scandal and a lot of controversy in Miles’s life. It’s very easy to make a drama out of it. I hope that’s not all it does. To do so, would be to miss the point.

From here, to eternity. My other 4 foot "Tutu" Poster. This one, the cover shot.

From here, to eternity. My other 4 foot Tutu Poster by Irving Penn. This one, the classic cover shot of “The Prince of Darkness.”

It would be to miss why Miles is an Artist for the ages.

While I don’t believe in comparing Artists qualitatively, I do think it can be illuminating to see similarities and differences between them. Miles is often called “the Picasso of Jazz,” and I can understand why- Their lives largely overlapped (Picasso- 1881-1973, Miles 1926-1991. Miles also painted.) They both refused to be pigeonholed, and changed styles as frequently as it suited them. They both continued to grow and evolve as Artists literally right up to the very end. When I think about Picasso and Miles Davis, I wonder if the total number of pieces Picasso created may be very similar to the total number of performances that Miles Davis gave, when you consider live and studio performances. Though Miles was infrequently in the studio during large portions of his career, he was active as a live performer. Whatever the total numbers might be, the two are similar in that they were both extraordinarily prolific.

Picasso was very aware of the history of art and what was going on in and around him, witness his long relationships with Matisse, Braque, among others, Miles immediately sought out, then played with Charlie “Bird” Parker, the greatest musician of his time, soon after arriving in NYC to study at Julliard, and, startling to many, the  young unknown, barely out of his teens, was asked by Bird to join his group. Interestingly, as time went on, Miles, in turn, nurtured the careers (to varying degrees) of the likes of John Coltrane, Wayne Shorter, Joe Zawinul and Herbie Hancock among many others. He was also very aware of what people like Jimi Hendrix and later, Prince, were doing, and played with both.

Along with Frank Sinatra, Ella Fitzgerald, Louis Armstrong and a few others, his performances of standards define them.

Along with this, the kid from East St Louis, Illinois wound up sonically defining New York City. It’s impossible for me to listen to Kind of Blue, which may be the greatest improvisation in music history, without seeing a tone poem of New York City in my mind each time. (A live performance shortly after its recording, with John Coltrane-)

No one else I have ever heard, in any kind of music, has come closer to it. A couple of years ago the Village Voice  ran a list of the greatest New York City songs. Nothing from Kind of Blue, which was recorded on 30th Street in Manhattan, made the list. Someone is out of their mind. Kind of Blue celebrated its 50th anniversary in 2009. Get back to me on how some of the songs the Voice picked are doing in 50 years. The “cool” sound, style and attitude he created, and embodied, in the 1950’s became en vogue everywhere, nowhere more than right here.

Maybe one day I’ll see the film and feel my fears were for naught. Miles Davis made a unique and extremely valuable contribution to music, to American and World culture. Even though he didn’t die that long ago, this contribution is already in danger of beginning to be forgotten. This is not something to be taken lightly. His legacy is important- to me and countless others. I’m writing this to express how I feel about Miles (and “riff” about him the way the film may), and to say that I hope anyone interested in him hear as much of his music as you can1

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  1. Miles created a long legacy of recorded music, and changes styles of music more often than almost anyone else has. Kind of Blue, seems to be where most people start. After that, I’ve written an entire piece called “Directions In Listening By Miles Davis”Directions In Listening By Miles Davis” with some thoughts on what to check out next. He also wrote an Autobiography. So, get to know him through those and make your own mind up about him. If you want to know what’s really important about Miles, do yourself a favor- Go to the source- start with his music. It’s a font that will be inspiring millions for as long as music is played.

    Yes, Miles Davis was a complex man by all accounts. Like Steve Jobs, people will be trying to understand him and tell stories, even make films about him for many years to come. Both were, by all accounts, incredibly complex men. That alone makes it very hard to do them justice in a 2 hour film. Some love Miles, some loathe him, many found him scary, difficult or impossible to deal with. All I know is that Miles, the Artist, is one of the greatest Artists in music- that’s what’s important, and the rest is, now, details. If you go and see the film, keep this in mind and try and imagine the effect his music had at the time and how often it changed the musical world. That doesn’t happen often. How many Artists take those kinds of risks anymore? How many risk losing their audience? And how many do it over, and over, and over, and over, again? That’s a big part of his legacy that shouldn’t be forgotten, and one I hope will be emulated by those still being influenced by him, those who want to get to the heart of what’s really important, like this-

    Next time you listen to Miles, listen for that one note that says more than words ever can- it’s there in every one of his performances, and then listen for the silence.

    *Soundtrack for this post is “It Never Entered My Mind” as performed by Miles on “Cookin’ & Steamin’ with the Miles Davis Quintet” (there are other versions), a long time personal favorite. It was written by Richard Rogers & Lorenz Hart and published by Warner Chappell Music, Inc.

    POSTSCRIPT- June 20, 2020- I finally did see Miles Ahead. I found Don Cheadle’s performance to be amazing. It’s obvious to me how much care and passion he put into this film. Herbie Hancock and Wayne Shorter appear onstage during the final credits, which makes me believe they had some level of awareness of the film’s content, though I am not saying they gave their approval to it- I simply don’t know. Still, it strikes me as a dramatization, and as such, it’s fine as an ancillary source. I still say- go to the source (if you’re looking for a visual source, check out the new documentary film, Miles Davis: Birth of the Cool, which ran on PBS’ American Masters series in early 2020), get familiar with Miles’ accomplishment, and his own words, and then, if you’re looking to see his life interpreted dramatically, riffed on, by someone else, check out the film. If not, you are selling Miles, and yourself, short, if the film is all you know about him. It reminds me of the dramas being done on Picasso, that other endlessly creative 20th century Artist. That they keep Miles’ and Picasso’s name in front of the public is good, I guess, but if that’s as far as the public’s interest goes, and they don’t discover who these people REALLY were for themselves? They are left with distorted views, which is what I feared when I wrote the above in March of 2016, and this is not good, in my opinion.

    NighthawkNYC.com has been entirely self-funded & ad-free for over 8 years, during which 300 full-length pieces have been published! If you’ve found it worthwhile, PLEASE donate to allow me to continue below. Thank you, Kenn. [paypal-donation ↩