I Don’t Have to Do That

AS EACH FLEETING WEEK swipes another physical ability and leaves a fresh pain in its wake, I’m comforted by the mantra I summon: I don’t have to do that. It’s not belligerent. It’s a gentle reminder, obedience to which keeps me free of ache and frustration.

For example. I’m six feet four inches tall, a height offset, particularly when viewed from a distance, by the bulges I wear in a horizontal direction. And I probably would measure up now as an inch or two shorter, thanks to spinal collapse and my general crouch, but I haven’t measured my height in years. I don’t have to do that.

That height, combined with what I assume was a pleasantly accessible mien, often inspired shorter fellow-shoppers to ask me to reach items down from high shelves. I happily obliged. Now my shoulders are shot – I blew out both rotator cuffs by hammering a stage platform into being – and I can barely reach to the height of my head. Should someone ask that favor now – well, you know where I’m going. Of course, they don’t ask, because that accessible mien has also gone away.

Which means I’m merely a grumpy old man – I’m 68 as I write this – who becomes one of many trudging a grocery cart through a checkout line reminiscent of Cold War-era photos of GUM store queues. This makes me a target for the complainers which, despite my infirmities, I am not. “How long are they gonna make us wait here?” might go the opener, or “Can you believe that parking lot?” (Are we questioning its existence?) or “Whoever heard of paying five bucks for a carton of eggs?” My tactic is to first pretend I’ve been startled out of a reverie and ask the questioner to repeat the query. Then I shrug – a shrug can be a focus-grabbing gesture – and respond, respectively, “I’m in no hurry,” “It’s a beautiful thing,” and “I wouldn’t know. I have hens.”

Sonny Days

IN THE END, it comes down to your Moldy Fig quotient. If, like me, you rooted yourself in a jazz era that barely stretched into the Second World War, making friends with bebop has been too much of a challenge to pursue. Sure, I’ve been tempted by Bird and Diz, but never enough for a lasting commitment. At least at first. My horizons eventually broadened thanks to the same vehicle that got me interested in non-mainstream music in the first place: friends who insisted I listen to something that was new to me.

I wish I’d had this Sonny Clark set back then. Mosaic Records has just released The Complete Sonny Clark Blue Note Sessions, which captures the recordings made under the pianist’s name between 1957 and 1961, resulting in nine LP releases. Clark is remembered as an inventive exponent of the “hard bop” movement, a label I find too ill-defined—but there’s a lot of hard-driving, angular music in these grooves.

And then there’s something else, to which I now wish to point you. Acquire this set (and do so soon, because you know how quickly these limited-edition Mosaic sets tend to sell out) and head to Disc Five. That’s the “Singles Session,” recorded November 15, 1958, with bassist Jymie Merritt and drummer Wes Landers. The idea was to create recordings for jukebox play. From the first notes of Don Redman’s “Gee Baby, Ain’t I Good to You,” we’re on very accessible ground. Clark had a history of solo-piano work, and it shows. It’ll lure you on in, your fig condition notwithstanding.

Trumping the Tramp

HE WAS FAR FROM A SAINT. We want to forgive him because he was funny as hell, a process that grows less and less difficult as the misbehaviors of others in the public eye grow (or are revealed to be) more heinous. Charlie Chaplin’s biggest sin was that he liked women, liked them young, and liked them to satisfy a prodigious sexual appetite. Chaplin’s biggest crime was his outspoken political stance, which was misinterpreted vigorously enough to win him a fat FBI file and eventual banishment from the U.S.

Scott Eyman’s meticulous study places the comedian’s film career against a rising tide of manufactured disapproval, culminating in the horrific kangaroo trials to which Chaplin was subjected and deftly (but not at all overtly) paralleling them to the kind of ideological nonsense we’re sprayed with in the age of MAGA. You think Trump is a dangerous idiot? Wait’ll you get to know J. Edgar Hoover.

Chaplin’s early years are sketched with sympathetic precision, covering the important points of his career and examining a fraught relationship with his show-biz parents: a father, famed for his music-hall turns, who was mostly absent and soon dead, and a soubrette mother who lost her mind. Although Eyman doesn’t indulge in too much psychological speculation, he sees this a stage-setting the relationships Chaplin eventually with the friends, co-workers, and, especially, women in his life.

He started as a boy performer in England, eventually landing a berth in the Fred Karno troupe, which toured knockabout sketches throughout the U.K. and, ultimately, across the U.S. In 1914, when Charlie was 24, he was invited to make films for Mack Sennett. In breathtakingly short order he created the character of the Tramp and placed him 36 one-reelers, all in the space of a year. Skyrocketing popularity led him to set his own terms for his subsequent 25 films, now two-reelers, that he wrote and directed for two different companies through the end of 1917.

Tooning In

THERE HAS BECOME A TRADITION for symphony orchestras to devote an evening to serving as accompaniment to a feature-length movie. In nearby Saratoga Springs this summer, the Philadelphia Orchestra will be pandering to the masses by playing to a Harry Potter movie. Silent movies invite accompaniment even more, typically with a single performer at the keyboard.

Turns out there’s a middle ground, a place where six virtuoso musicians serve as the soundtrack to a eclectic selection of cartoons. The music is high-spirited, in the tradition of the John Kirby Sextet and the Raymond Scott Quintet (also a sextet, but don’t worry about it. Scott didn’t).

The Queen's Cartoonists

The Queen’s Cartoonists derive their royal appellation not from the late sovereign but from their New York City borough of residency. They are impossibly talented. Joel Pierson is the pianist and leader, providing commentary throughout the show. Greg Hammontree generally plays trumpet, but picks up other instruments or percussion items as needed. Mark Phillips plays clarinet and/or (curved) soprano sax, while Drew Pitcher is usually playing tenor sax but switches out to any number of other instruments and noisemakers. Bass-player Sam Minaie plucks, snaps, and slaps his instrument like a madman, although he can turn around a bow a charming melody as well. And Rossen Nedelchev, behind the drum kit, not only provides a solid drive for this ensemble but also manages the video portions of the program.