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“LUCK” & Grace (mostly the music) May 20, 2023

Posted by ajoyfulpractice in Books, Changing Perspectives, Music, One Hoop, Wisdom, Yoga.
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Many blessings to everyone, and especially to anyone Counting the Omer!

“6. Ignorance produces greater ignorance, and brings on unconsciousness as its effect: so knowledge leads on to higher knowledge, and produces self-consciousness as its result. (Good tends to best, and bad to the worst. Better tends to best, and worse to the worst).

7. The creeping plant of ignorance, has the passion for its leaves, and the desires for its odours; and it is continually shaking and shuffling with the leafy garment on its body.”

“23. It grows and dies and grows again, and being cut down it springs out anon; so there is no end of it. (It is hard to extirpate ignorance at once).”

“26. All distinctions of different objects, are dissolved in the crucible of the reasoning mind; but they remain undissolved in their crude forms in the minds of the ignorant, who are employed in differentiating the various natures of men and brutes, and of terrene and aquatic animals.

27. They distinguish the one as the nether world, and the other as the upper sky; and make distinctions between the solar and lunar planets, and the fixed starry bodies. (But there are no ups and downs, nor any thing as fixed in infinite vacuity).

28. Here there is light, and there is darkness on the other side, and this is empty space and that is the solid ground; these are the sástras and these are the Vedas, are distinctions unknown to the wise.

29. It is the same spirit that flies upward in the bodies of birds, or remains above in the form of gods; the same spirit remains fixed in the forms of fixed rocks or moves in continued motion with the flying winds.

30. Sometimes it resides in the infernal regions, and at others it dwells in the heavens above; sometimes it is exalted to the dignity of gods, and some where it remains in the state of mean insects and worms.”

“32. Whatever appears as great and glorious, and all that is seen as mean and ignoble in their form, from the biggest and bright sun down to the most contemptible grass and straw; are all pervaded by the universal spirit: it is ignorance that dwells upon the external forms; but knowledge that looks into the inner soul, obtains its sight up the present state.”

– quoted from “CHAPTER VIII. Allegory of the Spreading Arbour of Ignorance.” of The Yoga-Vasishtha Maharamayana of Valmiki (translated from the original Sanskrit by  VIHARI-LALA MITRA)

Please join me for a 90-minute virtual yoga practice on Zoom today (Saturday, May 20th) at 12:00 PM. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.

Saturday’s playlist is available on YouTube and Spotify. [Look for “0123-24/2022 Doing: Lessons in…”]

NOTE: If it is accessible to you, please consider using the Spotify playlist as it contains the original music (referenced in the original practice). Even better, if you already have the album!

The original Keith Jarrett recording is not available on YouTube (in the US) without a “Premium” membership and, after listening to several different “interpretations” – which do not / cannot include the vocalizations – I decided the Fausto Bongelli sounded the closest to the original. Sadly, one movement is missing and so I used a recording by Tomasz Trzcinkinski, who was the first person to record the music using the transcription. There are also now transcriptions for other instruments – which I didn’t sample, even though I think some of them would be lovely. There are also “covers” using electronic instruments, which I’m considering a hard pass (even if it seems contradictory to the original theme), out of respect for the composer. 

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)

### 🎶 ###

The Space Between Need, Conceive, & Invention (a special Black History note) February 14, 2023

Posted by ajoyfulpractice in "Impossible" People, Books, Changing Perspectives, Dharma, First Nations, Healing Stories, Health, Hope, Life, Music, Pain, Science, Suffering, Wisdom, Writing, Yoga.
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Peace and ease to all during this “Season of Non-violence” and all other seasons!

This is a special post for February 10th. The word for this date is groundedness. Click here if you are interested in other events and people I’ve covered on this date.

“‘Come , now,’ I said, ‘let’s make a city in speech from the beginning. Our need, as it seems, will make it.’”

– quoted from the exchange between Socrates and Adeimantus in 2.XI of The Republic of Plato, translated and with an interpretative essay by Allan Bloom, 1968 (with a new introduction by Adam Kirsch)

(1894 translation by Benjamin Jowett: “Then, I said, let us begin and create in idea a State; and yet the true creator is necessity, who is the mother of our invention.”)

If we consider the very beginning of something (or someone) as Socrates and the others do in Plato’s Republic, we find that everything (and everyone) begins as a flicker of something out in the ether. We can call that flicker an idea, for lack of a better word, or we can call it a need – the word Plato uses. Either way, that flicker of something (or someone) is out in the either and then it gets grounded and rooted into something (or someone) – or it sets off a spark – and then from that conception there is creation and then being/existing in reality as we know it. And, even though we can follow that train of thought, there are a lot of things we use on a regular basis that we don’t think about in this way.

We don’t often think about the initial idea/need – unless our need is sudden and acute. Neither do we think very often about the space between that initial idea/need and all the steps that brought it into reality – which means, we don’t think about the people we have to thank for things we use everyday. But, let’s say we were going to think about the inventor of something – like, let’s say, we wanted to thank the person or people responsible for the microphones (and speakerphones) in our phones and other electronic devices. Let’s say, we wanted to thank the person or people responsible for the technology inside hearing aids, audio recording devices, video recorders, baby monitors, computers, and cell phones.

Be honest. If you were to imagine such a person (or people), what’s the first idea of a person that comes to mind?

Be honest.

Would you be surprised that one of their parents worked for National Aeronautics and Space Administration (NASA) at Langley Research Center? Probably not. Would you guess that they were still in college when they started inventing things that would change the world? Probably not.  But, if you weren’t think of this person in the context of this special post, would you imagine someone whose grandparents were enslaved and who was born in a house because the local hospitals wouldn’t admit their mother (that NASA employee)? Possibly not. And yet…

“James’ approach to learning sounds very familiar: ‘If I had a screwdriver and a pair of pliers, anything that could be opened was in danger. I had this need to know what was inside.’”

– quoted from “James West Began 40 Years at Bell Labs with World-Changing Microphone Tech” by Mike Szczys (posted at hackaday.com on February 17, 2021)

Let’s start with Matilda Omega Miller West. She worked at Langley Air Force Base as a teacher and also as one of the NASA (human) computers that we now recognize as “Hidden Figures.” In fact, she was distantly related to Dorothy Vaughn, who became the first African American woman to receive a promotion and supervise a group of staff at the center when she was named acting supervisor of the West Area Computers in 1949. Mrs. West was also an active and prominent member of the National Association for the Advancement of Colored People (NAACP) as well as at least one other organization that the government viewed with suspicion. When she lost her job at NASA because of her political activism, she started teaching at a Native American reservation in Pennsylvania. She was married to Samuel Edward West, who held a variety of jobs, including owning a funeral home owner, working as an insurance salesman, and as a Pullman porter on the Baltimore and Ohio Railroad. The Wests had two children (James and Nathaniel); however, as they had to travel in order to work, their two sons were left in the care of Matilda West’s mother – who had formerly been enslaved.

The oldest of the West children, James Edward Maceo West, was born February 10, 1931, in Farmville, Prince Edward County, Virginia. He was a super curious kid, who wanted to understand how things worked. At an early age, he was taking things a part and poking around in things. He once took apart his grandfather’s pocket watch and discovered it had 107 parts, but then couldn’t put it back together again. Another time, he found a broken radio in the trash and set out to fix it. When he thought he was successful, he needed to plug it in; so, he climbed up on a bed, held onto the brass headboard, and plugged into a light socket. Needless to say, he shocked himself and probably would have died if his brother Nathaniel hadn’t knocked him off the bed. The family would have probably loved it, on some level, if either of those incidents had discouraged young James West from tinkering. Since, however, he was not deterred, they had to find other ways to channel his energy and inquisitive nature and he ended up working with a cousin who wired electricity for houses in rural Virginia.

“Describing the experience later, he said that when things happen that he doesn’t understand ‘… I have to figure them out. I have to learn. And that’s essentially what led to some of the discoveries that I made, you know, the curiosity. Well, why does nature behave in that way? You know, what are the compelling parameters around the way nature behaves? And how can I better understand the physical principles that I’m dealing with? You know, it’s still a big part of my life.’”

– quoted from the Biz & IT section of Ars Technica, in an article entitled “Listen up: James West forever changed the way we hear the world – Now in his 80s, the legendary inventor still pursues research and fights for education.” by Kevin Murnane (dated 5/8/2016)

Growing up in Farmville, in the twentieth century, was challenging for African Americans. It was a time when education and job opportunities were subpar in areas like Virginia. There was an all-white school across the street from where he grew up. There was a an all-Black school (Robert Russa Moton High School) on the other side of town; but, that school lacked some very important resources, including: a gym, a cafeteria, indoor bathrooms, and blackboards. There were no science labs and a lack of classrooms, in general, meant that some classes were held inside of a school bus. On top of all that, R. R. Moton High School received the discarded books from the all-white school; so, they were dog-eared and out-of-date.

James West was scheduled to start high school long before 16-year old Barbara Rose Johns Powell led a student strike in April 1951, and long before Davis v. County School Board of Prince Edward County (Docket number: Civ. A. No. 1333; Case citation: 103 F. Supp. 337 (1952)) was rolled into Brown v. Board of Education of Topeka, 347 U.S. 483 (1954).  Since the Wests valued education, and had the means to do so, they decided to send their son to Phenix High School in Hampton, Virginia. Phenix HS, established the same year James West was born, was an all-Black feeder school for Hampton Institute (now known as Hampton University), one of the private Historically Black Universities and Colleges (HBCUs), and it trained students to be teachers, even requiring them to be student teachers. The Wests expected their son to to follow a plan that included pre-med at Hampton, medical school, and a job with an uncle who had built a clinic and started a practice – and he did follow the plan, for a while, but he was still compelled to tinker.

“In life, racism was my biggest obstacle. I always felt like if I was white, would I have had a better life? I don’t know because I really do have fun. But I had to pay attention to things that more directly affected me than others. For example, I got an email from a colleague a few days ago that said basically I wish I hadn’t accused you of conspiracy theory as much as I did. We used to have lunch together and talk about the disparities between the races, and now he finally understood why I was so upset by getting continuously stopped by police on my way to work through an all-white community.

Now more people understand why the fear is there.”

– quoted from the Acoustics Today interview conducted by Hilary Kates Varghese, entitled “Being a Black Scholar, James West as told to Hilary Kates Varghese” (Winter 2020, Volume 16, Issue 4) 

In high school, James West and a friend built their own telephone system. When he graduated from high school, he followed the plan, but he couldn’t get into it; so, he made plans to transfer to Wilberforce University (another HBCU) in Wilberforce, Ohio. His parents tried to dissuade him – even introducing him to two Black PhDs who couldn’t find jobs because of their race. James West, however, had that will and determination – that compulsion – that can only be considered a calling. He would not be moved off the course he had set for himself. But then, he was drafted by the United States Army during the Korean War.

After being wounded in combat, and receiving two Purple Hearts, James West went back to school. This time he decided to study Physics at Temple University, an integrated school in Philadelphia, Pennsylvania. There were, however, some race-related challenges. Temple was founded around the idea of  study groups, but the study groups in his department kept rejecting him because of his race. Taking a page from women in his family (like his mother and Dorothy Vaughn), James West decided to show the white students what he could do – what his mind could do. Being able to solve complex equations earned him invitations to the very groups that had rejected him. Suspecting that he might face similar issues on the job front, he applied to pretty much every internship he could find. In 1957, he started his first summer internship at Bell Telephone Laboratories (now Nokia Bell Labs) and felt like it could be his professional home.

“I found Bell Labs to be among the few places that I felt as a Black male, that I would have a comfortable and prosperous career. I measured and monitored this is terms of the number of underrepresented minorities and women that I saw in roles that I might eventually want to be a part of.”

– quoted from the Acoustics Today interview conducted by Hilary Kates Varghese, entitled “Being a Black Scholar, James West as told to Hilary Kates Varghese” (Winter 2020, Volume 16, Issue 4)

As part of his internship, James West started working in the Acoustic Research department where he studying interaural time delay (ITD), which is the time lapse between when each ear detects a sound and is a major part of how humans locate the source of a sound. The lab was re-purposing microphone technology, but the results were limiting their research – the system produced frequencies so low that very few people could hear the full spectrum of frequencies. The future Dr. West, still in college, dug up a German research paper (on solid dielectric elements) and completely revamped the test equipment. His new system produced more sound; thereby, creating better testing conditions. The professional scientists were impressed and James West was energized when he went back to school. Two or three months later, there was a problem: the intern’s system had stopped working. Since none of the professionals had done the research to understand the system, they sent the young Temple student a ticket back to Murray Hill, New Jersey.

James West could fix the problem, but he couldn’t guarantee it wouldn’t happen again. In order to make that guarantee, he had to understand the technology better. That was his need; that is what compelled him to make an even better sound system. As he researched electrets (basically, electricity magnets), he started working with Gerhard Sessler, a scientist originally from Germany. Dr. Sessler was exactly five days younger than James West, but he his education had not been interrupted by war. He studied physics at the Universities of Freiburg and Munich (where he earned his diploma in 1957); earned his PhD (from the University of Göttingen in 1959; and then moved to the United States to work at Bell Labs. In 1962, James West and Gerhard Sessler invented the electroacoustic transducer, the technology for the foil electret microphone.

US Patent No. 3118022 would be the first of over 100 (US and international) patents for Gerhard Sessler and over 450 (US and international) patents for James West. It would revolutionize the way people hear sound via electronic equipment and it would change James West’s life. To this day, 90% of all devices that relay sound do so using this technology. As for it’s American co-inventor, he would never go back to Temple (as a student). James West would continue working at Bell Labs, moving over to Lucent Technology, Inc. after it was created through a 1996 divestiture of the former AT&T Technologies business unit of AT&T Corporation (which included Western Electric and Bell Labs). Throughout his career, his work has been published in journals and books.

After over 40 years of service, James West retired and was recognized as a Bell Laboratories Fellow. That same year, in 2001, he started teaching at Whiting School of Engineering at Johns Hopkins University, where he is currently a Professor in the Department of Electrical and Computer Engineering. His research at Johns Hopkins has included studying the acoustics of hospitals in order to find noise-cancelling solutions and developing technology for a smart stethoscope that cancels out background noise and can detect things like pneumonia and lung cancer. One of his daughters*, Ellington West, is CEO of the company that would take that digital stethoscope to market.

“I turned down the lower level management opportunities because I did not see a clear ladder of progress in management as a Black male. I remained in the lab and retired in 2001 at the highest rank of non-management, a Bell Labs Fellow. ”

– quoted from the Acoustics Today interview conducted by Hilary Kates Varghese, entitled “Being a Black Scholar, James West as told to Hilary Kates Varghese” (Winter 2020, Volume 16, Issue 4)

As I already mentioned, James West has always been curious and he was fortunate to have parents and extended family that fostered his ingenuity – even when they thought he was applying it in the wrong way (and they withdrew financial support). But, he proved himself to his parents, just as he proved himself to the Temple study groups and to the world. He was named New Jersey’s Inventor of the Year in 1995; elected a member of the National Academy of Engineering in 1998; inducted into the National Inventors Hall of Fame in 1999; received an honorary doctorate from New Jersey Institute of Technology (NJIT) in 2007; and received the Benjamin Franklin Medal in Electrical Engineering (along with Gerhard Sessler) in 2010.

Throughout his career, Dr. James West has supported opportunities for others to follow in his footsteps and to stand on his shoulders: to fill needs and discover opportunities regardless of race, ethnicity, sex, gender, and/or perceived ability. He is the co-founder of Bell’s Association of Black Laboratory Employees (ABLE); helped create and develop the Corporate Research Fellowship Program (CRFP) for graduate students pursuing terminal degrees in the sciences and the Summer Research Program (SRP); and has served on the board of directors of the Ingenuity Project, “a comprehensive, advanced math and science instructional [non-profit] program for Baltimore City students in grades 6-12.”

“‘My father is my hero, role model, my greatest inspiration,’ [Ellington] West, 34, once told an interviewer.”

– quoted from the Citybiz+ article entitled “Sonavi Lab’s CEO Ellington West: Black Entrepreneur On A Mission To Fight Bias And Save Lives” (dated August 10, 2022)

Practice Notes: As I write this post, I am listening to jazz (beginning with Keith Jarrett’s Köln Concert) – music I always associate with being fearless, engaging in fearless play, and improvising. A practice dedicated to James West would be a practice where we delve into how things work and how things don’t work (or don’t work well). Then, we would be fearless and play – remembering the rules of improv: not breaking the flow, saying “yes and,” knowing the rules in order to break the rules, and (from the musical side) playing what’s not there. This would be a vinyāsa krama practice, with “things placed in a special way” “for a step-by-step progression” towards a peak pose (possibly Naṭarājāsana, “Dancer Pose.” The primary goals here would be to have fund and to listen to your mind-body.

*NOTE: James West and his wife Marlene have four adult children: Melanie, Laurie, James and Ellington. I would normally include more information, but could not find accurate information about when/how they met and what the other West children do for a living. He does talk about his family and his life choices in the interview conducted by The HistoryMakers, but I do not have access to those interviews. Many of the above quotes (except where indicated) are originally from The HistoryMakers® Video Oral History Interview with James West, February 13, 2013. The HistoryMakers® African American Video Oral History Collection, 1900 S. Michigan Avenue, Chicago, Illinois. 

### “And up on a hill in Rishikesh I came across a holy man / With shining eyes and a toothless smile / He grinned and this is what he said / ‘There’s nothing so tall we can’t climb over / There’s nothing so wide we can not cross / The time has come to raise your voices / The light burns brightest when all hope seems lost / Be Fearless and Play’” ~ Wookiefoot ###

Seeing Red but/and Finding “Accidental Goodness” January 24, 2023

Posted by ajoyfulpractice in "Impossible" People, Abhyasa, Books, Buddhism, Changing Perspectives, Healing Stories, Life, Music, New Year, Pain, Peace, Philosophy, Suffering, Vairagya, Wisdom, Yoga.
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Happy (Lunar) New Year! Happy Carnival!

“From a practical standpoint then, svadyaya is the process of employing the power of discernment and maintaining a constant awareness of who we are, what we are trying to become, and how the objective world can help us accomplish our goal.”

*

– commentary on Yoga Sūtra 2.1 from The Practice of the Yoga Sūtra: Sadhana Pada by Pandit Rajmani Tigunait, PhD

How do you react when things don’t go your way? What happens when you are very specific about what you want and/or what you need, but then you don’t get either? Are you quick to anger? Or, do you get “hangry” when you haven’t eaten and you have to deal with irritating situations? Do you “see red” at the drop of the hat or the blink of an eye? If so, there are (obviously) practices for that.

There are also handy tips (even if you don’t have a mindfulness-based practice). For instance, it’s good to get a good night sleep, eat when you need to, and – as much as you are able – avoid situations and people that push your buttons. Of course, just to be on the safe side, you could just not leave your house on days where you might be easily irritated. You know, like today, the third day of the Lunar New Year when some people will absolutely stay home and go to bed early.

Some portions of the following were previously posted.

“恭禧发财
Gong Xi Fa Cai [Congratulations and Prosperity!]
Gong Hey Fat Choy [Congratulations and Prosperity!]

– A common New Year’s greeting in Hanzi [Chinese characters], Mandarin and Cantonese pīnyīn [“spelled sounds”], and English

According to some Chinese creation mythology the third day of the Lunar New Year is the birthday of all boars. As I mentioned yesterday, some people will spend this third day of the Year of the Rabbit/Hare visiting the temple of the God of Wealth. Others associate this day with the “marriage of mice” and – in addition to providing treats as a “dowry” for the mice – they will go to bed early to ensure the mice have a peaceful ceremony. The belief is that if the mice have a peaceful ceremony, they will not pester humans during the rest of the year. In Vietnam, where people are celebrating the year of the Cat, this third day is a day to honor teachers.

Another reason people may go to bed early on the third night of the Lunar New Year is that, in certain parts of China, this third day is the “Day of the Red Dog” or “Red Mouth” Day and there is a greater danger of conflict on this day. People may also stay home and avoid anyone outside of their primary family circle in order not to say the wrong thing in anger – as a Chinese word for “red dog” is also a description for the “God of Blazing Wrath.” Some people also associate the tendency to say the wrong thing on the third day with the demon (or monster) Nian.

The Hanzi (Chinese character) for Nian also means “year” or “new year.” According to the legends, the monster Nian would come out of the sea or the mountain once a year looking for crops, animals, or villagers to eat. All the villagers would hide at this time of year, but one time an elderly gentleman was outside during the time Nian came to visit the village. One version of the story says that the man was a Taoist monk (Hongjun Lozu) who, like Br’er Rabbit, was a bit of a trickster. He some how convinced the monster that he would taste better if he could take off his outer clothing. In the version I tell in class, there is a big chase and the monster rips the man’s outerwear with his sharp teeth and claws. Either way, when the gentleman’s bright red undergarments are revealed Nian freaks out, because he is afraid of the color red (and loud noises). Therefore, it became auspicious to start the New Year (or even a marriage) wearing red; placing red throughout the village or town; and making a lot of noise.

“You always want to make it as good as it can be, but… But when you have problems that you can’t do anything about, one after another, you start forgetting what you’re actually doing, until it’s time. And that’s one of the secrets….”

– Keith Jarrett in a 2007 interview about his (01/24/1975) Köln Concert

In the 1970’s, 15-year old Vera Brandes started organizing jazz concerts and tours. At around 17, the German teenager started organizing the New Jazz in Cologne concert series. The fifth concert was scheduled for 11:30 PM on January 24, 1975, and it was going to be the first jazz concert at the 1,400-seat Cologne Opera House. The concert would feature a twenty-nine year old jazz pianist named Keith Jarrett, performing improvised solo piano pieces. Yes, that’s right, he was going to make it up as we went along –  and the sold out concert would be recorded. (According to last.fm, the tickets were 4 DM [Deutsche Mark] or $5; Wikipedia indicates the 4 DM equaled $1.72.)

Here’s a few other salient details about the American pianist: He has perfect pitch and garnered some international attention (as a classical pianist) when he was in high school in Pennsylvania. He started playing gigs in Boston while attending Berklee College of Music and moved to New York City after about a year. In the Big Apple, he started making a name for himself, playing with jazz greats like Art Blakey and the Jazz Messengers, Jack DeJohnette, and the Charles Lloyd Quartet. By the mid-to-late 1960’s, he was playing and recording with his own trios and that’s around the time that Miles Davis invited him to join his jams (alternating and/or playing with Chick Corea).

Keith Jarrett and his own band of musicians – Charlie Haden, Paul Motian, (eventually) Dewey Redman, and a handful of other similarly accomplished musicians (including Sam Brown) – recorded over a dozen albums for Atlantic Records from 1971 to 1976. In that same time period, one iteration of the quartet recorded an album for Columbia Records; but then the label dropped him – theoretically so they could promote Herbie Hancock. Right around the same time the Columbia-door closed, another two others doors opened: Keith Jarrett and his quartet got a contract with Impulse! Records and he was contacted by Manfred Eicher, a German record producer and co-founder of ECM Records.

ECM stands for “Edition of Contemporary Music” and the label is known for high quality jazz and classic music – and musicians who give the side-eye to labels. It was a great creative dwelling place for musicians like Keith Jarrett and Steve Reich, whose music I have also used in some practices. The professional relationship between Keith Jarrett and Manfred Eicher led to the “European quartet” collaborations, solo piano albums, and, eventually, to that legendary concert in Cologne, Germany.

Here’s another important thing to know about Keith Jarrett: He has a reputation for being very, very particular about concert conditions. He doesn’t like audience distractions, especially when he is improvising, so – at the height of his career – audience members were given cough drops during winter concerts and he would sometimes play in the dark to prevent people from taking pictures. He is known for vocalizing while he plays jazz (but not, notably, when he plays classical music) and reportedly led people in group coughs.

Now, imagine you are a musician like this – one who knows their stuff and is also very particular about the instruments you play – and you are presented “the unplayable piano” just hours before you’re meant to play a groundbreaking concert. What if you were also hungry, tired, and sick?

Would you see red? Or would you “accidentally” find goodness?

A version of the following was originally posted in 2022.

“KJ: When I was a teenager, my youngest brother had a lot of issues, and didn’t go to school. He couldn’t go outside, so he couldn’t have friends, so he was basically a prisoner in my mother’s house. There was an upright piano there. And occasionally, my brother, knowing zero — meaning really zero — about piano, would work out anger or frustration, which he must have had gobs of, by going to the keyboard and just playing some shit. He didn’t know what notes he was hitting or what would come out. But I realized there were moments that were so good and they came from his ignorance. I’m not sure he even knew they were good moments. But I found myself thinking: how would a pianist ever — how do you approach that if you know the instrument?

 
DS: How do you find the accidental goodness?”

– Keith Jarrett in response to David Shenk’s question about having a willingness or eagerness to fail, in “Keith Jarrett, Part II: The Q&A” by David Shenk (published in The Atlantic, October 13, 2009) 

Keith Jarrett is known for eschewing electronic instruments and equipment. Obviously, he appreciates the “need” for recording equipment and he has recorded music while playing electronic instruments. But, it’s not his jam – and it’s definitely not the kind of thing he would request for a solo piano concert in an opera house in 1975. No, someone like Keith Jarrett, at that point in his career, for that concert, would request the piano equivalent of a Rolls-Royce. And that’s exactly what he did; he requested a Bösendorfer Model 290 Imperial, also known as the Imperial Bösendorfer or just as the 290.

The 290 is Bösendorfer’s flagship piano. It is an exquisitely beautiful concert grand piano with an equally memorable sound. In fact, it was specifically designed to be grander than any other piano on the market in 1909. And I mean that in every sense of the word grand. It has 97-keys and a full 8-range octave. For 90 years, it was the only concert grand piano of it’s kind. In 1975, it was easily recognizable by any professional pianist… but probably not by random stagehands (who hadn’t had any reason to deal with such a piano) and possibly not by a teenage concert organizer (who also hadn’t had any reason to deal with such a piano).

Keith Jarrett, however, immediately knew that something was off when he arrived at the Cologne Opera House to find a Bösendorfer baby grand on the stage. To make matters worse, he was tired after traveling and not sleeping for two days, his back hurt, and he was suffering from food poisoning. To add insult to injury, the piano was badly out-of-tune and basically broken. Some of the keys and the foot pedals, one of the distinguishing features on the 290, didn’t work properly. It was simply a rehearsal piano or something someone had put in a backstage corner to warm up their hands before the curtain went up. It was too late to find and move a new piano. Even if they could find what had been requested – or something close, like the Bösendorfer (which would have been 5 keys shorter) – it was raining and Vera Brandes was warned that moving such an instrument in that type of weather would make it impossible to tune in time for the concert.

“Don’t play what’s there. Play what’s not there.”

– Miles Davis

Improvisation – in comedy and in music – is known for things like not breaking the flow (so, not saying “no”); and the concept of “yes, and…;” staying present; and being open to change.  But, Keith Jarrett had made up his mind. He said no to that baby grand piano. He declared it categorically “unplayable” and said the concert needed to be canceled. And there’s no indication, anywhere, that he was being a diva. He was just being realistic given his history and his frame of reference. The fact that he was sick and tired just made everything worse.

But the indomitable Vera Brandes had a different history and a different field of possibility. She convinced him that she could find someone to tune (and repair) the piano onstage, which she did. She sent Keith Jarrett and Manfred Eicher to a restaurant to grab a quick bite to eat. In some interviews, Keith Jarrett has said that they didn’t eat much because (a) he wasn’t feeling well, (b) there was a mix-up at the restaurant and their meal was delayed, and (c) they had to get back to the theatre. At some point along the way, they decided to keep the recording engineers – because they were going to get paid no matter what – and record what the musician expected to be a horrible and embarrassing disaster of the first order.

But it wasn’t. It wasn’t not even close.

Instead, the three improvised movements, plus the encore of “Memories of Tomorrow,” became the best selling solo album in jazz history and one of the best-selling piano albums. In the Spring 2019 issue of Daedalus, Dr. Gerald Lyn Early, who has consulted on several Ken Burns documentaries (including Baseball and Jazz), pointed out that Keith Jarrett’s solo concerts changed the sound and people’s understanding of jazz (not to mention, who played it); “…made solo piano playing commercially viable by showing that there was a considerable audience for it[;]” and “…proved that the public was willing to take such records seriously…”

From the very first notes, which sound like the warning tones the audience heard in the lobby before the show, Keith Jarrett carried the audience on a sonorous piano journey unlike anything they had ever heard. The album has been praised by musicians, critics, and publishers alike. It was included in Robert Dimery’s book 1001 Albums You Must Hear Before You Die. Eventually, much to the composers dismay, parts of the composition became movie soundtracks. Many wanted Keith Jarrett to transcribe and publish a score of the concert, which he finally, begrudgingly, agreed to do in 1990. The transcribed score, however, came with a very intentional caveat.

“For instance, on pages 50 and 51 of Part IIa there is no way to obtain, on paper, the real rhythmic sense of this section. There is much more going on on  the recording, but this “going on” does not always translate into notes on paper. Many notes are inferred by the rhythmic sense; others depend on the harmonics or attack of the previous note(or notes). So, writing down all the notes would give more of a false view of the sense of this section than selecting some notes. And yet, even this selection cannot reveal the real sense of this section as an improvisation, where listening is what determines the music’s strength.

So – we are at, let us say, a picture of an improvisation (sort of like a print of a painting). You cannot see the depth in it, only the surface. 

As a result of all of this, I am recommending that any pianist who intends to play THE KÖLN CONCERT use the recording as the final-word reference.

Good luck!”

– quoted from the “Preface” to THE KÖLN CONCERT: Original Transcription, Piano by Keith Jarrett

Please join me today (Tuesday, January 24th) at 12:00 PM or 7:15 PM for a yoga practice on Zoom. You can use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

Tuesday’s playlist is available on YouTube and Spotify. [Look for “0123-24/2022 Doing: Lessons in…”]

[NOTE: If it is accessible to you, please consider using the Spotify playlist as it contains the original music referenced in the practice. Even better, if you already have the album!

The original recording is not available on YouTube (in the US) without a “Premium” membership and, after listening to several different “interpretations” – which do not / cannot include the vocalizations – I decided the Fausto Bongelli sounded the closest to the original. Sadly, one movement is missing and so I used a recording by Tomasz Trzcinkinski, who was the first person to record the music using the transcription. There are also now transcriptions for other instruments – which I didn’t sample, even though I think some of them would be lovely. There are also “covers” using electronic instruments, which I’m considering a hard pass (even if it seems contradictory to the theme), out of respect for the composer. ]

You can, as I did, also listen to the Cautionary Tales with Tim Hartford episode entitled, “Bowie, Jazz and the Unplayable Piano” where ever you get your podcasts.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)

### Play On! ###

Doing: Lessons in unexpected, ridiculously inconvenient, unplayable things (& “impossible” people) [the “missing” Sunday post] January 24, 2022

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This is the “missing” post for Sunday, January 23rd (and contains 2-for-1 information related to January 24th). You can request an audio recording of the practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.

Check out the “Class Schedules” calendar for upcoming classes.)

“The causality principle asserts that the connection between cause and effect is a necessary one. The synchronicity principle asserts that the terms of a meaningful coincidence are connected by simultaneity and meaning…. Although meaning is an anthropomorphic interpretation it nevertheless forms the indispensable criterion of synchronicity. What that factor which appears to us as “meaning” may be in itself we have no possibility of knowing. As an hypothesis, however, it is not quite so impossible as may appear at first sight. We must remember that the rationalistic attitude of the West is not the only possible one and is not all-embracing, but is in many ways a prejudice and a bias that ought perhaps to be corrected.”

*

– quoted from “3. Forerunners of the Idea of Synchronicity” in Synchronicity: An Acausal Connecting Principle by C. G. Jung

*

“This discovery, indeed, is almost of that kind which I call Serendipity, a very expressive word, which, as I have nothing better to tell you, I shall endeavor to explain to you: you will understand it better by the derivation than the definition. I once read a silly fairy tale, called “The Three Princes of Serendip”: as their Highnesses travelled, they were always making discoveries, by accidents and sagacity, of things which they were not in quest of: for instance, one of the them discovered that a mule blind of the right eye had travelled the same road lately, because the grass was eaten only on the left side, where it was worse than on the right….”

*

– quoted from a letter addressed to Sir Horace Mann, dated January 28, 1754, by Horace Walpole (The Right Honorable The (4th) Earl of Orford, Horatio Walpole)  

Causality, the principles of cause and effect, are a big aspect of the Yoga philosophy – and I am, without a doubt, a big fan. That said, I am also a big fan of synchronicity and serendipity. As much as I pay attention to cause-and-effect, I often delight in things that just seem to “randomly” fall into place and things (or people) that show up when I “need” them, but wasn’t looking for them.  Granted, there are times when I consider chaos theory and see if I can trace back to some little thing that started the domino effect; however, I’m also just open to being pleasantly surprised by “accidental goodness.”

Do you know what I mean? Has that happened to you? And how open are you to those kinds of things?

My guess, and it’s not much of a stretch, is that your open-ness, or lack thereof, is based on past experiences. I mean, on a certain level, everything is based on past experiences. We do something new and a new neural pathway is created, a new thin veil of saṃskāra (“mental impression”) is lowered over us. We do that same thing again and we start to hardwire that new neural pathway, the veil becomes more opaque. Over time, our behaviors and reactions become so hardwired, that our saṃskāras becoming vāsanās (“dwellings”) and we believe that our habits are innate or instinctive – when, in fact, they are conditioned.

This is true when things seem to randomly and luckily fall into place. This is also true when are not so fortunate or blessed; when things don’t seem to easily fall into place or when we don’t “randomly” get what we didn’t know we needed. And our physical-mental-emotional response to the so-called “happy accidents” is just as conditioned as our physical-mental-emotional response to things not going our way. We are as much like Pavlov’s dogs as we are like the one-eyed mule observed by the Princes of Serendip. To do something other than salivate at the appearance of certain objects and/or to eat on the other side of the road is “impossible.” But, little changes in the conditioning changes the outcome.

Also, remember that ad about “impossible….”

“Impossible is just a big word thrown around by small men who find it easier to live in the world they’ve been given than to explore the power they have to change it. Impossible is not a fact. It’s an opinion.  Impossible is not a declaration. It’s a dare. Impossible is potential. Impossible is temporary.

*

Impossible is nothing.”

 

– quoted from a 2004 Adidas ad campaign written by Aimee Lehto (with final tag line credited to Boyd Croyner), often attributed to Muhammad Ali

Sunday’s practice revolved around two stories related to January 23rd and January 24th. They are lessons on doing (rather than not doing) and opportunities for a little svādhyāya (“self-study’). One of the stories was about an “impossible” person who had to deal with unexpected tragedy and “ridiculously inconvenient” situations and expectations. The other was the story of a person, some might consider impossible, who had to deal with an unexpected, ridiculously inconvenient, unplayable piano. As I’ll explain a little (a little later), I encountered both stories serendipitously, but there was also a little bit of synchronicity related to the second story. 

Again, I’ll get to the backstory a bit later. For now, consider that the habitual conditioning I mentioned above also applies to our expectations of ourselves and of others. So, when we tell ourselves and/or someone else that something is impossible, it is partially because we have not been conditioned to believe that the thing in question is possible. We haven’t seen any evidence that something can be done and, quite the contrary, maybe we have seen someone else “fail” in their endeavors in the same area. Maybe we ourselves haven’t succeeded… yet; and, therefore have decided to give up. 

But, what happens if we don’t give up? What happens if we give our all and then let go of our expectations? What happens if we plan to trust the possibilities and focus on doing what we are able to do, in the present moment?

A version of the January 23rd story was originally posted in 2021. Click here for that philosophical post in it’s entirety.

*

“From a practical standpoint then, svadyaya is the process of employing the power of discernment and maintaining a constant awareness of who we are, what we are trying to become, and how the objective world can help us accomplish our goal.”

 

– commentary on Yoga Sūtra 2.1 from The Practice of the Yoga Sūtra: Sadhana Pada by Pandit Rajmani Tigunait, PhD

The Yoga Sutras offers a detailed explanation of the dysfunctional/afflicted thought patterns that create suffering. Patanjali described those thought patterns as ignorance, the false sense of self, attachment (rooted in pleasure), aversion (which is attachment rooted in pain), and a fear of loss/death. He established ignorance (avidyā) as the root of the other four and stated that this groundwork is established no matter if the ignorance is dormant, attenuated, disjointed, or active. He then broke down the different ways avidyā manifests in the world – which basically goes back to the ways in which we misunderstand the nature of things – and how the other four afflicted thought patterns rise up.

There are examples of how avidyā and the other four dysfunctional/afflicted thought patterns manifest all around us. There are, therefore, also examples of how the sources of our ignorance can be the path towards freedom, fulfillment, and more clarity. One example of this is how some people view those that are not considered “able bodied.” Think about the activist Edward V. Roberts, for example.

“I fell in love, like many people do. We do that as well. And it became ridiculously inconvenient to have my attendant pushing me around in my wheelchair with my girlfriend. It was an extra person that I didn’t need to be more intimate. I learned how to drive a power wheelchair in one day. I was so motivated to learn something that it changed in many ways my perception of my disability and of myself. She jumped on my lap and we rode off into the sunset or to the closest motel.”

*

– Ed Roberts (b. 01/23/1939) in a 60 Minutes interview with Harry Reasoner

Known as the “Father of the Independent Living” movement, Mr. Roberts was born January 23,1939. By all accounts, he spent his formative years as a “regular” boy. Then, at the age of fourteen, he contracted polio – this was in 1953, two years before the vaccine ended the polio epidemic. The virus left the active, “sports-loving” teenager paralyzed from the neck down, with mobility only in two fingers and a few toes. It also (temporarily) crushed his spirit. He initially spent most of his days and all of his nights in an 800-pound iron lung. When he wasn’t in the iron lung, he used “frog breathing” – a technique that uses the facial and neck muscles to pump air into the lungs.

Now, if you are someone who has not interacted with someone with a disability, you might think – as Ed Roberts initially thought of himself – that he was a “helpless cripple.” You might, like him and one of his early doctors, back in 1953, think that there was no point to his life. You might think that he couldn’t do yoga; couldn’t get married (and divorced); couldn’t have a child; and definitely couldn’t do anything to change the world. But, if you think any of that – just as he initially thought that – you would be wrong.

“There are very few people even with the most severe disabilities who can’t take control of their own life. The problem is that the people around us don’t expect us to.”

*

– Ed Roberts in a 60 Minutes interview with Harry Reasoner

Just to be clear, to my knowledge Ed Roberts didn’t practice yoga. However, he did practice Shotokan karate. Also, it is interesting to note that (a) the glottis or empty space at the back of the throat that is engaged to practice Ujjayi prāņāyāma, is the same area he would engage to breathe without the iron lung and (b) once he changed his understanding of himself – let go of his “false sense of self” – he was able to change the world.

Even though he could attend school by telephone, Zona Roberts, Ed Roberts’s mother, insisted that he attend school in-person one day a week for a few hours. She also encouraged him to think of himself as a “star” and to advocate for his own needs. So, when he was in danger of not graduating from high school, because he hadn’t completed driver’s education or physical education, he pushed back on those who would limit him.

After graduating from high school, he attended the College of San Mateo and the University of California Berkeley – even though one of the UC Berkeley deans wanted to reject him because someone else had had an unsuccessful bid at college and the dean viewed all people with disabilities as a monolith. At Berkeley, Mr. Roberts pushed to have on-campus housing that would accommodate his needs and, once that was established, pushed the university to admit and provide the dormitory experience to other people with “severe disabilities.” The Cowell Residence Program became a model for universities around the world.

Mr. Roberts and some of the other students in the Cowell Residence Program referred to themselves as the “Rolling Quads.” They were very active in changing people’s perceptions and understandings and, therefore, they were able to change policy and infrastructure. “Curb cuts,” the ramped opening between a sidewalk and street, are one of the changes that resulted from their activism. After Ed Roberts graduated with a Bachelor’s and Master’s in Political Science, he went on to teach at an “alternative college;” to serve as Director of the state organization that had once labeled him too disabled to work; and eventually co-founded the World Institute on Disability (at Berkeley). His activism – including protesting at the San Francisco offices of the Carter Secretary of Health, Education, and Welfare and testifying before Congress – led to the creation of the Americans with Disabilities Act (ADA, 1990).

“And I literally went from like 120 pounds to 50 pounds. I also discovered how powerful the mind is, when you make up your mind.”

*

– Ed Roberts in a 60 Minutes interview with Harry Reasoner

If I remember correctly, I first dug into Ed Roberts’s story because someone on the internet mentioned him and his birthday. Maybe this was in 2017, when there was a Google Doodle to honor him. Or, maybe I made a note to myself when I saw the Google Doodle and then incorporated it into a class the following year. Either way, I had time to dig in.

Perhaps, since some of my themes are date-related and I do keep an eye out for such things, one might not consider my heightened awareness of Ed Roberts as being overly synchronistic or serendipitous. This is especially true considering that my annual participation in the Kiss My Asana yogathon is one of the many things that predisposes (or conditions) me to pay attention to stories about accessibility. If anything, I could kind of kick myself for not digging into his story sooner. 

But, we only know what we know and we don’t know what we don’t know. The odds are pretty high, though, that I would have eventually come across his story. What are the odds, however, that I would encounter the story of Keith Jarrett, Vera Brandes, and the unplayable piano mere days before the anniversary of The Köln Concert, which was performed and recorded on January 24, 1975?

Ok, I know what you’re thinking.

If, like me, someone was creating date-related content, any time someone landed on their media, they’re very likely to come across a timely bit of information. But, what if the content is not date-related? Additionally, what are the odds if the person (in this case me) is late to the proverbial party and just starts randomly picking content? Without even going into the details of my adventures in podcast-listening (or how many I’ve very recently started picking through), let’s just consider the odds of me picking one out of, say, 40 non-date-related episodes and landing on the one that just happens to coincide with an upcoming date. 

I have no idea what the odds are, and maybe I haven’t provided enough information, but feel free to comment below if you are a mathematician.

My point is that all of this also happened around the same time that we are all dealing and sometimes battling with change. It happened during a time when the whole world is facing the conflict that can occur when our past and ingrained behaviors, habits, and responses bumps up against the desire for new behaviors, habits, and responses. What are the odds of coming across the historical version of what the comedian Seth Meyers calls, “The Kind of Story We Need Right Now”? What are the odds of coming across the story of a man who did what he considered impossible because of his past experiences, his preconceived notions, and other untenable circumstances?

Keep in mind, this is not only the story of a man who did something he considered “impossible,” it’s also the story of a man who did something that, on a certain level, he didn’t want to do.

You can, as I did, listen to the Cautionary Tales with Tim Hartford episode entitled, “Bowie, Jazz and the Unplayable Piano” where ever you get your podcasts. Had I listened to it just a few days sooner, it might have changed the January 8th playlist.

“You always want to make it as good as it can be, but… But when you have problems that you can’t do anything about, one after another, you start forgetting what you’re actually doing, until it’s time. And that’s one of the secrets….”

*

– Keith Jarrett in a 2007 interview about his (01/24/1975) Köln Concert

In the 1970’s, 15-year old Vera Brandes started organizing jazz concerts and tours. At around 17, the German teenager started organizing the New Jazz in Cologne concert series. The fifth concert was scheduled for 11:30 PM on January 24, 1975, and it was going to be the first jazz concert at the 1,400-seat Cologne Opera House. The concert would feature a twenty-nine year old jazz pianist named Keith Jarrett, performing improvised solo piano pieces. Yes, that’s right, he was going to make it up as we went along –  and the sold out concert would be recorded. (According to last.fm, the tickets were 4 DM [Deutsche Mark] or $5.)

Here’s a few other salient details about the American pianist: He has perfect pitch and garnered some international attention (as a classical pianist) when he was in high school in Pennsylvania. He started playing gigs in Boston while attending Berklee College of Music and moved to New York City after about a year. In the Big Apple, he started making a name for himself, playing with jazz greats like Art Blakey and the Jazz Messengers, Jack DeJohnette, and the Charles Lloyd Quartet. By the mid-to-late 1960’s, he was playing and recording with his own trios and that’s around the time that Miles Davis invited him to join his jams (alternating and/or playing with Chick Corea).

Keith Jarrett and his own band of musicians – Charlie Haden, Paul Motian, (eventually) Dewey Redman, and a handful of other similarly accomplished musicians (including Sam Brown) – recorded over a dozen albums for Atlantic Records from 1971 to 1976. In that same time period, one iteration of the quartet recorded an album for Columbia Records; but then the label dropped him – theoretically so they could promote Herbie Hancock. Right around the same time the Columbia-door closed, another two others doors opened: Keith Jarrett and his quartet got a contract with Impulse! Records and he was contacted by Manfred Eicher, a German record producer and co-founder of ECM Records.

ECM stands for “Edition of Contemporary Music” and the label is known for high quality jazz and classic music – and musicians who give the side-eye to labels. It was a great creative dwelling place for musicians like Keith Jarrett and Steve Reich, whose music I have also used in some practices. The professional relationship between Keith Jarrett and Manfred Eicher led to the “European quartet” collaborations, solo piano albums, and, eventually, to that legendary concert in Cologne, Germany.

Here’s another important thing to know about Keith Jarrett: He has a reputation for being very, very particular about concert conditions. He doesn’t like audience distractions, especially when he is improvising, so – at the height of his career – audience members were given cough drops during winter concerts and he would sometimes play in the dark to prevent people from taking pictures. He is known for vocalizing while he plays jazz (but not, notably, when he plays classical music) and reportedly led people in group coughs.

Like other musicians, he is also very particular about the instruments he plays – and this is where we meet “the unplayable piano.”

“KJ: When I was a teenager, my youngest brother had a lot of issues, and didn’t go to school. He couldn’t go outside, so he couldn’t have friends, so he was basically a prisoner in my mother’s house. There was an upright piano there. And occasionally, my brother, knowing zero — meaning really zero — about piano, would work out anger or frustration, which he must have had gobs of, by going to the keyboard and just playing some shit. He didn’t know what notes he was hitting or what would come out. But I realized there were moments that were so good and they came from his ignorance. I’m not sure he even knew they were good moments. But I found myself thinking: how would a pianist ever — how do you approach that if you know the instrument?

 
DS: How do you find the accidental goodness?”


*


– Keith Jarrett in response to David Shenk’s question about having a willingness or eagerness to fail, in “Keith Jarrett, Part II: The Q&A” by David Shenk (published in The Atlantic, October 13, 2009) 

Keith Jarrett is known for eschewing electronic instruments and equipment. Obviously, he appreciates the “need” for recording equipment and he has recorded music while playing electronic instruments. But, it’s not his jam – and it’s definitely not the kind of thing he would request for a solo piano concert in an opera house in 1975. No, someone like Keith Jarrett, at that point in his career, for that concert, would request the piano equivalent of a Rolls-Royce. And that’s exactly what he did; he requested a Bösendorfer Model 290 Imperial, also known as the Imperial Bösendorfer or just as the 290.

The 290 is Bösendorfer’s flagship piano. It is an exquisitely beautiful concert grand piano with an equally memorable sound. In fact, it was specifically designed to be grander than any other piano on the market in 1909. And I mean that in every sense of the word grand. It has 97-keys and a full 8-range octave. For 90 years, it was the only concert grand piano of it’s kind. In 1975, it was easily recognizable by any professional pianist… but probably not by random stagehands (who hadn’t had any reason to deal with such a piano) and possibly not by a teenage concert organizer (who also hadn’t had any reason to deal with such a piano). 

Keith Jarrett, however, immediately knew that something was off when he arrived at the Cologne Opera House to find a Bösendorfer baby grand on the stage. To make matters worse, he was tired after traveling and not sleeping for two days, his back hurt, and he was suffering from food poisoning. To add insult to injury, the piano was badly out-of-tune and basically broken. Some of the keys and the foot pedals, one of the distinguishing features on the 290, didn’t work properly. It was simply a rehearsal piano or something someone had put in a backstage corner to warm up their hands before the curtain went up. It was too late to find and move a new piano. Even if they could find what had been requested – or something close, like the Bösendorfer (which would have been 5 keys shorter) – it was raining and Vera Brandes was warned that moving such an instrument in that type of weather would make it impossible to tune in time for the concert.

“Don’t play what’s there. Play what’s not there.”

*

– Miles Davis

Improvisation – in comedy and in music – is known for things like not breaking the flow (so, not saying “no”); and the concept of “yes, and…;” staying present; and being open to change.  But, Keith Jarrett had made up his mind. He said no to that baby grand piano. He declared it categorically “unplayable” and said the concert needed to be canceled. And there’s no indication, anywhere, that he was being a diva. He was just being realistic given his history and his frame of reference. The fact that he was sick and tired just made everything worse.

But the indomitable Vera Brandes had a different history and a different field of possibility. She convinced him that she could find someone to tune (and repair) the piano onstage, which she did. She sent Keith Jarrett and Manfred Eicher to a restaurant to grab a quick bite to eat. In some interviews, Keith Jarrett has said that they didn’t eat much because (a) he wasn’t feeling well, (b) there was a mix-up at the restaurant and their meal was delayed, and (c) they had to get back to the theatre. At some point along the way, they decided to keep the recording engineers – because they were going to get paid no matter what – and record what the musician expected to be a horrible and embarrassing disaster of the first order.

But it wasn’t. It wasn’t not even close.

Instead, the three improvised movements, plus the encore of “Memories of Tomorrow,” became the best selling solo album in jazz history and one of the best-selling piano albums. In the Spring 2019 issue of Daedalus, Dr. Gerald Lyn Early, who has consulted on several Ken Burns documentaries (including Baseball and Jazz), pointed out that Keith Jarrett’s solo concerts changed the sound and people’s understanding of jazz (not to mention, who played it); “…made solo piano playing commercially viable by showing that there was a considerable audience for it[;]” and “…proved that the public was willing to take such records seriously…”

From the very first notes, which sound like the warning tones the audience heard in the lobby before the show, Keith Jarrett carried the audience on a sonorous piano journey unlike anything they had ever heard. The album has been praised by musicians, critics, and publishers alike. It was included in Robert Dimery’s book 1001 Albums You Must Hear Before You Die. Eventually, much to the composers dismay, parts of the composition became movie soundtracks. Many wanted Keith Jarrett to transcribe and publish a score of the concert, which he finally, begrudgingly, agreed to do in 1990. The transcribed score, however, came with a very intentional caveat.

“For instance, on pages 50 and 51 of Part IIa there is no way to obtain, on paper, the real rhythmic sense of this section. There is much more going on on  the recording, but this “going on” does not always translate into notes on paper. Many notes are inferred by the rhythmic sense; others depend on the harmonics or attack of the previous note(or notes). So, writing down all the notes would give more of a false view of the sense of this section than selecting some notes. And yet, even this selection cannot reveal the real sense of this section as an improvisation, where listening is what determines the music’s strength.

*

So – we are at, let us say, a picture of an improvisation (sort of like a print of a painting). You cannot see the depth in it, only the surface. 

*

As a result of all of this, I am recommending that any pianist who intends to play THE KÖLN CONCERT use the recording as the final-word reference.

*

Good luck!”

 *

– quoted from the “Preface” to THE KÖLN CONCERT: Original Transcription, Piano by Keith Jarrett

Sunday’s playlist is available on YouTube and Spotify

[NOTE: If it is accessible to you, please consider using the Spotify playlist as it contains the original music referenced in the practice. Even better, if you already have the album!

The original recording is not available on YouTube (in the US) without a “Premium” membership and, after listening to several different “interpretations” – which do not / cannot include the vocalizations – I decided the Fausto Bongelli sounded the closest to the original. Sadly, one movement is missing and so I used a recording by Tomasz Trzcinkinski, who was the first person to record the music using the transcription. There are also now transcriptions for other instruments – which I didn’t sample, even though I think some of them would be lovely. There are also “covers” using electronic instruments, which I’m considering a hard pass (even if it seems contradictory to the theme), out of respect for the composer. ]

*

“My bottom walk-away experience that I believe I carry with me every day is that my father never settled for anything and always fought for everything. And he always, always followed his gut, followed his passion, went with it no matter who was against him, and oftentimes there was more people against him than it was for him.

 

So I’ve always followed my gut and followed my passion. And in so many different speeches, he would always encourage that person to look within themselves, find their passion, follow it. You can’t… You can’t go wrong with your gut. You can’t go wrong with your passion. Don’t ever settle. He never settled. I’ll never settle. I carry that with me every day, and if there’s anything he loved to pass on, it’s just go for it.”

 

– quoted from “A Day in the Life of Ed Roberts: Lee Roberts Talks About His Father, Ed Roberts” by Lee Roberts

 

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### My Takeaway: Today is tomorrow’s yesterday. If there’s something in your life – in your field of experience – or something in your past that makes certain things seem impossible, in this present moment, then knowing that – understanding why it seems impossible to you, then pick something. Pick some really small thing that you can start doing – or that you can actually do right now – that changes your history moving forward. So that your field of possibility expands. So that tomorrow – maybe not 24 hours from now, maybe not even 48 hours from now, but at some point, what was impossible becomes possible…. Consider that we are doing things today that were considered impossible “yesterday.” ###

Doing: Lessons in unexpected, ridiculously inconvenient, unplayable things (& “impossible” people) [mostly the music] January 23, 2022

Posted by ajoyfulpractice in "Impossible" People, Abhyasa, Art, Changing Perspectives, Healing Stories, Hope, Life, Love, Music, Philosophy, Vairagya, Yoga.
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“I fell in love, like many people do. We do that as well. And it became ridiculously inconvenient to have my attendant pushing me around in my wheelchair with my girlfriend. It was an extra person that I didn’t need to be more intimate. I learned how to drive a power wheelchair in one day. I was so motivated to learn something that it changed in many ways my perception of my disability and of myself. She jumped on my lap and we rode off into the sunset or to the closest motel.”

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– Ed Roberts (b. 01/23/1939) in a 60 Minutes interview with Harry Reasoner

Please join me for a 65-minute virtual yoga practice on Zoom today (Sunday, January 23rd) at 2:30 PM. You can use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

Sunday’s playlist is available on YouTube and Spotify[NOTE: If it is accessible to you, please consider using the Spotify playlist as it contains the original music referenced in the practice. Even better, if you already have the album!]

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There will be a separate post for this practice, but you can click here for 2021 post related to this date.

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In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)

“You always want to make it as good as it can be, but… But when you have problems that you can’t do anything about, one after another, you start forgetting what you’re actually doing, until it’s time. And that’s one of the secrets….”

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– Keith Jarrett in a 2007 interview about his (01/24/1975) Köln Concert

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