Thelonious and the Keyboard Bugs
by Walter Bishop, Jr.

Picture if you may:
The scene was Harlem of an earlier day.
Bugs and roaches crawling up and down keyboards
The whites, the blacks,
In and out of the cracks.
Check the facts.
An incredible lot they were;
They had their own kingdom,
They had their own hierarchy,
They had their own God.
It was a centipede named Art –
Brother, he played piano with every part.
He became known as God.
The King was a mighty gnat named Cole.
He played and he sang like a merry old soul.
Then there was elegant Edward, the firefly –
A most illuminating creature.
“Sophisticated Ladies” was to become his feature.
And he’d go on to become the Duke
Of that wonderful land we know of as Ellingtonia.
Then there was Bouncin’ Bill from Red Bank,
The grasshopper.
He had this weird habit
Of jumpin’ up and down at one o’clock each night.
Now, he became known as the Count of Swing,
But you and I know he really was King.
Tad, the talented tadfly –
He would go on to rule Dameronia to “our delight”
Then there was Amazing Bud, the hornet.
He turned the whole thing around
With a machine-gun like sound.
He struck the keys magically
But would end up tragically
In a glass enclosure.
J.P. the honeybee –
In his day he was master, for none could play faster.
Eubie, the termite –
They say he used to eat up piano keys
Morning, noon and night.
And lest I forget –
Those lightening-fingered ladybugs
With names like
Hazel,
Dorothy,
And Mary Lou.
I want to tell you,
They could run up and down the keys with the best of them too.
So you might say
Thelonious learned from the boogie, the stride and the rag,
Then he proceeded to come out of his own personal bag.
But Thelonious had problems, you see,
Because he was a bit too deep
For the average creep.
And I don’t think all his friends could be trusted,
Because lo and behold, Thelonious got busted.
And dig the charges:
Thelonious assault on stock standards.
Melodious malpractice.
Diatonic distortions on boring ballads.
And add to that
Fornicating with the likes of
Liza,
Honeysuckle Rose,
And Sweet Georgia Brown.
How could they know he was just a gigolo.
Well, fortunately for Thelonious,
None of these chicks showed up to press charges.
‘Tis my belief
They dug the changes he put ’em through.
I know they were never the same!
So,
That slowed him down for awhile,
But he wasn’t about to change his style.
He merely went underground
And proceeded to perfect his sound.
And wouldn’t you know it –
Soon the scene became imbued
With the sound of “Monk’s Mood”.
And even the finks
Ordered their drinks
“Straight, No Chaser”.
I mean, from underground artiste,
Outwit the beast.
Become high priest.
Which reminds me:
In Shakespeare’s “Hamlet”
It was Polonious,
While counseling his son Laertes,
Who was about to embark on a trip to England –
The last thing he said to him was
“This above all things, my son,
To thine own self be true.”
In our lifetime, it would be Thelonious’s life style
Which was the embodiment of these words of wisdom.
A seer without peer.
A musical mutineer.
He would go on to commandeer
A new frontier.
And become known among nations
For his bold innovations.
What more can I say?
He loved to love us
And left us
The ‘evidence.”

In our ongoing series of dialogues with artists on their expectations of music critics & journalists, and the publications they write for, NEA Jazz Master Benny Golson – one of the more thoughtful people in this music – weighed in with two essays. Here is the second of Benny’s two erudite contributions to the dialogue.

The Value Of An Interview

In the early nineties, after being interviewed by a respected journalist of international repute, I was told by a mutual friend of ours that he was somewhat disappointed with my interview. Speaking of interviews in general, he said, “Some (people) have it and some don’t,” negatively referring to mine, of course. Without being influenced by “The law of unintended consequence,” I’ve found this to work both ways, however, if a person is not asked the most thought-provoking questions in a most thought-provoking way, the interview can become a challenge of linguistic arithmetic rather than that which is consequential and inspiring. The most meaningful way a interviewer can be consequential, that is, aside from knowing how to write, is to intimately know the subject — at least by reputation — prompting what he does, connoting as he probes on deeper levels. Connoting? That is, suggesting additional meaning, can prompt the subject to think in more expansive and intense ways, whether the suggestions of the interviewer are right or wrong. If he’s right, the subject, having first hand information, could possibly be inclined, influenced, persuaded to expound on it, taking it toward a logical and enlightening conclusion. If he’s wrong, the subject, again having first hand information, could possibly be prompted to defend the truth by elaborating on it. In both cases becoming much more exhaustive, circumstantial, and specific in his replies. Otherwise, the subject must be prepared to tirelessly fill in for what is adumbrate, fractional, equivocal, and opaque. Some interviewers often circle the camp but never enter. Things would be so much easier if they entered and directly touched someone or something. What I’m saying here is that a bad interview sometimes results because of the one chosen to conduct it. When an interview begins with: “When were you born?” or “Who is your favorite saxophone player?” or “When did you begin playing?” etc., rest assured, you’re off on an arduous journey to nowhere, believe me.
The unfortunate thing here is that the interviewer might never know what he’s done, or more accurately, what he’s not done. True, that which is basic is sometimes essential in setting up some sort of detailed backdrop, depending upon the nature of the interview. If it centers around times, places, and dates, then the questions will have no choice but to set up answers of chronological importance. In spite of this, never should the interview be platitudinous: banal, that is, deficient in originality, and freshness. Yes, freshness! No rubber stamp questions; each person interviewed is a completely different entity. Why try to fit him into someone else’s mold? Unfortunately, the interviewer might intuitively, or otherwise, be too strongly affected by the critical acclaim critically afforded himself, causing him to not always be critical of himself. It’s possible for him to be overreached by the complacency of self-assurance, even if he had no such intention. This, too, is a part of our imperfect, human make up. I mention this only because I’ve seen it happen time and again. The value of an interview depends upon all of the aforementioned things. But to what end? That people come away with not only information, but with things presented in an interesting, informative, and exhaustive way, enabling them to form a complete and accurate mental picture because of not being “there.” Afterall, that’s the purpose of an interview, isn’t it? These are all things that should be controlled by the interviewer, providing the subject understands. And if he doesn’t, it’s the interviewers commission to make him understand.
Fortunately, there are many wonderful journalists who bring out the best in the people they face; many even going beyond what I’ve written here. They are as gems meticulously cut from among humankind, then polished with the cloth of time.

NEWS
Artists Collective, Inc.
1200 Albany Avenue, Hartford, Connecticut 06112
(860) 527-3205
For Immediate Release

Contact: Melonae’ McLean
November 3, 2011

ARTISTS COLLECTIVE RECEIVES DONATION FROM JOSH GROBAN’S FIND YOUR LIGHT FOUNDATION


ARTIST COLLECTIVE FOUNDERS JACKIE & DOLLIE MCLEAN

Groban to Recognize Artists Collective from Stage During Concert at Manchester, New Hampshire at the Verizon Wireless Arena on Tuesday, November 8th.

Hartford, CT – Artists Collective today announced that it has been selected by multi-platinum singer-songwriter Josh Groban to receive a donation from his new Find Your Light Foundation, which is dedicated to enriching the lives of young people through arts, education, and cultural awareness. Artists Collective is one of just 42 arts education nonprofit organizations selected by Groban to receive funds from The Find Your Light Foundation during his “Straight to You” tour.

Founding Executive Director, Dollie McLean said “This is quite an honor for the Artists Collective, the children and community we serve, the State of Connecticut and the
City of Hartford. Josh Groban is demonstrating that he is not only a great artist, he is also a humanitarian. His Find Your Light Foundation recognizing arts organizations around the country during his national tour is setting a wonderful example for other artists with popular, international fame to give back and help others along the way.”

“Josh Groban is creatively weaving his social consciousness into his performances for the greater good. This is a wonderful example and lesson for everyone, particularly children. Artists Collective Founder Jackie McLean was frequently quoted as saying “You have to be a good person first to be a great artist.”

“Ensuring every child has the opportunity to experience an arts education is very important to me,” said Groban. “Artists Collective shares this goal with me, and it gives me great pleasure to highlight the work they do.”

While Groban tours the U.S. on his “Straight to You” tour, his Find Your Light Foundation will make a cash donation to a nonprofit arts education organization that operates in each locale in which the tour stops. In addition, Groban is inviting the head of that nonprofit; the artists, students and/or teachers who provide services for the nonprofit; and the children and young adults who receive services from the nonprofit to attend his concert and be recognized from the stage. They will also have the opportunity to meet Groban prior to the performance.

Taking the foundation’s mission one step further, Groban is partnering with Americans for the Arts, the nation’s leading nonprofit organization for advancing the arts and arts education, to launch a joint text-to-give campaign, which will run for the duration of his “Straight to You” tour in 2011. Proceeds from the campaign will go to support both The Find Your Light Foundation and Americans for the Arts as they work to ensure every child and young adult in America has access to quality arts education experiences. Text ART to 50555 to make a $10 donation to support the cause.

Groban will be in Manchester, New Hampshire at the Verizon Wireless Arena to perform on Tuesday, November 8th. as part of his “Straight To You” worldwide tour running through November. The tour supports his recent and fifth studio album, ‘Illuminations’ which has already been certified platinum in the U.S. Its No. 4 debut on Billboard’s Top 200 chart is Groban’s fourth consecutive Top 5 chart bow. Tickets for Josh’s upcoming shows are available through http://www.ticketmaster.com .

Artists Collective, Inc. founded in 1970 by Jackie McLean, the internationally acclaimed alto saxophonist, composer, educator and community activist, has entered
its 41st year as an interdisciplinary arts and cultural institution serving the Greater Hartford, Connecticut region. As the only multi-arts cultural organization of its kind
in Connecticut that emphasizes the cultural and artistic contributions of the African Diaspora, the Collective continues to offer the highest quality training in the performing arts-dance, theater, music and visual arts. In addition, the Collective exposes students and the community at large to great and too often overlooked artists of the past and present.

About Find Your Light
To find out more about the Find Your Light Foundation, please visit the organization’s website at http://www.findyourlightfoundation.org and/or its Facebook page athttp://www.facebook.com/findyourlightfoundation.

About Americans for the Arts
Americans for the Arts is the leading nonprofit organization for advancing the arts in America. With offices in Washington, D.C. and New York City, it has a record of more than 50 years of service. Americans for the Arts is dedicated to representing and serving local communities and creating opportunities for every American to participate in and appreciate all forms of the arts. Additional information is available at www.AmericansForTheArts.org .

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If anyone in the history of the U.S. Congress has ever fit the mantle of the Jazz Congressman, its the Honorable Congressman John Conyers. A tireless advocate on behalf of the art form, Cong. Conyers has proposed the following new legislation on behalf of jazz. Contact your representative in Congress and let’s make this happen!

H.R. 2823

A BILL

To preserve knowledge and promote education about jazz in the United States and abroad.

Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled,

SECTION 1. SHORT TITLE.

This Act may be cited as the ‘‘National Jazz Preservation and Education Act of 2011’’.

SEC. 2. NATIONAL JAZZ PRESERVATION PROGRAM.

(a) ESTABLISHMENT.—There is established a National Jazz Preservation
Program, to be carried out by the Secretary of the Smithsonian Institution through the Director of the National Museum of American History and in collaboration with other Smithsonian museums, to preserve knowledge and promote education about jazz.

(b) PROGRAM COMPONENTS.—Under the National Jazz Preservation
Program, the Secretary of the Smithsonian Institution shall—

(1) record audio and video interviews with leading jazz artists;
(2) acquire and preserve jazz artifacts, and interpret the artifacts through activities such as exhibitions and performances by the Smithsonian Jazz Masterworks Orchestra;
(3) continue to recognize Jazz AppreciationMonth; and
(4) establish, with governmental agencies, universities, museums, and community-based organizations with jazz archival collections, collaborative agreements for the sharing of jazz artifacts.

(c) AUTHORIZATION OF APPROPRIATIONS.—There is authorized to be
appropriated to carry out this section $2,000,000 for each of fiscal years 2012 through 2014, to remain available until expended.

SEC. 3. JAZZ EDUCATION IN ELEMENTARY AND SECONDARY SCHOOLS

Section 5411(b) of the Elementary and Secondary Education Act of 1965 (20 U.S.C. 7243(b)) is amended—
(1) by redesignating paragraph (9) as paragraph (10); and
(2) by inserting after paragraph (8) the following new paragraph:

“(9) Programs to promote jazz education, which may include—

‘‘(A) a Jazz Artists in the Schools program to provide support for State arts agencies to bring jazz artists to elementary and secondary schools in collaboration with local educational agencies;
‘‘(B) a program for—
‘‘(i) the development by jazz artists and educators of lesson plans and other educational materials about jazz;
‘‘(ii) the distribution of such educational materials by organizations that may include the National Endowment for
the Arts, educational institutions, or nonprofit organizations; and
‘‘(iii) teacher training on jazz education by jazz artists and educators; and

‘‘(C) an Ambassadors of Jazz program to send jazz musicians, and jazz orchestras from secondary schools, abroad to perform for diverse audiences on missions of goodwill, education, and cultural exchange, in collaboration with the Secretary of State.’’.

Here’s an exceptional book for your reading pleasure & enlightenment:
“High on the Hog: A Culinary Journey from Africa to America” by Jessica B. Harris. Jessica is a noted gourmand/foodie who in this volume takes a culinary route from Africa through the Middle Passage, to the Caribbean and the U.S., from slavery to the present. This book does an extraordinary job of engaging food – from the roots to the fruits/from field & garden to the kitchen to the diner – as a metaphor for societal changes through the prism of African America. Highly recommended!