|Hosta kikutii yakusimensis - Geranium 'Rozanne'& Echinacea purpurea 'Green Jewel'' 13 September 2022|
Les Wiseman who wrote for Vancouver Magazine for many years advised me that if I ever wanted to write it was paramount to write about that which you know.
He added, “If you don’t know consult first with a person who knows.”
That has served me well. For many, including me, that friend can sometimes be Wikipedia.
When I scanned the above plants I immediately associated them with the name of jazz tune Blue in Green (important to note that is not Blue and Green). I know nothing of the origin of the piece except that in 1965 when my Argentine/Austrian girlfriend Suzy called me up to dump me and telling me I had no future or culture and that her new beau was the violinist of the Teatro Colón Philharmonic I went into a spiral made worse by the constant listening of the Miles Davis album Kind of Blue during a cold and very damp Buenos Aires winter.
The blue geranium and the green echinacea (who would want a green flower except Rosemary?), both were in bloom and I knew I had to scan them and associate them with Rosemary.
My friend, jazz alto saxophonist (and sometimes he does play the flute) Gavin Walker, has come to the plate as Americans like to say. He is the expert and he knows about that which he writes:
On Miles Davis' classic "Kind of Blue" recording there is a piece entitled "Blue in Green" and it is co-authored by pianist Bill Evans and Miles Davis. The album was done in two recording sessions, the first on March 2, 1959 and the second on April 22, 1959 is one of the most famous recordings in Jazz. Mr. Davis had a musical vision that needed fulfillment and Bill Evans was brought into the sessions even though he had formally left the Davis fold in September 1958. Blue in Green emanated from the first session and was the concluding piece. The first piece was a 12 blues called "Freddie Freeloader" which had Davis' regular pianist Wynton Kelly but the rest of the selections were with Evans. After Freddie Freeloader was given a satisfactory take, "So What" was tackled and completed. Then came the beautifully ethereal "Blue in Green". The genesis for this song came from an introduction that Evans had used on an earlier Chet Baker recording of the standard "Alone Together" and it is Bill Evans' playing that is the glue that bonds this piece. Davis' tightly muted trumpet solos first with an interlude from Evans then John Coltrane at his lyrical best floats in with a poignant statement curbing his usual tendency to play a multitude of notes then once again Evans injects an uplifting statement and Davis returns with his lonely and lovely mute that seems to leave the piece unresolved but then Evans reenters and concludes the piece with the arco bass of Paul Chambers and the piece reaches its logical conclusion. It is interesting that the alto saxophone of Julian "Cannonball" Adderley is not heard on this selection. Perhaps Cannonball felt that he couldn't add to the piece with his more earthy, verbose style or Davis himself suggested that he not play.
We know that many musicians profess to see and perceive colours when they create and perhaps led to the title Blue in Green. The emotions expressed here are not deep dark blue nor a bright and optimistic green but a pastel blend of the two colours that make up Blue in Green in a slow unfolding of sorrow, loss, gentleness, a tear and a sad smile too.