“A concern for songs— however ontologically thin—and a concern for live performances—however ephemeral—is no less central to the rock tradition than recordings.”
Tracy McMullen, a musician and scholar who plays saxophone and thinks about American vernacular music, was in Albany last weekend to collaborate with Cristyn on a musical project.
Making conversation at dinner on the last night of her stay, I asked if she’d heard of and had opinions about Mostly Other People Do The Killing’s Blue (an album that’s a note-for-note remake of the 1959 classic Kind of Blue). It turns out that she has a paper about it forthcoming in The Journal of Jazz Studies. Since I’ve also written about it, there was lots to say. A long discussion about covers, authenticity, and versioning practices ensued.
Since the number of people who have written scholarly articles about Blue is small, possibly just the two of us, it’s an odd coincidence. In some ways, though, it was like old times. I originally started thinking about the philosophy of music because of social connections through Cristyn, at grad school parties where I ended up in conversations with musicians. Although I met Tracy once or twice back then, I hadn’t really gotten a chance to know her until this weekend.
Tracy’s visit also made me nostalgic for my year at Bowdoin, since she’s now a prof there. I’m not struck by it often, but it doesn’t take much for me to be struck by that nostalgia.