Page 67 - Jazz

me dragging me after it at a speed that becomes more and more

evident, towards that moment that I have always feared, though

that moment will be precisely my separation from “it”, the

moment that will be, perhaps, together with my release from “it”,

the moment of my diving into and blending with that coherent

al j awala and whole being which has been waiting for me right from the
beginning, which has always been there, full of the affection that

I have always yearned for, the supreme act of touching all the

thoughts that I have kept hidden and which, in essence, have

meant nothing but just the essence of some big words, so big that

I have always been afraid to speak them. And since I have had

the instinctive feeling that they would not have had the same

significance away from that with which I had charged them.

Or in other words, once touched by “earth” they would have

discharged their power to shine their light within, and that light it

is impossible to describe...

This is what usually happens. And even in the case of

Brad Mehldau (a pupil of Bill Evans), who succeeded, among

other things, in bringing about a great meeting-duet with Pat

Metheny in something “that must have been written in the stars”,

as one jazz commentator says, and even in the five The Art of the

Trio albums, it happens no differently. “What you receive must

happen at a profound level in you yourself, just as only you can

reveal yourself and as you will never be able to make yourself

known”, my friend Ioachim tells me – someone whom, in the

end, even I have never known in his material appearance.

But even How Long Has This Been Going On? is more than a

piece of music.

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