I’m going to try a bit live-blogging this morning to document my Thanksgiving day adventures. There’s nothing particularly exciting about my morning, but there is something vaguely archaeological about the intersection of reading, cooking, and listening to music. Hopefully this live blog will bring some of that out.
The turkey is in the smoker and sitting at about 210°.
I’m hunkered down by the fire reading Krysta Ryzewski’s Detroit Remains and listening to Lee Morgan introduce the band for the Friday, July 10th 1970 performance at The Lighthouse in Hermosa Beach, California.
I’m reading with significant interest Ryzewski’s account of how her work at the Ransom Gillis house in Detroit involved negotiating with an HGTV program for access and collaboration. While I’ve just started reading this chapter, it’s struck me as not entirely dissimilar to the negotiations conducted by Andrew Reinhard to get us access to the Atari excavations at Alamogordo.
I’m aware that Lee Morgan does not have any particular connections to the Detroit jazz scene, but the 7.5 hours of music (starting with pianist Harold Mabern’s “The Beehive” which features a scorching “post-Coltranesque solo by Bennie Maupin, one of the underrated voices of late-1960s saxophone. Morgan’s solo is so slick and smooth.)
As Morgan introduces the band members and heads into the Bennie Maupin number “Something Like This,” a quick check on the smoker shows that the temperature has dropped to about 160°, so I reopened some vents. It’s about 2° F outside so keeping the heat up today might be a challenge!
It seems fitting that I’m fussing with the grill temperatures as reading about Pewabic pottery manufacturing at the turn of the 20th century in the stable behind the Ransom Gillis house in Detroit!
A quick update shows the temperatures have settled to about 210° F and another Bennie Maupin composition “Yunjana” is on the stereo. It’s quieter and a bit more settled which makes it an appropriate complement to the stabilizing temperatures on the grill.
I’m cutting out on Bennie Maupin’s lovely flute solo on the first track of the second set from July 10th, “I Remember Brit” to check the heat and maybe start some more coals. It’s now 1° outside!
It looks like no new coals are needed and while I missed most of Lee Morgan’s lyrical solo, I’m thoroughly enjoying Harold Mabern’s piano work on “I Remember Brit.” The long tail of bebop makes a great backdrop to Ryzewski’s chapter on the Blue Bird Inn in Detroit where bebop found a home in Detroit’s musical landscape in the late 1940s.
The temperature is still a steady 210° and there’s been a car accident outside our house. The cops are on hand and they have a dog working to try to find the driver of the car, which was apparently stolen. It’s a bit dramatic, but the cops seem very intent on getting it sorted.
Jymie Merritt’s bass solo at around the 15 minute mark in his “Absolutions” is pretty great.
I’m enjoying reading about Paradise Valley in Detroit and its vibrant music scene and thinking about it also as the place of origins for the Nation of Islam which would developed in the decade before the bebop heyday of the Blue Bird Inn, but which would go on the exert an influence over music (and especially jazz) in its own way especially when it relocated to Chicago in the early 1930s.
Now, I get to fret about when to start a fresh batch of coals. There’s no need to add them if the temperature hangs at 200°-ish.
Wrapping up the second set of July 10th with another rollicking version of Lee Morgan’s “Speedball” before the 3rd session of the night begins with Bennie Maupin’s bass clarinet on his “416 East 10th Street.”
I had some breakfast and started a new chimney full of coals. The temperatures are dropping from 210° to 200°. hit the turkey with the first round of smoke. I’m going with cherry wood and a just a bit of hickory.
I’m listening to Lee Morgan’s classic “Sidewinder” from the 3rd set of July 10th. It’s scorching and the absolutely outer fringes of hard bop just as it should have been in the 1970!
Back to reading about the Blue Bird Inn and the state of both Black owned entertainment venues, recording, and music in late 1940s Detroit.
Lee Morgan’s “Speedball” from Set 4 on Friday, July 10th feels even a bit more “out” than the version at the end of Set 2. It was hard to drag myself away from it to check on the bird in the smoker. Temperatures are still around 210° with the addition of wood chips adding just about 5° to the heat. I probably started the additional coals prematurely, but better to be prepared, I guess.
The work of various stake holders on the Blue Bird Inn is fascinating. I appreciated the performance of music in the venue once again by some members of the Wayne State music program and would have loved to hear a recording of their set. I wonder how it would compare to live recordings made in the venue in the 1950s (with Phil Hill’s band apparently). My work in the Wesley College buildings on UND’s campus included working with Michael Wittgraf to record in the Corwin Hall recital space and to think of these recordings as a way to preserve not only the original use of the space, but its changes over time. It was a small offering to the debates
I’m now onto Set 1 from July 11th with begins with Mabern’s “Aon” which is very much hard bop and feels just right to get the audience ready from the more adventurous offerings to follow.
I finally had to add some coals to the fire to keep the heat closer to 210° than to 180°. Temperatures outside were about 2° so this seems reasonable.
Fortunately, it’s warm by the fire inside and Bennie Maupin’s lyricism is on full display during his opening solo on his “Yunjana” from the first set on July 11th. Lee Morgan’s reflective solo complements Maupin’s perfectly and keeps the mood going.
The slow, but not sluggish lyricism of these songs is a lovely backdrop to Ryzewski’s work of “slow archaeology” at Gordon Park in Detroit where she and students conducted repeated pedestrian surveys to chart how the park established to mark the start of the 1967 uprising in the city changed over time and endured episodes of neglect and revitalization.
There’s a point my operating the smoker where I can’t quite figure out if the best way to keep the heat up is adding more coals or adding more air by opening the vents. I opted to add a bit more coals and restrict air flow right now with the hope I can open the vents and stretch the coals until close to noon where I’ll take the first temperature of the turkey.
The second set of July 11th opens with Mabern’s “I Remember Brit” and it’s lovely round based on “Brother John” (or Frère Jacques) that eventually gives way to steady dose of a hard bop melody. You can similarly hear the musicians trying to manage the heat of their sets. You need to keep it warm enough to pull in the listener, but too much fire and the entire show begins to combust too soon and too hot. “I Remember Brit” does just that and it’s a suitable backdrop to the start of coal management work in my smoker. Of course, things get hotter after that with Mabern’s “busy” track “The Beehive.”
Temperatures are cruising along at around 210° and Lee Morgan’s quintet is finishing Set 2 on July 11, 1970 with “Speedball,” before starting Set 3 with Maupin’s bass clarinet on his “Neophilia.”
I’m just getting into Ryzewski’s chapter on the Grande Ballroom in Detroit which witnessed a wide range of remarkable shows. She’s focusing on its history as a rock music venue and its subsequent history of neglect, abandonment, and deterioration. I’m just getting into the chapter and was pleasantly surprised to see the reference to “punk archaeology”! I’m looking forward to reading about the kinds of archaeological documentation deployed in working to understand and interpret this significant building.
The first temperature check on the bird will happen at around noon, and until then, we’ll be in coals management mode!
The heat is too high!! So I closed some vents and opened the ones on the lid to bleed some heat, but this is a good sign for the rest of the morning because I can conserve coals and cut the heat down to low and slow.
Bassist Jymie Merritt’s “Nomo” appears in Set 3 of the July 11th performance of Lee Morgan’s crew. It has a loose, but deep groove and Morgan really shines on his solo midway through the track. It’s clear that funk, soul jazz, and the spirit of late hard bop come together in this track.
The chapter on the Grande Ballroom in Detroit is really remarkable. Not only did the work from Ryzewski’s crew show how survey methods can be adapted to document standing buildings in ways that reveal their transformation over time, as well as their main phases of use. Interweaving the discoveries from the building and its history helped me appreciate the role of John and Leni Sinclair in the musical history of Detroit. I’ve appreciated Leni Sinclair’s photography of jazz musicians and her work for Strate Corporation on their cover art and now I can connect her and her husband to the rock and proto-punk scene fueled by the MC5 (who John Sinclair managed) and bands like the Stooges who performed regularly at the Grande Ballroom.
The heat has settled back into the acceptable range, and I’ve added a bit of cherry wood to add some smoke. I’ve also recalled a certain yellow dog from his turkey guard duty as the temperatures outside hang around in the single digits.
Lee Morgan’s guys are into Set 4 on Saturday night and playing Bennie Maupin’s “Peyote” with a kind of comfortable intensity that feels like it should naturally lead into Jymie Merrit’s “Absolutions” as the final number of the night.
I’m also onto the final chapter of Detroit Remains which involves documenting a 19th century log cabin which was quietly preserved in the frame of a 20th century house in a Detroit neighborhood.
The smoker is just chilling at 200° and my hope is that we’re well on out way to a smoked turkey. Stay tuned for a temperature check in about 30 minutes.
Set 1 from Sunday, July 12, 1970 begins with Bennie Maupin’s “Something Like This.” While this set’s performance may lack the fireworks of those recorded on the 10th and 11th, it certainly has a copious amount of feeling and soul. It was worth the wait.
The final chapter of Detroit Remains, likewise offer a healthy dose of feeling as it deals with the demolition of the log house discovered in Hamtramck by the Detroit Land Bank despite efforts made to preserve and move the building. As someone who has seen any number of significant historical buildings demolished in my community, I can empathize with the disappointment expressed by the authors and stakeholders.
The first temperature check and, miracles of miracles, the bird is done: 165° on the dot.
Happily, my reading of Detroit Remains is done for the day too. Ryzewski’s reflections on Section 106 reviews in the aftermath of the Hamtramck log house demolition resonated with my own experiences on the State Historical Review Board and our local Historic Preservation Commission. While locally we continue to see innumerable 106 reviews, we also recognize how much these remain dependent upon the collective good will of the city, contractors, developers, and the community. Raising awareness of historical preservation issues always involves threading the needle between being outspoke about the value of the past in general and navigating the complicated interests that establish the value of specific pasts to specific communities and stakeholders.
Finally, “I Remember Brit” from Set 2 on Sunday, July 12 is playing in the background and I sort of feel like pressing pause on this track and listening to the final performance during dinner in an hour or so. And this probably means pressing pause on this bizarre experiment in live blogging.