by Todd Walton, January 5, 2012
Deeply moved by a concert of music by Martinû and Mozart, a man gives $50 to a street musician, a Venezuelan bass player whose musical inventions are reminiscent of Eric Satie and Bill Evans. The bass player uses the $50 to buy herself the first nourishing meal she’s had in weeks, after which she catches a train to visit her mother for the first time in several months, and arrives to find her mother dying. With her last breath, the bass player’s mother reveals the identity of the bass player’s real father; and while questing to find her father, the bass player meets a pianist with whom she records ten improvisations, each a musical meditation on the question: what is life all about?
“As we acquire more knowledge, things do not become more comprehensible, but more mysterious.” — Albert Schweitzer
Elizabeth Marshall Thomas makes an excellent case for the digging stick and the ostrich egg being the two most important inventions in human history — more important than fire or weaponry. I am reading The Old Way again, Thomas’s masterpiece about the Bushmen of the Kalahari; and I find her book the perfect antidote to the information overload and resultant anxiety of this digital age. Here is a tiny taste of The Old Way.
“A digging stick is humble, yes. The very name of this item in the English language shows how seriously we underrate it — we assign specific nouns, not vaguely descriptive phrases, to objects that we consider important. Our long stick with a blade at the end is call a spear, for instance, not a stabbing stick. But even if a pointed stick seems insignificant to us in our innocence, as an invention of consequence it ranks with the discovery of the deep roots themselves and has made more difference to our species than virtually all the other inventions we celebrate with more enthusiasm.”
“Then, too, there is the ostrich egg. This useful item is first a meal and then a water bottle. To use these eggs, we had to do only two things — steal a fresh egg without being kicked by the ostrich, and open a hole in the shell. Unless the egg is opened carefully, the contents will spill, so the best way to eat the egg without wasting the contents is to pick up a rock, tap open a small hole in the shell, and stir the contents with a stick. After sucking out the egg, we had an empty eggshell, with obvious implications. An ostrich egg holds from five to five and a half cups of water, more than a day’s supply. No further refinement was needed except a wad of grass for a stopper.”
“On the dry savannah, the need for water limited our foraging. One ostrich eggshell filled with water could expand the foraging range of its owner by fifty to one hundred square miles.”
“Only one kind of primate — our kind — found a way to reach the deep buried foods, carry small amounts of water, and modify tree nests into ground nests so that we could sleep anywhere.”
“There is no greater mystery to me than that of light traveling through darkness.” — Alexander Volkov
Writing about inventions, I am reminded of that old joke (and its many variations) about a world conference to determine the most important invention of all time, each nation having an egoistic stake in nominating an invention thought to have originated in their country.
So the Russian representative rises. “We nominate sputnik. After all, first satellite started space race that put people on moon and spawned most important technological breakthroughs thereafter.” Loud applause.
The American representative stands. “Hey, there’s no denying sputnik was a good little kick in the pants, but has anything changed the world more profoundly than the computer? We don’t think so. We nominate the computer, that fundamentally American creation, as the most important invention of all time.” Thunderous applause.
Then the representative of the group or nation the joke teller wants to make fun of stumbles to the podium. “Of course, sputnik was a game changer, and life without computers is almost unimaginable, but there is one invention we think is far more amazing than both of those illustrious inventions, and that is the thermos. Keeps hot things hot, and cold things cold. How does it know?”
“The possession of knowledge does not kill the sense of wonder and mystery. There is always more mystery.” — Anais Nin
In 1900, the average life span of an American was forty-seven years, and the average life span for people in many other societies in the world was considerably less. The invention and deployment of penicillin in the 1940’s is credited with increasing that average life span to eighty years for citizens of America and other so-called advanced nations. Prior to the widespread use of antibiotics, millions of people, especially infants, children, and the elderly, died annually of diseases now easily cured. The most troubling result of this vast increase in human longevity is the increase in human population far beyond the regenerative capacity of the planet.
Consider this: paleoanthropologists have found almost no remains of pre-historic humans older than thirty. Lose a step ten thousand years ago and you were tiger food, or possibly vittles for your brethren. Now try to imagine the world today if most people still died shortly after their wisdom teeth emerged to replace those molars lost during the first twenty years of chewing on the tough and the raw.
“Often the hands will solve a mystery that the intellect has struggled with in vain.” — Carl Jung
I recently came out with a new CD of piano and bass duets entitled Mystery Inventions on which I play piano and Kijé Izquierda plays bass. Each of our ten tunes explores variations on a basic melodic expression underscored by an intriguing bass pattern. Because my piano playing is spacious (some would say spare), the tunes on my previous piano albums 43 short Piano Improvisations and Ceremonies are melody-driven, whereas the bass drives the Mystery Inventions, even when the tempo is slow. I was tempted to bring in a drummer, but the interplay of bass and piano sounded so groovy, I opted for duet.
The most mysterious thing to me about my piano playing is that my left hand operates with no conscious direction from me, whereas my right hand learns through my conscious intentions. Because I do not read music or play music composed by other people, my compositions and improvisations are the result of hours of daily keyboard explorations during which I discover note patterns and interrelationships that captivate me sufficiently so I will repeat those patterns until my fingers remember them. The more thoroughly my fingers memorize these patterns, the freer I am to improvise on those patterns. I have been practicing this way for forty-five years, my right hand learning through my conscious inquiries, my left hand figuring things out on its own.
“The final mystery is oneself.” — Oscar Wilde
I don’t read music because when I was seven-years-old I took piano lessons from a very unhappy man who did not like me. After a few traumatic lessons wherein he berated me for not sufficiently practicing the assigned pieces, there came a horrific moment when he struck my right hand with a heavy metal pen because I was not, in his estimation, holding my hands correctly. I screamed bloody murder and ran out of the room. I can feel the ache in my knuckles to this day.
Thereafter I not only refused to play the piano, I could not look at our piano without feeling sick. Singing became my main mode of musical expression, and at 16 I was a singer in a very loud rock band. The leader of the band was my close friend, and a talented guitarist. He used to come to my house and noodle around on his guitar while I accompanied him on bongos. One evening he pointed at our old upright piano and said, “Can you play that?”
“No,” I said, reluctant to even look at the piano.
“Oh, go on,” he said, reaching over and plunking a few notes. “Just play anything and I’ll play along.”
“No,” I said, furiously. “I don’t play the fucking piano, okay?”
“Please?” he insisted. “Just a few notes so I can play some harmonies.”
And because I wanted to please my friend, I went to the piano and played a simple pattern of notes; and six weeks later we opened for a rock band at a teen nightclub in the basement of a church in Woodside, California. I played simple patterns of notes and chords while my friend improvised on his electric twelve-string guitar. Two beautiful hippie chicks wearing dresses made of diaphanous scarves danced to our pubescent ragas, and afterwards a big black guy with a shaved head came up to me and said, “Busted hip, kid. You know Monk? Miles? Hubbard? Hancock? Evans? Cannonball? Check’em out.” So I did; and I was a goner.
And now, listening to Mystery Inventions, I bless that very sad man who smacked my knuckles 55 years ago, because if not for his striking me so cruelly, I might never have left the well-trod path and gotten lost in the wild jungle of possibilities.
Colorfully packaged copies of Mystery Inventions are available at Gallery Books in Mendocino and from Todd’s web site UnderTheTableBooks.com.