Formation: Building a Personal Canon, Part I

Formation

Popular Music History

Series Editor: Alyn Shipton, Royal Academy of Music, London.

This series publishes books that extend the field of popular music studies, examine the lives and careers of key musicians, interrogate histories of genres, focus on previously neglected forms, or engage in the formative history of popular music styles.

Published

An Unholy Row: Jazz in Britain and its Audience, 1945–1960

Dave Gelly

Being Prez: The Life and Music of Lester Young

Dave Gelly

Bill Russell and the New Orleans Jazz Revival

Ray Smith and Mike Pointon

Chasin’ the Bird: The Life and Legacy of Charlie Parker

Brian Priestley

Desperado: An Autobiography

Tomasz Stanko with Rafał Księżyk, translated by Halina Maria Boniszewska

Eberhard Weber: A German Jazz Story

Eberhard Weber, translated by Heidi Kirk

Handful of Keys: Conversations with Thirty Jazz Pianists

Alyn Shipton

Hear My Train A Comin’: The Songs of Jimi Hendrix

Kevin Le Gendre

Hidden Man: My Many Musical Lives

John Altman

Ivor Cutler: A Life Outside the Sitting Room

Bruce Lindsay

Jazz Me Blues: The Autobiography of Chris Barber

Chris Barber with Alyn Shipton

Jazz Visions: Lennie Tristano and His Legacy

Peter Ind

Keith Jarrett: A Biography

Wolfgang Sandner, translated by Chris Jarrett

Komeda: A Private Life in Jazz

Magdalena Grzebalkowska, translated by Halina Maria Boniszewska

Lee Morgan: His Life, Music and Culture

Tom Perchard

Lionel Richie: Hello

Sharon Davis

Mosaics: The Life and Works of Graham Collier

Duncan Heining

Mr P.C.: The Life and Music of Paul Chambers

Rob Palmer

Out of the Long Dark: The Life of Ian Carr

Alyn Shipton

Rufus Wainwright

Katherine Williams

Scouse Pop

Paul Skillen

Soul Unsung: Reflections on the Band in Black Popular Music

Kevin Le Gendre

The Godfather of British Jazz: The Life and Music of Stan Tracey

Clark Tracey

The History of European Jazz: The Music, Musicians and Audience in Context

Edited by Francesco Martinelli

The Last Miles: The Music of Miles Davis, 1980–1991

George Cole

The Long Shadow of the Little Giant (second edition): The Life, Work and Legacy of Tubby Hayes

Simon Spillett

The Ultimate Guide to Great Reggae: The Complete Story of Reggae Told through its Greatest Songs, Famous and Forgotten

Michael Garnice

This is Bop: Jon Hendricks and the Art of Vocal Jazz

Peter Jones

This is Hip: The Life of Mark Murphy

Peter Jones

Trad Dads, Dirty Boppers and Free Fusioneers: A History of British Jazz, 1960–1975

Duncan Heining

Two Bold Singermen and the English Folk Revival: The Lives, Song Traditions and Legacies of Sam Larner and Harry Cox

Bruce Lindsay

Vinyl Ventures: My Fifty Years at Rounder Records

Bill Nowlin

Formation

Building a Personal Canon, Part I

Brad Mehldau

Published by Equinox Publishing Ltd.

UK: Office 415, The Workstation, 15 Paternoster Row, Sheffield, South Yorkshire S1 2BX

USA: ISD, 70 Enterprise Drive, Bristol, CT 06010

www.equinoxpub.com

First published 2023

Copyright © Brad Mehldau 2023

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage or retrieval system, without prior permission in writing from the publishers.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN-13 978 1 80050 313 7 (hardback)

978 1 80050 326 7 (ePDF)

978 1 80050 420 2 (ePub)

Library of Congress Cataloging-in-Publication Data

Names: Mehldau, Brad, author.

Title: Formation : building a personal canon, part I / Brad Mehldau.

Description: Sheffield, South Yorkshire ; Bristol, CT : Equinox Publishing Ltd, 2023. | Series: Popular music history | Includes index. | Summary: As an innovative and constantly inventive jazz pianist, Brad Mehldau has attracted a sizable following over the years, one that has grown to expect a singular, intense experience from his performances. With Formation, Brad seeks to extend that experience to the page, by sharing some of the deeply personal elements of his life, and how these came together for him to become the musician and person that he is today. For the first time, he offers an in-depth look at how he came to understand his adoption, survive sexual abuse, and overcome heroin addiction--Provided by publisher.

Identifiers: LCCN 2022044820 (print) | LCCN 2022044821 (ebook) | ISBN 9781800503137 (hardback) | ISBN 9781800503267 (pdf)

Subjects: LCSH: Mehldau, Brad. | Pianists--United States--Biography. | Jazz musicians--United States--Biography. | Jazz--History and criticism. | LCGFT: Autobiographies.

Classification: LCC ML417.M48 A3 2023 (print) | LCC ML417.M48 (ebook) | DDC 781.65092 [B]--dc23/eng/20220927

LC record available at https://lccn.loc.gov/2022044820

LC ebook record available at https://lccn.loc.gov/2022044821

Typeset by Witchwood Production House Ltd

For Bill, James, Kevin, and all the angels.

Bildung: (German) formation, development, education

Contents

List of Illustrations

Preface: Saying Goodbye to Your Story

I. Tom Sawyer

Seeing Cain the first time

Dream music

Lonely music

West Hartford

Ricky

Ms. Hurwitz

The mark

Prog

Hate

The dragon

The outsider artist

Longy

Dylan

Musical religion

Scripture

Teen jazz snobs

Cain goes to work

Working off gym class

Shape-shifting

II. New York

New tribe

The New School

Bebop Nazis

Coltrane killed jazz

The Goons

Wynton

Dragon music

You’ll never be a good comper

Trivialization

Bebop lives

Pot paranoia

Hanging with Bill

The live sublime

Trio

Catch-22

III. Meta Blues

In which our hero discovers the lure of polemics and the folly of self-righteousness, and his resulting political awakening, through his acknowledgment of Led Zep’s moral authority . . .

Bad irony

Endgame

The nail in Adorno’s coffin

The form of freedom

Good irony, finally

The hip-hop sublime

Consolidation

Park Slope and Carroll Gardens – meeting points

Americana

MoodSwing – the Joshua Redman Quartet

Smalls

IV. The Long Goodbye

The Pink Lady

Miguel

Sarah

Dr. Finger Fuck

Pleasure’s checks and balances

Kevin

James

Almost done

The past, present, and future

Carry on

Epilogue

Selected Discography

Acknowledgments

Index

List of Illustrations

Letter, circa 1976 (six years old)

Our cousins had a beach house in Hampton Beach, NH, and that’s where I am, aged five

Celebrating my eighth birthday

Joel and I in 1985, during the 880 days

Senior Year of High School, 1987

Junior Mance, foreground, playing a duet in 1992 with Lionel Hampton

Fred Hersch

Peter Bernstein in 1986 with Jimmy Raney and Attila Zoller

Spike Wilner playing at Augie’s

Augie’s, 1991

Saturday night at Augie’s, 1988. Jesse Davis’s band, with drummer Eric McPherson, a very young Christian McBride on bass, and me on the Fender Rhodes.

On the Rhodes at Augie’s, with the trusty basket standing by

With Leon and Ugonna at the Village Gate

1991

With Jorge in the Sackett Street apartment

On tour with Pat, Larry, and Jeff, 2007

With Josh, London, 2016

Dessert after a gig with the Joshua Redman Quartet, 1994

The Café Central and Hostal Fernandez where I stayed in Madrid

Preface

Saying Goodbye to Your Story

Canons are commonly for everyone. Their compilers aspire to universality. I propose a personal canon: this is the music that rose to the top for me. Here is how and why. I do not endeavor to list a formal concrete canon here. Instead, I will show how one came into being, specifically my own musical canon, and how that process played out in tandem with my development as a jazz musician throughout the first twenty-six years of my life. In a second book that is under way, I will focus more directly on the canon itself.

In this first book, though, I’ve taken a cue from the Bildungsroman genre, inaugurated in Goethe’s Wilhelm Meister’s Apprenticeship. This kind of novel – Bildungsroman is German for formation-novel – tells the story of a young person and how they grow into maturity. When that maturity is reached, the novel is finished. The apprenticeship is a period of gestation. The formative experiences I describe here are those that shaped me as a musician. I do not wish to imply that, when this story is finished, the development stopped. Yet it has only become possible to take stock of this growth half a lifetime later, in an effort to find meaning in the events.

The book is twofold. As a jazz pianist, I’ve tried to illustrate a picture of what the music felt like in the late 1980s and first half of the ’90s in New York. I hope to have sketched how a particular ethos came into being, one that included myself as well as contemporaries and friends of mine. In addition, though, I tell a more personal story here, as a way of saying goodbye to it, as a path towards healing. Perhaps there will be something in it that folds into your own story as a reader.

Music heals through its storytelling – when one hears one’s own story in it. Music mediated, guided, and shaped my Bildung. As long as I can remember, from the earliest memories, it unfolded as a narrative, and had intimate kinship with the novels I began to discover in adolescence. I will show how literature – like the Bildungsromans I mentioned, other novels and short stories, and literary and musical commentators and theorists from both left and right – informed not just the musical canon but also how I came to understand myself. To borrow a term from a great teacher, Thich Nhat Hanh, literature and music inter-are.

Along the way, I will also explain how the personal experiences and musical development shaped a politics – not just an affiliation, but more how I began to understand my role in society, personally and as a performing artist. I will confirm the truism that the personal is political, and that therefore, in my view, the artist/performer’s output is always political, intentionally or not.

This opens up an inquiry which hovers over everything else, one that addresses the why and how questions I began to ask during my Bildung: Why did I become a jazz musician? How do I live as one? These questions probe the broader meaning behind the vocation. The answers remain provisional, but by my lights that’s as it should be. I follow Rilke’s admonishment not to seek closure but rather to live the questions now. This may seem inconsistent in a Bildungsroman, which would properly end with resolution for its protagonist. Yet there was a resolution, of a kind, as the period I write about drew to a close. It was a resolve to keep on asking those questions, because they were the ones worth asking; and to find, if not definitively final answers, then a series of helpful ones along the way, open to further revision.

That resolve has remained. As a musician and as a human being, there is a never-ending mediation between the dull dead end of some sterile, unsatisfying conclusion and the exhausting vortex of endless rumination. Both are crippling. During the time I write about, I began to look for something onto which I could hold fast, something absolute and unshakeable that did not so much answer those questions succinctly, but rather, drove me to ask them. Caring about all those thorny Bildung questions in the first place hinged on the hope that there were answers. Even if I would never find them, I could collect clues.

Hope – the hope that I finally found again after the crisis I experienced, was necessary for my survival. Without it, there was no will to carry on. You, the reader, may understand hope in less all-or-nothing-at-all terms – perhaps simply as a force that drives your vision forward and gets you out of bed every morning to face daily strife, or just a principle of optimism you operate on with varying degrees of success. Or maybe you will find an echo in a crisis of your own that you’ve weathered or are still experiencing. I venture to say, in any case, that we all need hope.

That hope, in turn, is buttressed by some kind of belief that there is a meaning and order more generally. You seek evidence of that because it gives you purpose, and a sense of purpose gives you the will to persevere. That seeking, though, is driven by a deeper need – a fathomless thirst for kindness and mercy: for Love. The meaning and order are an empty husk without it. If you tie your own teleological belief to that love, then you might find someone or something you call God. There are many ways and words to describe that relationship, but in this book I share my own experience – my initial apprehension of that presence in early confrontations with the sublime, a continuing search for a workable understanding of all that and how it played into the music I made, and finally, as the book closes, God’s grace as I experienced it, directly. That experience, more than any formulation or words to name it, is all that matters in the end. All ideas fall away in that moment.

I have found a maxim. It is one of those maxims that can never be met in perfection, but to which one can aspire: you have to be willing to let go of your own story about yourself completely, to drop your whole idea of who you thought you were. That means everything you don’t like about yourself but also everything you cling to because you don’t know who you would be without it. The story is what’s tying you down. It has stopped working. When you know this to be true, it is not an intellectual realization. You feel it in your core.

This arrival can be exhilarating. There is an open expanse before you, an identity waiting to be formed. You begin to tell another story about yourself – perhaps even one about how you used to be locked in an old storyline but are now finally free from it. And then, a decade or two later, this story in turn is no longer viable.

Saying goodbye to your story can be painful as well. You’re parting from something you loved, even as it was holding you back. There’s grieving in that. You need hope to move forward, but it should be a hope that serves you, reinforced by an honest appraisal of what has and hasn’t worked in the past, as a map for the future. False hope, on the other hand, is rooted in blind desire. It may even be desire for salvation, but it still dulls your perception, locking you in ignorance, beckoning you into a happy fantasy of the future based on an unhappy fantasy of the past, stealing away the richness of the present. If I catch myself hanging on to a hope that no longer serves me, valorizing it, it may be time to let it go.

Saying goodbye happens in as many ways as there are stories for each one of us. Often there’s the grieving, but it can also be more like cutting something out of your insides with a knife. You have to walk right into the fear and face it directly. It’s a fear of losing your identity. Who will you become? Or it’s like climbing a mountain with only a little flashlight, all alone. The mountain gets steeper as you ascend, and the top is covered by clouds. You push forward, even when you think you can’t anymore. You need faith for that.

There is a kind of faith that is not blind. It is based on knowing what has worked for you in the past, and trusting that some version of it may work in the present. That demands self-knowledge. It involves having a nuanced and honest story to tell about yourself, for your own well-being, one that is nevertheless open to revision at all times. You aspire to self-honesty, even if you don’t achieve it perfectly. You don’t try to snuff out what remains in you from your past. It’s very rare that we truly make a clean break with anything, after all. There is always residue. Our past experiences melt into our present ones and condition them. To be aware of this affords us grace and direction during difficult times when we say, Why am I stuck here again?

I’d like to thank all the teachers who guided me on my Bildung. Some of them will be mentioned here, others not. They were all indispensable. If I have forgotten any, it is merely a slip of memory and I apologize to them in spirit. Many of them are mentioned in the story that follows. They are here in rough chronological order, in separate categories, first musical:

Throughout childhood and adolescence: Mel Subulkin; Ruth Hurwitz; Lee Callahan; Ray Cavissino; Haig Shaverdian; Peter Cassino; all of my teachers at Merrywood in Lenox, Massachusetts, including Andrews Sill, my piano teacher and chamber music coach there; drummer Larry DiNatale, who gave tenor saxophonist Joel Frahm and me our first real jazz gig, every Wednesday night at the 880 Club in Hartford; Bill Stanley; and all of the chamber music teachers at Apple Hill in Keene, New Hampshire.

Upon arriving in New York City, the list is long, and begins with teachers at the New School for Social Research Jazz Department. Firstly, my private piano teachers Junior Mance, Kenny Werner, and Fred Hersch, in chronological order. Kenny and Fred also taught classes that combined theory, composition, and motivic analysis. There was classical music history professor Henry Miller, early jazz history with Phil Schaap, a class taught by Loren Schoenberg that focused on Brahms’ Third and Fourth Symphonies, big-band arranging with Kirk Nurock, ear-training teacher Aydın Esen, and Latin jazz with Andy Gonzáles. And I sat in on some exhilarating funk workshop classes with drummer Bernard Purdie. There was trumpet player Cecil Bridgewater and drummer Joe Chambers who led my ensemble classes. Drummer Jimmy Cobb taught rhythmic development in my first year, which was a high point during all my time at The New School. I wish to thank the Eubie Blake Foundation for giving me a scholarship to attend there. Finally, there was Arnie Lawrence, whom I describe below. The New School, in its ethos, was largely Arnie’s vision, and he welcomed me there with open arms.

There are detailed descriptions of drug and alcohol abuse in this book. I want to stress that, although I describe the pleasure of using them, I hope I will have shown that they were a mistaken path, one that injured me and almost took my life. They are a part of my story. I do not know why I survived when close friends of mine did not. Perhaps because of this, I feel an obligation to tell that story honestly. Drugs and alcohol were painkillers which only caused more pain, and I want to underline: they offered no insights musically, in the least. The late great bassist Charlie Haden, whom I also thank here as an important guide and support near the end of my Bildung, put it succinctly in a conversation I had with him once: "Bird did not play great because of heroin. He played great in spite of heroin. And just imagine how much more he could have done if he had not been an addict." One thing is certain. He shouldn’t have died that young. In considering his drug use, it is important to remember that Charlie Parker was an unqualified genius. Nobody else was like Bird. In my case, playing on heroin worked in a sense, but I was on autopilot. It was what I already had, and I wasn’t building from that any further. Real creative flourishing only began after I got clean.

I must thank Jorge Rossy for remembering much more than I ever could have on my own, about the Brooklyn scene I describe in the section Park Slope and Carroll Gardens – meeting points. He helped me sketch that significant time for all of us. Additional thanks go to Larry Grenadier for sharing his early journey into the music, Joshua Redman for helping remember how I came into his band, Spike Wilner for his account of Smalls’s humble beginnings, David Sánchez for recounting my time with his band, and Matt Pierson for his perspective as A&R at Warner Jazz when he signed Joshua Redman and we recorded MoodSwing.

I’d like to thank John, the older brother of Bill, my dear friend and a friend to many, who was taken from us at a young age, for giving his family’s blessing to write about him below. This book is dedicated to Bill and two other close friends I lost, whom I also write about below, James and Kevin.

Finally, I’d like to thank my family: Fleurine, Eden, Ruby, and Damien. They began the next chapter of my life after the Bildung I write about here. I could have never imagined when I was a young person what a rich chapter that would be. My gratitude for their love and the lessons they’ve taught me is immeasurable.

Several names have been changed in this book to respect the privacy of the people I write about.

I

Tom Sawyer

Letter, circa 1976 (six years old)

Dear God,

Do I have faith. I wish I knew. Please God help me now. I will not act big or anything like acting tough on the bus. I will follow the rules on [the] bus and [at] class, and have good harmony, and try my best on work and be nice at my friends and don’t call them names. Please God Please.

Signed by Bradford A.M.

Love thump! (?)

Seeing Cain the first time

When I was eight years old, in third grade at Memorial Elementary School in Bedford, New Hampshire, there was this one kid, a couple years older, in fifth grade. I never knew him and forget his name now. I was drawn to him and watched him secretly. He had eyes that were so blue they were almost gray, thin and squinting, and I imagined he had blood from some rugged, faraway Eastern place I had seen in National Geographic – maybe the steppes of Siberia or Mongolia. Yet there was that sandy, washed-out blond hair. He was from somewhere else. That much was certain. His gaze was slightly downwards most of the time, just below your eye level, but not out of any shame – more out of disdain for everyone else, except sometimes when he suddenly looked upwards at me with his eyes only, not raising his head. If I didn’t turn away, he would hold his gaze towards me for a moment and then look back down again, uninterested.

He was a loner. The other kids made fun of him. He would never say anything. He didn’t cry or show any emotion. I wasn’t sure why they were picking on him. He wasn’t ungainly; he didn’t talk funny. He didn’t talk much at all. Maybe that was why they were mean to him – they didn’t trust his silence. Kids were like that, running on animal instinct. To me he looked cool, kind of rugged, like the tough kid I would have liked to be – me, with my bifocals and Dickie trousers. He always had on the same pair of Wrangler jeans.

One winter day on the playground, this loudmouth fourth-grader had been taunting him for most of recess. Some other kids were giggling – not just the boys but girls as well, which made it even worse. Then: all of the sudden, he stepped forward and knocked the wind out of the loudmouth – a fast knuckle punch right between his ribs. The kid went down on his knees, trying to breathe. Then he started to sniffle and cry in spurts, the snot dripping out of his nose and freezing onto his upper lip like it did on those cold New England days.

A crowd of us gathered around the two – the one crying and the one standing over him silently. I remember feeling scared of that fifth-grade loner, scared of the way he came out of nowhere with that punch. There was no hesitation in it and, after he did it, he showed no remorse, only calm resolution. At the same time, I understood him. I understood how he was always alone. I already felt that burden. I wasn’t with those other kids – I didn’t want to be. But I didn’t really want to be alone, the way it seemed he truly did. So there was this mixture of fear and recognition. The yoking of those two primal emotions was my first, foundational meeting with what I came to understand as The Sublime.

Through the crowd, another kid stepped forward – a sixth-grader, a real alpha-type, a shotcaller on the playground. He decided quickly that the loner was wrong for hitting the kid, and had to be punished. The other kids lined up dumbly behind him and yelled insults at him. The alpha bruiser pushed the loner once on the chest. He lurched back, but stayed on his feet. He made no move to strike back. The teacher on recess duty was already on her way. She broke it up and it was all over.

I sided with the loner, and felt no sympathy for the loudmouth who received his fierce, unexpected punch. The loner, it seemed to me, was the real victim, because the whole group fell in line with the ringleader. It was betrayal by the tribe. He was attacked by the group, not just by the loudmouth. That seemed much crueler than what he had done, and the sixth-grader alpha kid was nothing but a big windbag by my lights, with his John Wayne act. I still felt fear of the loner. He had my sympathy, though, and, more importantly: my admiration.

I never became friends with him. As I went along in life, these kinds of people were models for me, but I never entered into a direct exchange with them. In fact, I came to realize that I didn’t have much in common with them. They were out of the tribe. I was straddled somewhere between outside and in. I was never quite ready to make the break, and I guess I didn’t really want to. Besides, you don’t actually choose your tribe – it chooses you, just as it casts you out.

The error I made was in my conflicted perception of the loner: if he was really so strong, if he could really roam in his own solitude so freely, without all of us, then he was no victim. Yet I projected that quality onto him. Unwittingly, I had made a model for myself. I would valorize my own sense of victimhood in the years to come, always trying to be a real outsider like him, never quite succeeding.

Dream music

Some of my earliest memories are musical, from age four when my family lived in Roswell, Georgia. My mother and I would sit at the Sohmer spinet piano from my father’s childhood home in Bay Bridge, Brooklyn. It was the piano I played and practiced on until I left for New York at age eighteen. She would play nursery rhymes for me, and then I would imitate her. I could quickly repeat what she played, and enjoyed the game. My mother found the two most important piano teachers of my childhood and spent many hours taking me to and from lessons, fostering my musical growth in those early years.

The following year in 1975, when I was five, we moved to Bedford, New Hampshire, and lived there for the next five years. I began piano lessons soon after with a man my mom found named Mel Subulkin. Mr. Subulkin had a weekly gig at a hotel restaurant in Manchester, the small city next to Bedford, and my parents took me to see him there a few times. He backed up a singer, and they played hits from that time like This Masquerade or Isn’t She Lovely. I looked up to him. He played a Yamaha CP80 electric grand on that gig – an instrument whose timbre colored much of the pop music that entranced me in the next several years.

We began with method books in those first lessons – simple things for kids designed to teach how to read music, fingering, etc. – and then started to work from songbooks of popular hits from the day. He would teach me how to embellish what was on the page by adding ornamentation. We took this approach with songs like Barry Manilow’s Mandy, If from Bread, or the theme from the popular TV show Love Boat. I started to develop likes and dislikes: the Barry Manilow and Love Boat were okay but sounded a little like the soap operas I saw on TV sometimes – syrupy, a little glib. If had something deeper, though, in both its sadness and dreamy happiness. Mr. Subulkin was the first model of someone being spontaneously creative at the piano. He put the idea in my head early on that you could make stuff up and music wasn’t strictly about reading notes on the page. This was the embryonic beginning of improvisation for me, aged seven.

Bedford was a sleepy, small town. The steeple of our Presbyterian church was the highest edifice. It had a few days of national fame every four years during the Republican primaries. New Hampshire was a big zone for Republican presidential hopefuls who wanted to give their pitch and present themselves as authentically libertarian – Live Free or Die, like the license plate says. Bedford, in the Republican myth, was a small town full of regular scrappy, no-nonsense folks, laconic Northerners shaped by snow and ice, hardy types who didn’t need the government telling them what to do. All the news outlets would set up camp there, and the politicians would show up and campaign to the townspeople, while the camera angled on their silent, frowning faces, listening to the jargon.

Our cousins had a beach house in Hampton Beach, NH, and that’s where I am, aged five

Celebrating my eighth birthday

That year, George H.W. Bush came through Bedford, the first time he ran for president in 1979 and lost to Reagan. He gave a short speech one evening in the auditorium of my elementary school and my family went. There were probably no more than a hundred of us there, and he took some questions at the end of his talk. A couple of kids got to ask questions. One asked him what he would do about nuclear bombs, and was the world going to blow up. The question was met with sad, pinched smiles from the adults and platitudes from Bush (There are no easy answers to these tough questions . . .).

The previous Thanksgiving – we celebrated every year in Haverhill, Massachusetts with my cousins on my Dad’s side of the family – I had been listening to a conversation between my father and my Uncle George, talking about the Russians. They were going back and forth a bit with some mumbo jumbo I didn’t understand – something about a cold war, whatever kind of war that would be, and then, all of a sudden, Uncle George said to my dad, "Yes, but Craig, what about the Russians? What do we do about the Russians? My Dad was stumped and didn’t have an answer. I was impressed. So I had my question ready for Bush. I was going to ask him, What about the Russians?" I had no idea why the Russians were worthy of concern, but it sounded cool and advanced when my dad and my uncle were talking about it. I wanted to sound important like that for Bush. (He didn’t call on me that night.)

My first memorable strong connections to music were through the clock radio in my bedroom in Bedford. I got it for Christmas when I was seven years old, and I listened to the hits of that period. As I didn’t have a record player yet – that came a year later – I would hear a particular song, fall for it, then simply wait around until it was played again. I would try to catch it when we were in the car, when I was allowed to sit in the front seat and choose the station. The other place I would hear those songs was coming from the lifeguard’s transistor radio at our public swimming pool, where I spent many days in the summers of 1976–79. I got lost in them. I can still smell the chlorine and feel the hot cement and the warm sun when I hear those songs from that time. I can feel the sweet anticipation in my belly as they begin.

I hear them now, and they’re like a good dream I’m recalling. There’s a sad kind of feeling of something that’s gone, but there’s an ache of happy yen all mixed up in it. There’s something that I can never get back, but here’s the thing: maybe I never had it. The first time I heard it, it was already like a dream – it was already beckoning me to somewhere that was better than here. The music showed me that place, but I could never really enter into it. So when I go and try to make music every time, I’m trying to crawl back into that dream. Even though I can’t, echoes of it remain everywhere in this world of action, and experiences add more colors to it, and soften or sharpen the hues that are already there.

The dream and reality stand apart, but they’re wrapped into each other at the same time. Music is not so much the gift itself, but the slow, endless unwrapping of it, and a hint of what might be under the wrapping. What lies there is the Absolute: God. He is infinite; I am not. Music is both the expression of my finitude, and its consolation. I walk towards God in an asymptotic line, never quite meeting him directly. Yet there is evidence of this absolute, abiding presence here and now, in the music, every experience that informs that music, and every experience it informs in turn, in a perpetual exchange.

In the summer of 1977, Dreams from Fleetwood Mac’s Rumours was playing all the time at the swimming pool. It became my own dream: Stevie Nicks’s voice, the harmony, the steady, grounding groove of the band. I was still there with everyone at the pool, but it had taken me away in head, heart, and body.

Thunder only happens when it’s rainin’

Players only love you when they’re playin’

Say women, they will come and they will go

When the rain washes you clean, you’ll know

Hits from the Steve Miller Band’s Fly Like an Eagle were all over the radio. Rock’n Me was ecstasy for me. When a song felt so good and was so simple like that, the message was: you don’t have to change anything right now. Whatever was going on at that pool, it all froze in place as he sang, in a moment of perfection.

And I know that it’s true that the things that I do

Will come back to me in my sweet time

I’d look around, at the lifeguards, at the other kids and the adults, and I’d be filled by this sense of excitement about how good everything could be, and how beautiful it already was, when it was shot through with that soundtrack. It imbued everyone and everything in front of my eyes with grace and some quiet, unknown purpose. As soon as the song was over, the dream left, until the next one came on. And it went on and on like that. In particular songs, that dream feeling was more pronounced. The dream was the subject of the music, or so it felt. I began to call that Dream Music. Dreams and Fly Like an Eagle itself were potent, bewitching examples.

Sara, from Fleetwood Mac’s next album Tusk, was another. There was Stevie Nicks again, sounding far away and maternal all at once, calling me, like a siren, into some eternal womb.

Wait a minute baby

Stay with me awhile

Said you’d give me light

But you never told me about the fire

In all of these songs, it was the harmony that wove the spell, like the undulating guitar under the lyrics of Boston’s More Than a Feeling.

I looked out this morning and the sun was gone

Turned on some music to start my day

I lost myself in a familiar song

I closed my eyes and I slipped away

Hotel California from the Eagles was full of dreams. In Life in the Fast Lane, the Eagles told a story I didn’t quite understand, yet it made me want to join them. When I was seven and would listen to that song, I always heard them singing "bike in the fast lane." We would hear it on car rides to our cousins in Haverhill. I’d turn and gaze out the window, and would imagine myself speeding easily past all of the other cars in the breakdown lane of the highway, pedaling my 1976 Schwinn Bicentennial Sting-Ray at supersonic speed, kicked back on the banana seat. Right alongside me was Joe Walsh riding a Harley with a suicide clutch. It was dangerous freedom, and I felt that in the song even before I grasped what it was about – the high-rolling life of rock’n’roll, and the toll it took.

New Kid in Town from the same record was the first example I had of a song that could go from carefree to troubled in a split second: When the harmony abruptly dropped into a minor key at the chorus, and Glenn Frey sang, Johnny come lately / The new kid in town, it made me sad but I had to hear it again. The sudden change of mood, the unexpected trauma in the song, hit like a visceral punch. It was just as much a physical feeling as anything else, and I began to understand that music had a way of connecting emotion and physical sensation. These kinds of emotional/physical rips were jarring, and I started to seek them out, addictively. My family made regular trips to Boston, an hour ride from Bedford, where my father, an eye doctor, would attend ophthalmology conferences, and we would spend the day at Faneuil Hall Marketplace, the Boston Aquarium and the Museum of Science. We’d often eat dinner before riding home at an Italian restaurant called Florence’s in the North End of Boston with a jukebox, and New Kid in Town was the favorite song on it for both my mom and me. We’d play it every time we were there.

On those car rides, I heard my first classical music. We had one cassette of Rudolf Serkin playing Beethoven’s Fourth and Fifth Piano Concertos, with Eugene Ormandy and the Philadelphia Orchestra, and another one with him playing the Moonlight, Pathétique and Appassionata Sonatas. The heroic style of Beethoven’s middle period was my first model for classical music, and Serkin was the first model for a classical pianist.

Billy Joel’s Glass Houses came out right before the summer we moved to West Hartford in 1980 and the first tune I heard from him was one of its hits, You May Be Right. It was rock’n’roll piano, and I wanted to embody that. I didn’t understand much about the lyrics on You May Be Right except that he was being sarcastic, and was kind of pissed off and cracking jokes at the same time. I dug that. Billy Joel’s music became bigger for me in the next few years, as I started acquiring his earlier records, working my way backwards chronologically: 52nd Street, The Stranger, Turnstiles, Streetlife Serenade, and of course Piano Man. His music moved well past the normative harmony of much rock’n’roll, and on The Stranger I heard my first jazz soloing: the wistful solo from alto saxophonist Phil Woods on Just the Way You Are, and trumpeter Freddie Hubbard’s scintillating contribution on Zanzibar.

All those records laid a big imprint on me as a musician in terms of harmony and melody alike but, perhaps even more importantly, their storytelling. There was an arc to the songs, a journey in just a few minutes that went someplace far and took you back to where you started, having gained an insight, like in Scenes from an Italian Restaurant from The Stranger. Songs like that one, Streetlife Serenader or Captain Jack had a melancholy and nostalgia which I identified with instinctively. When it reached its end, it seemed like the song itself already yearned to go back in time to its own beginning. Yet that longing was already at the start. It was that perpetual longing, longing for the dream, the first dream. Everything built off that.

There was an early simpatico with adult emotions. I know I’m not the only one to experience that in my youth. I had as of yet no personal identification with the stories Billy Joel was telling, the ones that rode on that wave of nostalgia and sadness. Scenes from an Italian Restaurant was a story about idealistic love that fizzled