Spiderman, I suppose, came first. Six or seven, comic book in hand, convinced there was no one cooler, no one more righteous, no one else I’d rather be.
After a while, kids figure out there’s no such thing as superheroes, but fortunately, there are sports. Who, circa 1978, inspired the combination of envy and aspiration? Yaz was already too old, Fisk too rough around the edges. Maybe Freddy Lynn; after all, what nine year old doesn’t want to play center field in Fenway Park?
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A few years later, most adolescents have come to the painful and permanent realization that there’s absolutely no chance they’ll ever be professional athletes. What else can a precocious six grader do but lick his wounds and start reading Stephen King? Yes, by high school there were a few things of which I was certain: Larry Bird was even more of a badass than Spiderman, the Red Sox were never going to win a World Series in my lifetime, and I wanted nothing more than to be Stephen King when I grew up (A lot more on that HERE).
Flash forward several years and the combination of encouragement and rejection that forms the necessary cauldron any young writer must marinate in to emerge, many years after that, at best a mediocre, but still potential author. In short order, any lingering illusion is obliterated and the novice recognizes the prospects of Stephen King-level sales are even more remote than shooting webs out of his wrist. Still, this is what we have heroes for: to serve as guides or at least paradigms for our potential self-perfection. Or something
By the time you graduate college, you have put away childish things such as superheroes, and both sports and politics are mostly forms of entertainment, capable of instigating short-lived excitement, but the thrills are short-lived and seldom enough to sustain the occasionally crushing tedium of everyday existence.
Some seek solace in money, some succumb to cynicism, and the ostensibly fortunate folks thread the tightrope between awareness and oblivion—doing what life seems to require and not asking too many questions. And then there are the hopeless saps whose capacity for exhilaration cannot be quenched by drink or drug or job title.
What else is there? Jazz, of course.
Fortunately, I endured and explored long enough to figure out there are heroes, after all. They don’t wear capes, they don’t have the superhuman powers we typically associate with cartoon characters, and unlike Santa Claus, they are not something you grow out of; they are the opposite: entities you need to meet on their own terms, and invest the time and effort necessary to understand (and appreciate) the gifts they bestow. They don’t dress in costumes or uniforms, and no movie franchises have been created in their honor. All they do is save your life.
Even though I write (for fun, for real and forever), I would still say that music has always been the central element of my existence. Or the elemental center. Writing is a compulsion, a hobby, a skill, a craft, an obsession, a mystery and at times a burden. Music simply is. For just about anyone, all you need is an ear (or two); that is all that’s required for it to work its magic. But, as many people come to realize, if you approach it with your mind, and your heart and, eventually (inevitably) your soul, it is capable of making you aware of other worlds, it can help you achieve the satisfaction material possessions are intended to inspire, it will help you feel the feelings drugs are designed to approximate. Et cetera.
All of which brings us, circuitously, to a grateful acknowledgment of the spectacular life of Nat Hentoff, who has passed away, aged 91. As the various obituaries testify, Hentoff was a writer sufficiently productive and peripatetic to make Stephen King seem almost…indolent. Hentoff was a writer’s writer, as well as a reader’s writer. In addition, he was a musician’s writer. He was, in short, a hero. He was of the old school (in all the good ways) and so exceedingly erudite that there’s nothing he wrote that’s not worth checking out. And he wrote a lot.
I discovered Hentoff’s writing as I busied myself devouring as many jazz albums as I could afford, in those lean and hungry years, post-graduate school and pre-rest of my life. He became steadily familiar as the James Boswell of jazz, having written liner notes for seemingly every other immortal album that dropped in the mid-to-late 20th Century; a time, it should be remembered, when immortal albums were dropping all the time: during this brief period when jazz was as popular as it ever would be; America was Eden and these albums were apples, gifts full of wisdom, vitality and revelation. Naturally, many folks ignored them (then, now).
Equal parts interpreter and ambassador, Hentoff helped navigate these sounds, steering the novice toward key passages or to find otherwise elusive phrases for what this music is doing. (Of course, as always, it’s enough to simply affirm that it’s affirming, but part of being a hopeless sap is needing ways to articulate what and how and especially why.)
Understand, it’s all but impossible to describe an era before social media (where the artist can speak directly to the audience), or the Internet; before computers, before cable TV, before color TV. The role of the critic, particularly for an art form that is at times accessible and others, oblique—even for musicians—was not merely instructive, it was often obligatory.
Here he is, having the opportunity—and honor—to pen the liner notes for John Coltrane’s globe-shattering masterpiece, Giant Steps, the calling card announcing, effective immediately, there was a new Heavyweight Champion on the scene (and more, while Coltrane had already provided abundant proof he was allergic to stasis as both player and composer, Hentoff is prescient in perceiving that, perhaps, advanced as Trane now was, he would dig deeper and go further; within a decade it’s possible he took his gifts and, propelled by his compulsive questing, took them as far as any musician ever has):
What makes Coltrane one of the most interesting jazz players is that he’s not apt to ever stop looking for ways to perfect what he’s already developed and also to go beyond what he knows he can do. He is thoroughly involved with plunging as far into himself and the expressive possibilities of his horn as he can. (Full liner notes, and recommended further reading, here)
One thing about superstars is that they need not brag, and don’t need others to boast on their behalf. In Hentoff’s case, a cursory list of titans for whom he wrote liner notes starts to put his import into proper perspective: Andrew Hill, Art Blakey, Bill Evans, Cecil Taylor, Charles Mingus (that he wrote well over a dozen for Mingus speaks volumes, both about the ever-irascible bassist’s approbation and Hentoff’s powers of perception to “get” the challenging genius and make a ceaseless case for his significance), Dizzy Gillespie, Donald Byrd, Herbie Hancock, Jackie McLean, John Coltrane, Max Roach, Miles Davis, Ornette Coleman, Sonny Rollins, and Thelonious Monk. Understand: this is a partial sampling of the veritable encyclopedia of liner notes Hentoff composed, which comprise a living history of the great American art form as it unfolded, in real time.
Perhaps the most personally meaningful of his myriad contributions (at once inadequate and yet entirely appropriate, in tiny print inside CD inserts) is the notes he wrote for Booker Little’s masterpiece, Out Front (an album he also produced). Little only lived to be 23, making him—for me, anyway—the apotheosis of premature artist deaths, in any genre. He recorded enough to leave ample evidence of his brilliance, but what he may likely have achieved renders one speechless. I wrote about Little in a piece called “Victory and Sorrow”, a meditation on jazz, life and death. Here’s an excerpt:
At once somber and serene, the compositions achieve an intense distillation of Beauty: the joy of inspiration leavened with the contemplation of transience. It is all in there, as devastating in its way as the symphonies of Mahler or the extended meditations of Tolstoy. Does the concentrated intensity of this sound derive from the soul of a man who sensed his time was, all of a sudden, just about up? It is almost intolerable to imagine that he was anticipating—and realizing—some of the experiences and emotions of the years he should have had, putting every thought, feeling, regret and ambition into his playing. Was he in fact dealing with significant pain while he composed and played this music? If so, we are getting into deaf Beethoven levels of drama and disbelief.
Here is Hentoff, using his full powers of perception and insight to succinctly capture the almost otherworldly anguish and terribly beautiful profundity of Little’s trumpet:
I find Booker’s playing here—with its resemblance to a Spanish flamenco singer or a Jewish Cantor—exceptionally moving.
Check it out: “Moods in Free Time” flies from the starting block, bursting with ebullience that can scarcely contain itself; and then, after some portentous tympani from Max Roach, it slows and becomes almost elegiac. This is indeed exceptionally, almost unbearably moving expression. I’m not sure I can think of a better (if sadder) instance where a musical instrument has mirrored the bliss and torment of its creator.
Here is Hentoff, from the liner notes, discussing a piece written in his honor.
“Man of Words” is, I’m told by Booker, dedicated to this writer…actually, it is Booker’s description of the writing process. One begins with an appallingly blank sheet of paper and a few ideas. The writer is seldom positive about how the piece will develop…eventually, a high (or a crisis) point is reached when the writer knows he he’s solved the problem and the piece will work out. The rest is embellishment, resolution, or exhortation. Although there has been a considerable amount of fiction writing about music…(this) is one of the rare examples of a musician describing writers in musical terms. Booker’s performance is an impressive display of sustained invention—and sustained clarity of line and feelings.
Here’s the thing about heroes: we all need them, even (and especially when) we no longer find ourselves able to believe. Fake ones are easy to find, and that much easier to forget. The real ones are out there, although it seems we’re not producing them nearly as often as we once did. So many of his words, offered in the service of his (and my) heroes, are not readily compatible with our increasingly all-digital habits of musical consumption. Put another way, it’s difficult to preserve the record if no one retains their records. Men like Nat Hentoff reaffirm my intense gratitude for being alive in a slower and more soulful time. If I’m sad to see him go, I’m appreciative of the work he did—the life’s work he respected and consistently refined.
In my modest and hopeful way, I’ll continue my own work, using his example (as a writer, as a human being) to seek out worthy subjects and celebrate them, accordingly.