A Quote by Charles Mingus
Our nights didn't begin until after noon. Because in the old days, you'd start Birdland at 8:30 or 9 pm and play until 4 in the morning. Then you'd go out to the corner and talk to a couple of musicians - I used to talk to Oscar Pettiford a whole lot - you'd stand there till 7, 8 or 9, or else go down to the jam session at Minton's.
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I used to live at the Cecil Hotel, which was next door to Minton's [Playhouse]. We used to jam just about every night when we were off. Lester [Young], Don Byas and myself - we would meet there all the time and like, exchange ideas. It wasn't a battle, or anything. We were all friends. Most of the guys around then knew where I lived. If someone came in Minton's and started to play - well, they'd give me a ring, or come up and call me down. Either I'd take my horn down, or I'd go down and listen. Those were good days. Had a lot of fun then.
Bourbon Street is like playing, a tourist, you know? It's just a tourist attraction ... those musicians on Bourbon Street, they play all day. They might start at 12 noon and end at 3 in the morning, like, it's like sets, like a job. You go play, take a break, play again, take a break, then later on that night, the club gets busier, then you play some more. There's pride. They're a group of great musicians- and they're holding it down.
I'm a morning person because I learned to write my novels while still practicing law. I would get to the office at 6:30 a.m. and write until other people arrived, around 9. Now I still do that. I start at 6:30 or 7, and I'll write until 11, then take an hour off, then work until about 2 p.m. By then my brain has had enough.
I wake at 5 or 5:30 most mornings, make myself a latte and grab a cookie, write until 10 or 11, go have my favorite meal, 'second breakfast,' or grab coffee with friends, or play basketball. Then, around noon, I begin apologizing via email for the manuscripts I can't get to.
For days on end, I avoid the Web, never logging in until about two or three, after I've written all morning. On a good week, I don't go online till after Wednesday, so four or five days might lapse without my checking e-mail.
I went to work at seven in the morning. Around noon time we got the watery soup. And we worked until seven or eight or nine at night, sometimes later. And then I walked back home - there was no public transportation - into that shared room. And if there was food we would prepare an evening meal depending on what was available. And then probably go to bed because it was cold most the time. And then start the day all over again, six or seven days a week.
I used to start at about 10 at night and work until early morning. My preferred way to work is to start in the early afternoon and work until about 3, go do errands, have dinner, and then write for a few more hours in the evening.
Talk is free. You never know what's going to happen after you talk. There's always a perception about a guy until you actually sit down and talk with him.
When [my friend] had her kid, she was like, "9:30?! I'm not living in Barcelona. I need dinner at 6." I never got that until now. Four years ago, when I met her, I thought that was extreme. I was like, "I love Barcelona!" Now, I'm so mad when someone suggests an 8 pm reservation because that means we won't eat until 8:30 or 9 pm. Forget it!
I'm not one of those who spring up yelling, "Yippee! Another day!" I'll grumble and sulk around a couple of hours, reading newspapers and trying to pick out an idea I might do something with on the show. But I don't really start functioning until noon or later; then about two I go to the studio and the pace begins to quicken.
I like intersections. They're the nature of New York, and there's always the possibility that when you're at one you can meet someone new. Have I ever met anyone new at an intersection? No, but I like the idea of it. I like cities because if you're stopping on the corner to wait for a light to change, there's the possibility that you and somebody else can talk. And if you and that somebody else start to talk, then you can start to argue, and if you start to argue, you might start a revolution.
There are those of us who are always about to live. We are waiting until things change, until there is more time, until we are less tired, until we get a promotion, until we settle down / until, until, until. It always seems as if there is some major event that must occur in our lives before we begin living.
We have our great days and our bad days. No matter what bad day I go through or strike out four times in a row, I still want to have that great attitude and go after the game and go talk to the kids and not worry about the game and let them know that this is what matters.
As a player, I can tell them they don't want to rush to become a coach, because there is a lot that goes on. This is all something new to me. You can talk to a lot of the coaches... and they can tell you. Until you go through it, then you can understand what it's all about.
Ah, but you, Darkness, you know all this. I tell you night after night. Nothing will shock you. Maybe I go on at you in the hope that there's something beyond you. Some nights I sit here and talk and sob and stare out into the blackness thinking that if I look hard enough I'll see the light behind. But I stay out until the break of day, waiting, hoping, and there's only sunrise again.
I could be inspired by something I see or something I hear and write down or send to a friend or a writer or whether I have instrumental tracks or just a couple chords recorded on my phone. If I have a couple sessions set, I'll go into the studio with the people I'm lucky enough to call my friends because I feel like I can talk to them and then suddenly our conversations turn into these songs you hear on the radio. I still don't understand how it happens but I talk about my experiences and my situations and everything and then they turn into these amazing pop songs.
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