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Thursday, May 25, 2006

Dream On

Posted by on May 25 at 8:08 AM

So last night I had a vivid dream of me moving to the Silodam apartment complex I slogged about yesterday. In my dream, this was the interior of my Amsterdam apartment: the bedroom was big, the living room was even bigger, and the kitchen, which was next to the main door, had lots of gadgets fixed to its blue walls (I was particularly impressed by an electric can opener). But I only lived in that wonderful apartment for a day—for some reason that dissolved during my transition from the dream to the reality of that dream, I had to fly back to Seattle. This building is deep in my head.

17silodam.jpg

On another note: As I said before, the Silodam impresses me as one of the best architectural resolutions of the one/many binary. Here the whole does not annihilate the singular.

The musical equivalent of Silodom can be found near the end of the first movement, “Acknowledgment,” of John Coltrane’s massively human achievement, A Love Supreme. A quote from Ashely Khan’s superb book The Story of John Coltrane’s Signature Album (Khan also has a superb book on Miles Davis’ signature album, Kind of Blue):

“Then, in another of the album’s most celebrated—and startling—moments, Coltrane blows the four-note pattern [later verbalized as ‘a love supreme’] thirty-seven times in methodic succession. With exhaustive precision and apparent randomness, he transposes the phrase from one key to another.”

There you have it! Please listen to the piece of music described in this passage. The same phrase is repeated in different keys. There is no order to Coltrane’s key-hopping; it is random. The line between order and disorder is obliterated. More impressively, the singular is the four-note pattern, the being, the basic block of the blues—which is repeated 37 times. The human is the same. This is the essence of Coltrane’s idea: It’s only in the total, the whole, existing in the whole, that singularity comes to be. This, admittedly, is even more profound than what we get out of Silodam. But both resolve the binary that has frustrated philosophers since the death of God.
That building is a blast.
That brother could blow.


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Great, random keys. That's why real musicians used to say of Coltrane, he's not playing, he's practicing. Running scales. Big freakin' deal. A guy like Coleman Hawkins could blow Coltrane's socks off, and bring it without the "spiritual" mumbo-jumbo too.

But the "spiritual mumbo-jumbo" is precisely what makes it so great.

If you like A Love Supreme, try listening to more Indian and Arabic music. It's very common in those traditions for a piece to start via modulating exposition of simple motif. The idea is to set the tone of the piece by emphasizing the core tones of the raga or maqam (the scales in indian and arabic music, but also a set of key sequences within the scale that give the mode it's feel).
Coltrane liberated jazz from the tedium of the standards based theme and solo structure.
Another mold breaking jazz album in the same vein that everyone should listen to is Ornette Coleman's The Shape of Jazz To Come. And if you really enjoy the genre, Dave Holland's Conference of the Birds is similarly groundbreaking and amazing.

Fnarf, as Marvin Gaye once said, "Don't go and talk about my father/God is my friend/Yes, he is my friend."

Yes, and then his father shot him dead.

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