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Dean Benedetti lives!

Dean Benedetti lives!

The timid, hypochondriacal, depressive and neurotic poet would have sunk into a bottomless pit (...), but the day they joined their fate with mine, changed that view. After all, I am part owner of my own life, and Juan Ramón can not live apart from his mine. And I just do not see any ideal that is worth throwing a life, despite all that is proclaimed. In this company of ours, I've always been Sancho.

Camprubí Zenobia.

The basement was, for many of those people
the village, and over the last and only salvation.

Basement. Thomas Bernhard

L of passion leads to sacrifice and where there is no sacrifice ... In the early 40's wind of change blowing in jazz. The swing frenzy moved away and lost, too many mouths to feed. A new style made its way, the bebop between the circuit off the dance bands and condescension to the public. The erosion of hackneyed formula - predictable ears awake and choking ( it's a jail) for musicians conscientious objectors, was opening a gap. The music was not just that they played was something else. In 118, Harlem street, Teddy Hill headed the Minton's Playhouse since 1940, and the room was the crucible of a new era: Kenny "Klook" Clarke, Coleman Hawkins, Roy Eldridge, Thelonious Monk ... The bebop revolution began to sprout in the shade, while the amplified guitar, Charlie Christian, and intense shooting star, minted its last notes between riffs full of swing and imposing breaks. His performances in the Benny Goodman Orchestra had earned a reputation among the vast audience, but paid the toll would run as a soul that takes the devil to go and play at Minton's , where they waited for their friends boppers to bogged down in endless jam sessions . Christian pushed the new train, but, exhausted and breathless, was unable to get on board and died at age 25. The club founded by Henry Minton, except for the musicians of the house, none received a penny. Votes not worth anything. If you wanted to survive were forced to create under pressure. The readiness of ideas, suggestions corroborated, was the only pass for an invitation. The bombastic virtuosity did not go unnoticed, and the cliches do not percolate through solo forced to make a living with them. Among those walls was brewing more than just experimentation. In 1941, Minton's in a name rose with increasing insistence from the buzz of drinks, that of a new sax player, an alien nicknamed Bird or Yardbird . They said they played like Lester Young, but twice as fast, three. There was skepticism, while the converse comfortably filled in whispers. Prez was on top, nobody and nothing was disturbed, except for tears Lady Day. For the past 10 years, when Johnny Hodges appeared onstage with the band of Duke Ellington, no one had given a true statement on the saxophone: Hodges dominated the entire history of the top, with Benny Carter, until the arrival of the bird.


Charlie Parker had his base of operations then at Monroe's Uptown . One night Clarke and Monk were to prove he was any truth in all this and found a man younger than them, sunglasses, broad and wrinkled shirt dress, playing the keys of his sax as if life was in Thus, by pacing their beats vehemently to the notes. It was a new language. "Bird was playing staff we’d never heard before”, vociferó el genial batería, culpable de un nuevo estilo de percusión. “He was twice as fast as Lester Young and into harmony Lester hadn’t touched. Bird was running the same way we were, but he was way out ahead of us. I don’t think he was aware of the changes he had created”, añadió. “ Bird didn’t talk much. We laid a few dollars on him and got him to move from Monroe’s down to Minton’s. Teddy Hill refused to put another man on the payroll, so we decided to pool our money and give him and allowance. Pretty soon Minton’s got to be a bad place for Older cats, "admitted Clarke. Dizzy Gillespie began to go regularly to the local to unseat Roy Eldridge. Parker also joined the jams. lived desperately, looking not have taken it off to sleep, disoriented and strange beds. Scrounging here and there to be something in the mouth, and changing direction frequently. Engaged with his sax used to borrow one you play, fortunately, always remember to keep the mouthpiece and reed. Despite their empty pockets, began to experiment with hard drugs, always looking for an angry fix. Everyone wanted to see, was the star of underground. His ability to improvise ad libitum and losses convert notes into beautiful melodies made him a living legend in full swing.

And these momentous years in the chronology of jazz, a musical twist without Precedent is overlap with one of the most harmful or beneficial strikes at least in the artistic side, the history of music, which buries the birth of the new style for posterity and delays baptism. In the absence of commercial recordings, many j azzman fighting for the sake of recognition could not leave his legacy and others lost their position as a commercially viable later was given to the rewriting of those days. Nor was handling the formula producers. With the current prohibition, the territory for increased fertility mythology and figures like Parker is bathed in gold. On August 1, 1942 the American Federation of Musicians (AFM) forbade musicians to record, demanded a share of the pie (royalties) of the music played on radio and jukeboxes. The major labels were prepared for combat and recorded much material as possible before the announcement, so they have the well-filled pantry and take the pulse together with the release of records discarded and the release of new editions of already marketed. The veto of making records, in full World War II, lasted well into 1944, with the exception of the records of victory (V-Disc), launched to maintain the morale of troops fighting abroad . Decca and Capitol have reached an agreement with the musicians union in 1943 after exhausting their funds, thus taking advantage of Columbia and RCA Victor, which capitulated in November 1944. As a result of the strike was kept bebop locked to the public. "And so, except for a handful dedicated collaborators and A Few devoted fans, the new music Parker and Gillespie and Their cohorts Were Developing Remained largely a secret, "wrote Ken Burns and Geoffrey C. Ward in his book Jazz: A History of America's Music .

In May 1941 a student at Columbia University began to tour the clubs of New York recording sessions with a live digital recording equipment and vinyl records. Yours, Jerry Newman, is the album's release at Midnight Minton's (1941), with Don Byas tenor, Monk at the piano, banging drums and Clarke popping dishes, Joe Guy on trumpet and vocalist Helen Humes. A record is heroic an invaluable witness to the transition from swing to bop, however the sound quality is improved, before being treated by professionals Newman listened to his recordings without restraint hindering commercialization. Another of his revelations is edited After Hours (1941), with electric guitar pioneer Charlie Christian and Dizzy Gillespie pyrotechnics, which dodged the shadow of Roy Eldridge.


Charlie Parker was at Monroe's and Minton's one of those nights when Newman documenting the changes, and endless calls trickled in your records: Go! Blow! Unfortunately, Newman liked more orthodox as saxophonists Benny Carter and Herbie Fields. The speech parkeriano not captivated, and I was not alone in his assessment. The flow of ideas Bird was too quick to grab their stories too trendy. Newman, like Louis Armstrong and Cab Calloway, pejoratively labeled the music of Parker and other boppers of chinese music (foreign and unfamiliar, incomprehensible), a step below the music. Newman turned off your computer when Bird began to rise with her alone. Most of its flights live lived and died during the years of prohibition and contiguous, although in some recording your notes are indicated in the confines. His lyricism is voluptuous and spoiled cat in backstage, in the illusion of an instant. Bird never cared to write; derailed many of his ideas without even being heard.

years later in Los Angeles in 1947, a tall man with pale skin, dark-haired, immaculately dressed, but no tie, listening through headphones and monitors notes that his portable recorder captures. A cable winding several meters and covers the walls to reach the men's room of the premises, where a waiver black towels and laces, the side of a plate for tips. A large mirror covered the room and its many urinals. At the door of one of the three toilets someone has hung the sign Out of Order. Inside, Alipio Dino Benedetti (1922-1957) sits on top with his tape recorder on his lap, listening to music from the band. Curse the whispers, shouts and cash registers. Usually records from a table in the room, facing the stage, particularly against the sax, but always carries with it a long wire and hand towels in case. This time an agent of the union has complained to Billy Berg, the owner of the room of Hollywood Boulevard, and have forbidden, thirty minutes before the first pass, to mount your stop. Dean Benedetti and have thrown many clubs in Boston, New York and Chicago. Look carefully at the needle of decibels do not exceed the red zone, the notes are not distorted. Benedetti listens to the desire of a musicologist. Stan Levey opens with drums, Ray Brown, the indispensable bass, followed, and they joined Al Haig on piano and Milt Jackson on vibes. Sounds A Night in Tunisia. Dean expected. The eccentric Dizzy brings out some of his tricks and a saxophone begins to ride the melody. Benedetti gives record.


It was what I was expecting, the emergence of the saxophonist. Something happens. It is a tenor. Benedetti quickly recognized Eli "Lucky" Thompson said. Charlie Parker, the musician who opened a crack through which they rushed many of their peers, not in the band, and Thompson has been replaced. Bird has failed the first screening and is lying in her dressing room. He would get izzy D Atmosphere, Now's the time, Confirmation, family harmonies, tunes of the era in which nobody knew and traveled with the band of Jay "Hootie" McShann. Dean off his tape recorder and pick up the cartel. Only interested in Parker's solos, no group discussions or third-party parliaments. The Italian-American examines Bird, transcribe his solos and unsuccessful attempts to incorporate the vocabulary bop to your music in a career increasingly marginal. Before leaving his ambitions, after hearing Bird , Benedetti also blew the saxophone. He was a member of the jazz community, not one of their key players, but someone with a status and native of Susanville, regional bands had played in San Francisco and Los Angeles. When in early 1947 his idol lands in California does not think twice. Conscientious student of the new music, not enough disks for sale. Buy a Sears recorder, say that from Nazi Germany. Benedetti has internalized that it is a matter of style. Disbelief, anger and helplessness are crowded into her throat. All his efforts, vacant. That was the way in which the sax should be played and that he would never reach, or even to imitate convincingly. Continue to persevere, as she tried that night were not Bird rotting flesh, that his sermons do not spoil in the desert. All were astonished, but nobody did anything while the legend was still blowing out of the studio. The devotee Benedetti flew with the bird and its equipment in tow. I recorded earlier that year for two weeks, night after night in the club Hi-De-Ho . When Parker returned the following year to the Big Apple he bought a ticket and caught in the Three Deuces, and later The Onyx during July 1948. One question was about to Benedetti: And all those nights in the early Minton's ?


Privately Benedetti was obstinate in his emulation. Breathing, finger placement, how to blow ... imitated each position Bird, also his personal habits, mannerisms and gestures. Chewing towels to strengthen their jaws and took yoga to blow stronger. Impossible. Hysteria quiet return. Was forgotten in its mediocrity: there was no eclipse, faded and lost their trail. The Dean Benedetti are thousands, but always anonymous. He believed that good education was an obstacle to progress. Their deities were all black, and most had gone too far in school. I tried to represent them. It was a black white , a white boy who liked jazz and trying to adopt black culture as his own, a movement that influenced hipsters, beats and mods. The phenomenon wigger today. Benedetti spoke using a limited vocabulary, ghetto slang made mistakes and grammatical meaning, following the footsteps of his hero to get to flirt with the world of drugs and exercise time camel. One in a legion of fans of Parker that she could climb the reality. Parker humiliated him. "Blow, Dean, blow the damn horn!" He said. "No way. Kind'a No way, man ", replied after ruddy Benedetti effort.


Bird intimidated him, his influence could not lead any further. Dean knew it was useless despite strongly tighten your abdominal muscles. Tries to redeem achieved its own identity before sending them underground. Wanders through the treacherous terrain of the anguish of the influences that borders paralysis. "Your're the cat They Came to hear" flattered "They want to hear Bird." For some dubious historians, artists powerless to leave the truth never throw out a good story, Benedetti was "a broken saxophone player, playing Whose own is nothing, just a carbon copy of everyone else's." Who does not drown in their broken dreams and settle for what is without knowing it? Whatever Works. Many wanted to be and swallowed the sleeping pill of passion. Those in which one ticket wasted one night and then spend the afternoon cursing and waiting for a train that would take the poky old town where they have fallen. Those who cling to anyone with a manuscript under the pillow to be discovered, those who drop their drop in the ocean and make transferring it into an epic. Those lives shamelessly plagiarized book cursed and French films, jazz, when jazz was young symbolized something.


Benedetti took the bus in advance to prepare the set of recording. Nobody paid for it. Became for a time in someone very close to her idol, and was also in Camarillo where the bird was confined. was Mr. Knows-where-it's-at. Parker knew where he slept, with whom, where he played that night and the next, where to get your dose. The poet Juan Ramon Jimenez was a Camprubí Zenobia, which made her husband his rationale. He sacrificed his ambitions, cloistered decided to voluntarily and without lifting the pen firmly. Nurse, translator, agent, editor, administrator ... writer and drabs on a social reality nothing receptive. Followed once Bird a local Chicago called The Grotto . Was presented with a day in advance, but the local manager ejected him regardless. The recordings were not allowed there. Benedetti rented a room that was just above the room where Parker and his touch. With a keyhole saw and a knife to open a hole to sneak a cable with a microphone, which dropped as if a spider be on the top of the piano. Secure in his room, he recorded Parker solos. It was a great night. The musicians always played better when changing scene and faced with a fresh hearing.

was not alone. Jimmy Knepper, a colleague of Benedetti and original trombonist very close to Charles Mingus, until it hit him twice breaking his teeth and preventing its instrument hole for a while, to add an eighth loss for life- also recorded a smaller scale Bird Live (1950) . Fruit of the price of the tapes and their rapture, Knepper only recorded Parker solos. The saxophonist Don Lanphere also fell networks Bird. Born in the city of Wenatchee (Washington State), Lanphere arrived in New York at age 19 and made some recordings with Fats Navarro weight in 1949, besides playing in the bands of Woody Herman and Artie Shaw. Introduced in the circle Parker had time to make some recordings of his fetish relaxed jam sessions in apartments William Henry, the most notable published under the title Jam Sessions Apartment (1950), which also took Jimmy Knepper. Her drug addiction led to his arrest and death. Except for a period of activity Herman (1959-1961), Lanephere spent most of time (1951-1981) out of business or leading music store of his father in Wenatchee. He returned in 1982 and recorded until his death. Joe Maini, a talented bebop saxophonist , disciple - not only admirer and friend of Parker also made some recordings of his own solos Bird. Although it did not lead any solo album, was a respected musician and something crazy it got recorded with Clifford Brown and Max Roach on a couple of jams in 1954. A year earlier, in May, wrote to Charlie Parker: "I wish I were in New York Taking lessons from you at Hartnett Studios. Although I Took a lot from you when i was in NY Before, in a way. I still feel like you're my Almer pater, Bird. " Maini died at 34 years of playing Russian roulette with a revolver believed downloaded. Even Bird wife, Chan Parker, made some time recording ( Bird at St. Nick's ). Benedetti not led any group and its melodies are lost. Nor are photographs of him with Charlie Parker.

Unable to enter the New York scene as a musician, Benedetti late 1948 decided to return to California. Shortly after returning he discovered a rare and chronic muscle disease called myasthenia gravis , which quickly affect the time to play. Benedetti stops blowing in public. Ruined his health gradually and in 1953 decided to move to Italy, Tower Lake, to be with their parents. He died in 1957. He was 34 years, the same age when Parker died in 1955 while I was looking T Dorsey Brother's Stage Show on the TV, the same in which Maini lost at roulette. The recordings he made became then the holy grail of jazz. The captain had sunk his ship. Although ads in all magazines jazz, its treasures not surfaced , until his brother took them out of the trunk in 1988. Ended the rumor mill and sold to Mosaic Records, which released 7 CDs in 1990 under the title The Complete Benedetti Recordings of Charlie Parker. The pack includes a booklet of 4 8 pages to a biography written by Bob Porter, which reconstructs the figure of Benedetti and personality swing, and discredits R oss Russell, who did not let the facts ruin your good h istory, at the expense of truth and reputation Benedetti, a musician of many. Too late (or too early), Benedetti ranks as the saxophonist who stopped playing after listening to the bird, froze their wings fall watching another flying.

The bird cage has become
and has flown
and my heart goes crazy
because death howls and smiles
wind behind my delusions


Awakening. Pizarnik

dawn and dusk to the same
time, honey, this is not the way you like to live?

you a good time to die . Felix Francisco Casanova