(I didn't write any notes for this piece of media. Foolish me!)
★★★★
(I didn't write any notes for this piece of media. Foolish me!)
★★★★
In all jazz, and especially the blues, there is something tart and ironic, authoritative and double-edged. White Americans seem to feel that happy songs are happy and sad songs are sad, and that, God help us, is exactly the way most white Americans sing them—sounding, in both cases, so helplessly, defenselessly fatuous that one dare not speculate on the temperature of the deep freeze from which issue their brave and sexless little voices. Only people who have been “down the line,” as the song puts it, know what this music is about. White Americans do not understand the depths out of which such an ironic tenacity comes, but they suspect that the force is sensual, and they are terrified of sensuality, and do not any longer understand it. The word “sensual” is not intended to bring to mind quivering dusky maidens or priapic black studs. I am referring to something much simpler and much less fanciful. To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort of loving to the breaking of bread.
It is rare indeed that people give. Most people guard and keep; they suppose that it is they themselves that they are guarding and keeping, whereas what they are actually guarding and keeping is their system of reality and what they assume themselves to be. One can give nothing whatever without giving oneself–that is to say, risking oneself. If one cannot risk oneself, then one is simply incapable of giving.
