“Life during the time of isolation and social distancing” Vol. 5 — ASU educator and author Tracy Fessenden

May 11th, 2020

 

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“Red Meditation” by James Brewer

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…..In recent days, I have posed this question via email to a handful of creative artists and citizens of note:

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…..“During this time of social distancing and isolation at home, what are examples of the music you are listening to, the books you are reading, and/or the television or films you are viewing?” (If you wish, please feel free to also share your thoughts on the effects this isolation is having on your creativity or on your world).

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…..Responses to this question will be published periodically as this era progresses.

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This edition features the email response of Arizona State University professor and author Tracy Fessenden

(published with only minor stylistic editing)

 

 

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Steve and Margaret Forster Professor, Arizona State University; author of Religion Around Billie Holiday

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This response was submitted on May 4

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…..I made a few years ago a playlist of songs for a book I was writing about Billie Holiday. My habit became to play it whenever I visited some new place, because it helped dispel the strangeness, and made me feel at home.  Now that I am at home, with almost everyone else in the world, I find it returns those places to me, and makes me feel much less alone. I’ve long appreciated poet Michael Robbins’s explanation, in an essay that feels especially brilliant and acute these days, of why this should be so.  Popular songs, writes Robbins—and Holiday was a gorgeous interpreter of them—“depend on the possibility of communal participation” for their full effect; they ground “us in a community, however attenuated or virtual.” The songs we know by heart bring us into the company of everyone else who knows them, too. I have heard of family members sending playlists for those they are barred from being with in nursing homes and hospitals,.and of healthcare workers cradling plastic-wrapped phones to the ears of the sick and dying, to bring them songs their loved ones wanted them to hear.

…..The last trip I took before the pandemic kept us home was to my parents’ house in Massachusetts.  My mother died late last spring, not long after my father, both of them blessedly in the company of family at the end.  My brothers and I met to sort through their things and take some keepsakes home with us. I ended up “taking” some of their favorite records, not the long-since discarded vinyl, but downloads of albums I’d listened to them play over and over: Janis Joplin’s Pearl, The Mamas and the Papas, Abbey Road, the soundtracks from The Graduate and Hair. I have a playlist now that sounds like the parties I stayed awake at night straining to hear, the music and the ice-tinkling laughs, and it makes my 30-something parents and their 30-something friends shimmeringly present to me in all their sweet, goofy, Pucci-caftan-wearing, 1970s glory.

 …..I’ve just about finished the spring semester of teaching, and a shout-out here to students and faculty everywhere who’ve managed to do this on Zoom.  I find being on Zoom awkward and glitchy and draining, and am grateful that it lets us be awkward and glitchy and drained together, which feels as much as anything like being in the moment. I taught a class on religion and popular culture, and assigned a bunch of movies that students reported sat well with their quarantine lives: Monty Python’s Life of Brian, the 1927 Jazz Singer, The Godfather, The Exorcist, Spike Lee’s Malcolm X, and Kumaré, which was filmed largely in Arizona, where I teach.  My university is making tentative plans to reopen in the fall, and my expectation is that trying to make anything work in the classroom while wearing face masks and standing six feet apart is likely to send us straight back to the weird techno-intimacy of Zoom.  In any case, when I teach the class again I’ll put more of a focus on religion and American popular sound, with help from great writing like Joshua Guthman’s Strangers Below, David Lehman’s A Fine Romance, Gayle Wald’s Shout, Sister, Shout!, Adam Gussow’sBeyond the Crossroads, and Peter Coviello’s question for the ages, “Is There God After Prince?”, which is not yet a book, but promises to be one, soon.

…..In April I reread a favorite, M.F.K. Fisher’s Long Ago in France: The Years in Dijon, the same week I watched all of Season 3 of Babylon Berlin.  It made an auspicious pairing: each a sumptuous, clear-eyed lookback to the year 1929, with Europe hurtling headlong into nightmares just beyond their characters’ line of sight or fathoming. In this regard, the book I’m reading now, poet H.L. Hix’s American Anger, feels terrifying and miraculous.  It was in fact published in early 2016, but it reads as though it were a missive from the future, a blistering retrospective account of America just before the last presidential election. In a remarkable series of interlocking poems, American Anger reveals the springs and motors that would drive us inexorably to the place we find ourselves now: an America where demonstrators wielding assault weapons and Confederate and Nazi symbols storm government buildings to demand an end to public health measures in a pandemic, and are not arrested as terrorists, but instead praised by the president as “very good people.”

…..Hix calls American Anger “an evidentiary.”  Many universities, including mine, are collating evidentiaries of the plague year, archiving for future historians the ephemera that will document the way we live now.  American Anger predicted the problem of not being able to put boundaries on such a collection, of there being nothing, now, anywhere, that lies outside of the present pandemic and our heroic and murderously inept responses to it. “Put another way,” Hix writes in an afterword to American Anger, “where evidence is limited or scant or elusive, it is susceptible to being marshalled, subjected to my ends, as in a court case. (If the glove doesn’t fit, you must acquit.) Where evidence is unlimited, though, where there is more evidence than could possibly be gathered or relayed, where the evidence is there for all to see, the power relation is inverted: I do not marshal, but instead am marshalled by, the evidence.”

…..A friend tells me that in quarantine we are becoming more ourselves.  Another reminds me that when Pope Francis speaks these days of apocalypse he means it not in the sense of world-ending, though we may come to that, but of unveiling, of bringing to light what is hidden.  The Covid-19 pandemic feels apocalyptic in just this sense: in Hix’s words, it reveals “as evidence the evidence all around us, including and especially the evidence we ourselves are.”
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Listen to the 1937 recording of Billie Holiday singing “Trav’lin All Alone” (with Lester Young on saxophone, Buck Clayton on trumpet, Jo Jones on drums, Freddie Green on guitar, Claude Thornhill on piano, and Buster Bailey on clarinet)

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Click here to read Volume 1 of this series, featuring recording artist Bruce Cockburn.

Click here to read Volume 2 of this series, featuring music writers/critics Howard Mandel and Joel Selvin

Click here to read Volume 3 of this series, featuring journalist Joe Hagan and photographer Tim Davis

Click here to read Volume 4 of this series, featuring Spelman College president Mary Schmidt Campbell

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Click here to read the Jerry Jazz Musician roundtable conversation, “Religion ‘around’ Langston Hughes, Billie Holiday and Ralph Ellison” with authors Tracy Fessenden, Wallace Best and M. Cooper Harriss

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In This Issue

painting of Clifford Brown by Paul Lovering
A Collection of Jazz Poetry — Spring/Summer, 2024 Edition...In this, the 17th major collection of jazz poetry published on Jerry Jazz Musician, 50 poets from all over the world again demonstrate the ongoing influence the music and its associated culture has on their creative lives.

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Publisher’s Notes

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The Sunday Poem

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“Why I Play Guitar” by C.J. Trotter...

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Poetry

“Revival” © Kent Ambler.
If You Want to Go to Heaven, Follow a Songbird – Mary K O’Melveny’s album of poetry and music...While consuming Mary K O’Melveny’s remarkable work in this digital album of poetry, readings and music, readers will discover that she is moved by the mastery of legendary musicians, the wings of a monarch butterfly, the climate and political crisis, the mysteries of space exploration, and by the freedom of jazz music that can lead to what she calls “the magic of the unknown.” (with art by Kent Ambler)

Interview

The Marvelettes/via Wikimedia Commons
Interview with Laura Flam and Emily Sieu Liebowitz, authors of But Will You Love Me Tomorrow?: An Oral History of the 60’s Girl Groups...Little is known of the lives and challenges many of the young Black women who made up the Girl Groups of the ‘60’s faced while performing during an era rife with racism, sexism, and music industry corruption. The authors discuss their book’s mission to provide the artists an opportunity to voice their experiences so crucial to the evolution of popular music.

Book Excerpt

An excerpt from Emily Jon Tobias’ MONARCH: Stories, and a reflection on our friendship

In Memoriam

photo via Wikimedia Commons
A few words about Willie Mays...Thoughts about the impact Willie Mays had on baseball, and on my life.

Poetry

photo of Earl Hines by William Gottlieb/Library of Congress
Pianists and Poets – 13 poems devoted to the keys...From “Fatha” Hines to Brad Mehldau, poets open themselves up to their experiences with and reverence for great jazz pianists

Art

photo of Archie Shepp by Giovanni Piesco
The Photographs of Giovanni Piesco: Archie Shepp...photos of the legendary saxophonist (and his rhythm section for the evening), taken at Amsterdam's Bimhuis on May 13, 2001.

Poetry

CC BY-SA 4.0 , via Wikimedia Commons
“On Coltrane: 4th of July Reflections” – a poem by Connie Johnson

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Calling All Poets!

News about a Jerry Jazz Musician printed jazz poetry anthology, and information about submitting your poetry for consideration

Short Fiction

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Short Fiction Contest-winning story #65 — “Ballad” by Lúcia Leão...The author’s award-winning story is about the power of connections – between father and child, music and art, and the past, present and future.

Click here to read more short fiction published on Jerry Jazz Musician

Interview

photo of Louis Jordan by William Gottlieb/Library of Congress
Interview with Tad Richards, author of Jazz With a Beat: Small Group Swing, 1940 – 1960...Richards makes the case that small group swing players like Illinois Jacquet, Louis Jordan (pictured) and Big Jay McNeely played a legitimate jazz that was a more pleasing listening experience to the Black community than the bebop of Parker, Dizzy, and Monk. It is a fascinating era, filled with major figures and events, and centered on a rigorous debate that continues to this day – is small group swing “real jazz?”

Playlist

photo of Coleman Hawkins by William Gottlieb/Library of Congress
“The Naked Jazz Musician” – A playlist by Bob Hecht...As Sonny Rollins has said, “Jazz is about taking risks, pushing boundaries, and challenging the status quo.” Could there be anything riskier—or more boundary-pushing—than to stand naked and perform with nowhere to hide? Bob’s extensive playlist is comprised of such perilous undertakings by an array of notable woodwind and brass masters who have had the confidence and courage (some might say even the exhibitionism) to expose themselves so completely by playing….alone.

Feature

Excerpts from David Rife’s Jazz Fiction: Take Two – Vol. 3: “Louis Armstrong”...A substantial number of novels and stories with jazz music as a component of the story have been published over the years, and the scholar David J. Rife has written short essay/reviews of them. In this third edition featuring excerpts from his book, Rife writes about four novels/short fiction that include stories involving Louis Armstrong.

Trading Fours with Douglas Cole

The cover of Wayne Shorter's 2018 Blue Note album "Emanon"
Trading Fours, with Douglas Cole, No. 20: “Notes on Genius...This edition of the writer’s poetic interpretations of jazz recordings and film is written in response to the music of Wayne Shorter.

Click here to read previous editions of Trading Fours with Douglas Cole

In Memoriam

Hans Bernhard (Schnobby), CC BY-SA 3.0, via Wikimedia Commons
“Remembering Joe Pass: Versatile Jazz Guitar Virtuoso” – by Kenneth Parsons...On the 30th anniversary of the guitarist Joe Pass’ death, Kenneth Parsons reminds readers of his brilliant career

Book Excerpt

Book excerpt from Jazz with a Beat: Small Group Swing 1940 – 1960, by Tad Richards

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Jazz History Quiz #173

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Described as a “Louis Armstrong sound-alike on both trumpet and vocals” whose recording of “On the Sunny Side of the Street” was so close to Armstrong’s live show that some listeners thought Armstrong was copying him, this trumpeter (along with Bobby Stark), was Chick Webb’s main trumpet soloist during the 1930’s. Who is he?

Community

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.“Community Bookshelf, #2"...a twice-yearly space where writers who have been published on Jerry Jazz Musician can share news about their recently authored books. This edition includes information about books published within the last six months or so…

Contributing Writers

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Coming Soon

An interview with Larry Tye, author of The Jazzmen: How Duke Ellington, Louis Armstrong, and Count Basie Transformed America; an interview with James Kaplan, author of 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans, and the Lost Empire of Cool; A new collection of jazz poetry; a collection of jazz haiku; a new Jazz History Quiz; short fiction; poetry; photography; interviews; playlists; and lots more in the works...

Interview Archive

Ella Fitzgerald/IISG, CC BY-SA 2.0 , via Wikimedia Commons
Click to view the complete 25-year archive of Jerry Jazz Musician interviews, including those recently published with Judith Tick on Ella Fitzgerald (pictured),; Laura Flam and Emily Sieu Liebowitz on the Girl Groups of the 60's; Tad Richards on Small Group Swing; Stephanie Stein Crease on Chick Webb; Brent Hayes Edwards on Henry Threadgill; Richard Koloda on Albert Ayler; Glenn Mott on Stanley Crouch; Richard Carlin and Ken Bloom on Eubie Blake; Richard Brent Turner on jazz and Islam; Alyn Shipton on the art of jazz; Shawn Levy on the original queens of standup comedy; Travis Atria on the expatriate trumpeter Arthur Briggs; Kitt Shapiro on her life with her mother, Eartha Kitt; Will Friedwald on Nat King Cole; Wayne Enstice on the drummer Dottie Dodgion; the drummer Joe La Barbera on Bill Evans; Philip Clark on Dave Brubeck; Nicholas Buccola on James Baldwin and William F. Buckley; Ricky Riccardi on Louis Armstrong; Dan Morgenstern and Christian Sands on Erroll Garner; Maria Golia on Ornette Coleman.

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