Another playlist, particularly affecting. The first seven cuts are especially languid, without sentimentality. Supposedly a list chosen for me by Spotify algorithms, based on my favorites and saved choices. Read into that what you will based on what you hear.
I’ve got nothing to prove here, and you have everything to gain.
Here’s what it is. I listen to more music than anybody I know. That’s not saying much, probably, given how much music some people listen to. But it’s a recursive universe and mine is particularly self-referential, because I don’t get out much.
The thing about what I listen to is, it’s all over the map, I mean the cultural qua musical map, because if it gets to my heart, or my soul, or simply into my head to my pleasure centers, I listen and I listen good. The same results for everyone are not guaranteed. I mean there’s even some rap and hip-hop I listen to. I like opera. If you catch my tune.
One of the pleasures I always get, or not so much “always” as more and more reliably more often, is listening to music that is the auditory version of comfort food. It hardly matters, except for context, but I am very comfortable with music I have been listening to my whole life, which is over 70 years, and some of it, a lot of it strictly speaking because I listen to so much so-called “classical” music and there is more of that written during the course of the modern era in western culture, that is, over the past five hundred years or so, than has been written in the time I’ve been alive.
But the greater comforts can be had as well with popular music that is, some of it, at least my age, and older, dating back to beginning of the 20th century. This is more or less co-extensive of certain kinds of music, genres distinguishable from their roots in ethnic sources that traverse continents and oceans. I am talking about, among other major musical art forms, jazz. But I am also talking about blues, and I am talking about rock and roll. All more or less a century old in their recognizable forms by those rubrics.
I love to share what I gives me so much sensate satisfaction (call it soul satisfying if you like; I won’t stop you, or even give you a fishy-eyed look). Usually this means something literally digestible, some kind of food, especially if there’s enough to go around, and particularly if I’ve prepared it myself. But music is a food. Evanescent, speaking to feeling as much as to anything, and in a certain respect impossible to get yourself filled up so you can’t take any more. Which can’t always be said of North Carolina style pulled pork.
But in a certain way, it’s easier to share something good to eat, if only because of its substance and immediacy. And I can immediately gauge the effects of consumption. And there’s an ease about how it’s here, and then, consumed, it’s gone. And if my guests don’t like it, no harm done, and my sense of pleasure isn’t compromised. Tomorrow is another day.
It’s easier to share food, because one can plan on a conjunction of heightened expectations, of preparing for a meal by abstinence, and with all the anticipatory, perhaps ritualistic appetite enhancers: the aromas from the cooking area, other palatal stimuli like drinks and a sincere air of conviviality. We build ourselves up for satisfaction.
With music it’s different. There is no amuse-geule that prepares the listener for a meal of savory straight jazz standards. There may be an opening act, but that’s only to build up a different form of anticipation, larded as it is too often, intentionally, with delay and the attendant impatience.
Of course, for that reason, and others, I avoid live performances. There’s the inconvenience, and there are all those other people.
I don’t need company, frankly, to enjoy a tune, and certainly not for a symphony or a suite.
So, in more ways than the singular and irreversible accident of the occasion of my birth in the continuum of technological progress, I am the happy beneficiary of the pleasures of recorded music. What I want to hear, when I want to hear it, or so I characterize so much of the back catalog of my musical preferences.
I look forward to new performers and new performances, experimental or tried-and-true, by old favorites.
And therefore, to cut to the chase, I love Spotify.
I have shared the occasional cut, even as I was listening to it, posting a link before a song or movement was even finished to share it with my friends on Facebook.
But for the duration I am eschewing Facebook, which loses its pitifully small benefice of being, still, a kind of threadbare means of maintaining social contact. Without belaboring it, it’s proving increasingly more fulfilling to me to provide access to what I have to offer my friends by way of sharing thoughts and cultural artifacts by the means that I have always preferred in the age of technologically enhanced connection.
So I present to you, as I will from time to time (or not, not if there’s not some kind of stir, some kind of acknowledgment, some indication that it’s welcome and useful, dare I say satisfying to you as well). If you like it, tell me.
Today was a day of reviving obscure, if not moribund, old standards. And don’t say melancholy. Say moody.
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