The Death of an Indestructible Dog: What Quinzy Taught Me

 

Portrait of the artist as a young pup.

Wait, did I say artist? I meant barbarian.

No, that’s neither fair nor accurate. It’s difficult with Quinzy– he was many things, frequently at the same time: tameless beast, gentle soul, abominably-behaved, adorable, impish, awe-inspiring (of which more shortly), incorrigible and, above all, utterly unique.

Check it out: I have three separate, visible scars on my right hand. All of them are from Quinzy’s teeth. The largest scar is from a bite he gave me, while I was petting him.

I feel quite confident in saying there has never been another dog that was anything like this Shih Tzu, who I am proud to have liberated from a rather disconsolate puppy mill almost exactly 15 years ago. But I am not the hero in this story; not even close. That person would be the woman who became his mother (and shortly thereafter, her husband, who became his father), who “inherited” him because the woman who was my mother could not handle him. At the time I was surprised and more than a little disappointed that the same woman who had already raised two human puppies decided, in a moment of anxiety-induced weakness, that she was not up to the task. The woman who insisted she wanted a “grand-puppy” (based on her love of Otis, the first Shih Tzu in the family) and, at that time without a human grand-puppy, was looking for somewhere to direct that abundance of love and affection she had in reserve. Fortunately, my sister was on the case and within a year my mother was able to dedicate herself to the proposition of spoiling my (human) niece.

I would have taken Quinzy myself but the complex I lived in at the time did not allow pets. I contemplated rolling the dice but realized (wisely) that it would be devastating for all involved if the little guy got settled in and attached, only to find himself (and/or myself) ejected from the apartment. And so it was that the woman who at one time had been my fiancee was now, abruptly, the mother of the puppy my mother owned for less than 24 hours. And just like that, Otis (himself only two years old) found himself a rather reluctant older brother.

Quinzy? My mother had picked out the name long before we picked up the pup. Growing up just outside of Boston she could attest that one way to sniff out transplants and fake New Englanders was the way they pronounce the town of Quincy: If anyone says it the way it looks (kwin-see) they are suspect; everyone else knows it is actually –and correctly– pronounced kwin-zee. She felt that was a great name for a little dog, and I tended to agree. I especially liked the added touch of spelling it with a Z, as it reminded me of the fact that Led Zeppelin did not spell their name the correct way (Lead) because they knew (correctly) that Americans would invariably pronounce it Leed Zeppelin. To see a two pound, eight-week old Shih Tzu named Quinzy is difficult to describe or surpass, even if he had the all-but obligatory (and quite noisome) case of puppy-worms. Little did any of us know what we were in store for…

Long after he was house-trained Quinzy still had accidents. As a person whose carpets and floors bore the brunt of too many of these incidents to count, I used to call them “on purposes”. Quinzy was a character. Theories abound, from the lazy to the elaborate: he had a screw loose; he was mildly retarded; he was the utter distillation of pure Id; he was the inevitable result of a very irresponsible and poorly run breeding factory (“puppy mill” is at once an appropriate and completely inadequate euphemism for the conditions in which so many of our best friends are bred: when I first took my mom to inspect the pack, I made the mistake of sitting down on the carpet while scores of Shih Tzus –literally– bound hither and thither, and ended up with a urine stain on my shorts that I could never fully eradicate). Like recalcitrant literary figures before him including Whitman, Thoreau and Kerouac, Quinzy marched to his own funky drummer and sucked the marrow out of life –and he wasn’t afraid to kill something in order to get that marrow (of which more shortly).

Quinzy’s “condition” was mostly innocuous (says the man with the scars) and often cute: there was undeniably some type of faulty wiring, or he was part feline, or he was the first of an evolutionary leap forward –even though he often acted like the opposite. When he was being pet his tail would wag, indicating happiness, but he would growl, indicating displeasure. After a while it became clear that it was his way of purring (part cat? based on his hunting prowess and the environment he was born into, this possibility is not totally far-fetched). When he was young he had a freakish ability to jump: his hang-time was more impressive than most adult white males. He was a born predator and while he was seldom without some type of stuffed animal lodged in his snout (see above), he much preferred actual game. His success rate was astonishing considering he did not live on a farm. In his prime (and his prime was pretty much his first year through his thirteenth when he finally began to slow down a tad) he was able to capture and kill several birds. Let me repeat that: he was able to capture and kill several birds. I know leopards with less-impressive track records. His mother, ever sensitive and not supportive of these feral proclivities, felt obliged to tie a bell around his collar so that the birds in the backyard had half a chance. Please keep in mind: we are not talking about a retriever or what some people may unkindly (if not inaccurately) call a real dog: this was a twelve pound Shih Tzu. You know, Shih Tzu; that is Chinese for Sissy Dog.

That picture is cute and all, but it more than half-resembles an alligator lying in the weeds, waiting for an unsuspecting fish or fowl (or human) to amble along. One of my favorite Quinzy stories (and I have dozens: buy me some beers and I’ll keep you laughing for hours) is the brawl he got in with the opossum that had the temerity to live in the wood-pile behind the townhouse. His mother recalls him coming in from a late-night tinkle and laying down beside her. It wasn’t until she saw (or smelled?) the blood that she realized he was injured. Inspecting him, she saw a substantial cut under his throat; he hadn’t barked or cried, he just came back in as if nothing had happened. Naturally a trip to the vet was necessary and it was later discovered that a family of opossums had set up shop behind the wood-pile. Opossums are pretty big, and have rather sharp teeth. They are also kind of nasty, especially if they are protecting their brood. Needless to say, the next time Quinzy stepped into the backyard (and every time for a long time afterward) he ran directly to the wood-pile and frantically looked for his foe so he could finish what he started. Fearless, idiotic and inimitable.

Quinzy bit people. He pissed and pooped with impunity. Another favorite of mine is the electric blanket story. I was taking care of him (and Otis) one weekend during the middle of winter. It was frigid outside and while I was snug inside my bed (and electric blanket) I realized the two poor pups, although snuggled together in their “nest” in the living room, probably would welcome a little extra warmth. I brought them into my room and in short order they were wrapped around me and, presumably, grateful. A few minutes later, just as I was drifting off, I felt what seemed like liquid on and around my legs. Impossible, I thought. And then I remembered the Quinzy factor. I threw the cover off and flicked on the light. Sure enough, this contemptible swine had taken an enormous piss, soaking my sheets, blanket, comforter and himself. It made me recall the old trick we used to always play (unsuccessfully) where during slumber parties we waited until someone fell asleep and put their fingers in warm water. Leave it to Quinzy to perfect that adolescent scenario, much to my chagrin. Yet, as always, when you looked down at him he did not betray the least bit of guilt or even comprehension that he’d done anything wrong. And I sincerely believe it never occurred to him that he had. That was the difference; he was never bad, he just was.

Years and at least one scar later, I would tell people, watching his growl/purr in disbelief that I was almost entirely certain he was expressing deep joy and gratification. Except he still might bite you. Many years later, I’ve had enough experience with dogs (my own and others) that there is no canine I can’t trust and not a single one I won’t snuggle. But with Quinzy, even after a decade and a half, there was always, always the awareness that you didn’t want to get your face too close to his, just in case…

You could not help but love him.

I used to say (and I was more than half-serious) that while I did not believe he could ever die, if and when he did, the medical community needed to study him and find the cure for cancer. I’ve never seen a dog that simply did not show any signs of weakness or age for so long. He was not hyper, he just went at the world in a way that Auggie March would fully endorse. So with apologies to Saul Bellow, I’ll take the liberty of embellishing that famous first paragraph from his masterful novel: “I am an American, (puppy-mill)-born—…and go at things as I have taught myself, free-style, and will make the record in my own way: first to knock, first admitted; sometimes an innocent knock, sometimes a not so innocent. But a (dog)’s character is his fate, says Heraclitis, and in the end there isn’t any way to disguise the nature of the knocks by acoustical work on the door or gloving the knuckles (or muzzling the snout).”

Quinzy treated the world like his bitch and while I couldn’t (and wouldn’t want to) necessarily emulate that approach, it’s hard not to admire and respect it. I’ve never met a human –much less an animal– that slurped so much ecstasy out of every second he was allowed to enjoy. Quinzy got his eyes, ears, snout and occasionally his teeth on anything and everyone within his reach and he never hesitated and he never slowed down. Until he slowed down.

But we never thought he would die. We actually thought he would live forever. Or at least shatter some canine records. I still reckon that scientific minds should study his DNA and come up with the antitode for illness, aging and depression. He was the most alive dog I’ve ever known and I’ve known a lot of dogs. Dogs, if nothing else, are very alive and adept at living (they are dogs, after all).

I won’t get carried away and claim that the scars on my hand, which I can see right now as I write these words, are the ironic gifts Quinzy left me. But in a way I could not appreciate until this very second, perhaps he was giving me something I could not fully fathom, since I’m a human. Did he understood and appreciate that he had been rescued from abandonment or a premature appointment with the veterinarian’s least-loved needle? Who knows. Who cares? What was he supposed to do, thank me? He did more than that anyway, and he did it without guile or the expectation of gratitude, since he was a dog. He showed me how to live a less contrived, more memorable life. He left me with a part of him that I can easily keep in my head and my heart. Finally, in his own incomparable fashion he ensured I had a visible reminder or three I’ll carry with me until the day I finally slow down myself.

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In Defense of Good Sax, Part Four: Separating The Best of The Best

Best sax solos ever?

That is kind of like choosing the best sunset; it’s impossible.

But some do stand out apart from the rest, and beauty is always in the ears of the behearer.

5. John Coltrane: “The Last Blues”.

Of course it would be possible to make a list without including Coltrane; it just wouldn’t feel right. His entire career is an extended highlight reel, a hall-of-fame enshrinement in real time. Also, as at least one person has opined, no one has ever done anything as well as John Coltrane played the saxophone.

Even on tunes like “Russian Lullaby” (arguably the apotheosis of his famous “sheets of sound”) or “Countdown” (where, after having learned to fly, he finally broke the sound barrier), other players get a say, however briefly. On “The Last Blues” it’s all Trane from start to stop, and even though Elvin Jones is in typical form, dropping sonic booms from every conceivable angle, this is Trane preaching from the mountaintop: this is the tide crashing and receding –and everything in between.

4. Jackie McLean: “Plight”.

For my money, probably the single-most underrated musician in jazz history. Listen: the streak Jackie Mac went on from the late ’50s to the late ’60s can stand toe-to-toe with what anyone else has done in any era; just one masterpiece after another. Also, Dr. Jackyll discovered –and promoted– more amazing young talent than anyone not named Miles Davis or Art Blakey.

“Plight” is from his enthusiastically recommended album Action, featuring as solid a line-up as Blue Note ever boasted: Cecil McBee on bass, the estimable (and also severely under-appreciated) Charles Tolliver –who composed most of the material– on trumpet, “Smiling” Billy Higgins (who is without any question on the short list of all-time great jazz drummers) and, added bonus, the incomparable Bobby Hutcherson on vibes. Add Mac’s alto, at once searing and then soothing, and you have a tune that can –and should– convert anyone with the slightest bit of sense, or soul. This also is just about as cool as it gets.

3. Charles Mingus: “Goodbye Pork Pie Hat”.

It’s not just that I’ll take any opportunity available to discuss Charles Mingus (I will); it’s that he can’t be talked about enough. He was sufficiently god-like in his time that he always was able to assemble top-tier talent; part of his enduring legacy (aside from his musicianship and compositional prowess) is that he consistently got the best performances out of so many of the men he employed. Simply put, too many great players to count did their finest work on sessions led by Mingus.

From the immortal Mingus Ah Um, this is an homage to the recently departed Lester Young. “Goodbye Pork Pie Hat” (a clever and affectionate reference to Young’s signature style of headwear) became an immediate standard and has been much-covered since its inception. The tune is justly celebrated for John Handy’s sublime tenor sax solo: his flutter-tongued phrasing performs a duet with Mingus’s bass in the song’s middle section that sounds like subdued teardrops; the emotional impact and clarity of purpose is unforgettable. Teo Macero’s production throughout is impeccable, but on this particular tune one can be forgiven for thinking Lester was smiling down on the proceedings.

2. Ornette Coleman: “Civilization Day”.

This one is for all the uninformed haters. Black beret this, bitches.

Punk rock? Please. This shit makes that slop sound like what it mostly was: a bunch of spindly misfits playing their instruments poorly but passionately. Child’s play, musically speaking. This is the truth that a whole lot of people can’t handle. In part, because it makes so much other material sound like little boys playing with toy soldiers. This is a report from the frontlines, with real bullets flying and the sort of shrapnel that gets stuck in your soul. Can you dig it?

As Charlie Haden and (the aforementioned) Billy Higgins double-time the soundtrack of the end of the world as we know it (try to wrap your mind around what is happening during the 4:36-4:51 section), Coleman remains impossibly calm and collected, because that’s how he’s always rolled. In his own elegant way he makes a compelling case for why the skies of America shouldn’t come crashing down on a 20th Century spun all out of control. You don’t need to try and understand what he’s saying; just be thankful that he said it.

1. Sonny Rollins: “East Broadway Rundown”.

Sonny. One of the last still-living links to the great old days. Like Coltrane (and every other player on this particular list), it is too easy to pick a representative solo –which makes it difficult to isolate just one.

So it seems a bit appropriate to choose one from the album where Rollins “borrowed” Coltrane’s rhythm section (Jimmy Garrison and Elvin Jones). A special guest appearance from the remarkable Freddie Hubbard (who also augmented the collective genius on Coltrane’s Ole Coltrane disc) makes this one of the seminal recordings of the ’60s.

Along with the epic side-long “Freedom Suite” this title track represents Rollins doing an extended improv in the studio, and in many ways it remains his most satisfying, if unorthodox performance. Rollins was not as quick to embrace the free jazz ethos as his compatriots, Coltrane and Coleman were, but once he let his guard down he proved, once again, that he could be the best at whatever he set his mind to doing.

Perhaps the most notable playing Rollins does here occurs when, having seemingly taken the instrument as far as he can take it, Sonny starts blowing through his mouthpiece (!!). The resulting sounds are many things: spooky, surreal, unsettling and awe-inspiring. Nothing else anyone has ever done sounds anything like this, and it’s ceaselessly exciting to hear Garrison and Jones hold down the fort while Sonny leaves the room for a while and goes to that sacred other place where very few artists are capable of going.

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In Defense of Good Sax, Part Two

Wherein five jazz saxophonists “slum” and make truly indelible contributions to five well-loved and much-played rock songs.

Considering one of the all-time ALL TIME greats (Sonny Rollins) is on this list, an anecdote from the sessions seems in order:

MICK JAGGER: “I had a lot of trepidation about working with Sonny Rollins. This guy’s a giant of the saxophone. Charlie said, ‘He’s never going to want to play on a Rolling Stones record!’ I said, ‘Yes he is going to want to.’ And he did and he was wonderful. I said, ‘Would you like me to stay out there in the studio?’ He said, ‘Yeah, you tell me where you want me to play and DANCE the part out.’ So I did that. And that’s very important: communication in hand, dance, whatever. You don’t have to do a whole ballet, but sometimes that movement of the shoulder tells the guy to kick in on the beat.”

5. Ronnie Ross on Lou Reed’s “Walk On The Wild Side”:

4. Dick Parry on Pink Floyd’s “Us and Them”:

3. David Sanborn on David Bowie’s “Young Americans”:

2. Wayne Shorter on Steely Dan’s “Aja”:

1. Sonny Rollins on The Rolling Stones’ “Waiting on a Friend”:

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Ten Songs For Myself

Eight years ago today.

I’m sure anyone who has lost a parent (or heaven forbid, a child) can understand that when this happens it becomes a line of demarcation: your life before and your life after. It doesn’t mean nothing is ever the same or that you never get past it (everything is the same and you get past it except for the fact that nothing is ever the same and you never get past it. You don’t want to).

One year ago today this is what I had to say, and I’m not sure I can (or need to) improve upon this sentiment:

Blogs are, or can be, like diaries.

Except that diaries, by nature, are private. Which begs the question: do people who blog censor or soften the observations, complaints or critiques that in other times would exist inside a document designed to remain unread by others? (Or more to the point, should they?) To be certain, only a few years ago, thoughts like the ones I’m about to express would have been safely ensconced inside a journal, not read by anyone else, even including myself (I don’t often return to old journals, hopefully because I’m too busy living in the here and now). And for whatever it’s worth, I am humble enough to know that small numbers of people visit this blog, and I have enough sense (or self-respect) to instinctively acknowledge that nobody is well served by overly earnest airing of personal trivia.

Put another way, I don’t begrudge anyone else documenting every last detail of their existences (no matter how mundane or mawkish); I simply remain uninterested in reading about it. In that regard, blogs are self-regulating: if you don’t write things that others will find interesting, you won’t have an audience. And who cares anyway? In that regard, blogs are like diaries: people post on them because they want to, or need to, and the concept of friends or strangers reading their innermost thoughts won’t necessarily hamper their willingness to compose. Still, only the sensation-seekers looking for notoriety (usually the already famous, and even those folks have a shelf-life of about six months) go out of their way to wax solipsistic in a public forum.

When it comes to the death of my mother, I of course have meditated on the loss privately and publically, and anyone who knows me (or reads this blog) understands that her life and death are an unequivocal component of my ongoing existence. Nothing remarkable about that, really: it is what it is. I am not alone; in fact, one need not suffer the untimely death of a parent to understand that their presence is inextricable from one’s own. That said, it’s not because my feelings or experiences are unique, but because they are the opposite that I have little compunction sharing some thoughts on this plaintive anniversary. Indeed, for me these occasions are much more a celebration of her life (and her unambiguously positive influence in my life) than any sort of disconsolate meditation on death. It is what it is.

As I have mentioned in other pieces (most recently on my birthday), one of my earliest and most positive memories of art and discovery is associated with my mother: listening to Nutcracker Suite and drawing pictures. I still listen, as anyone who knows me knows, and I still draw pictures, only I use words (and, whenever possible, my mouth –as anyone who knows me knows).

I’ve long maintained that while I don’t begrudge anyone their pleasure in augmenting their musical experience with altered substances, I am happy to take it straight, no chaser. When I listen to music it does everything I suppose it is designed to do: it soothes me, inspires me, consoles me and makes me genuinely grateful to be alive. To be among the same species that was capable of creating this magic. To be transported to other times and places while being wholly present in the here-and-now (what a miracle that is when you think about it; something drugs cannot do half as reliably, or inexpensively…or legally). I don’t turn to music when I need it most, because I always need it. But certainly there are some songs I need at certain times more than others. There are, fortunately, too many to list or share, but there will be many more anniversaries of this day to remember, and I’ll look forward to sharing more at the appropriate occasions. For today, here are some songs that always help.

Chopin, “Waltz, Op. 64, No. 2″ (performed by Artur Rubinstein):

 

Grant Green, “Exodus”:

 

Bob Marley, “No Woman, No Cry”:

Dizzy Gillespie, Sonny Stitt and Sonny Rollins, “Sunny Side of the Street” (with epic, miraculous vocals by Diz):

Jeff Buckley, “Dream Brother”:

Led Zeppelin, “In The Light”:

Neil Young, “Motion Pictures”:

Living Colour, “This Is The Life”:

Sonny Sharrock, “Who Does She Hope To Be?”:

Jethro Tull: “Reasons For Waiting”:

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Sonny Rollins, Still Living The Well-Lived Life

Nice feature on American treasure (and no I don’t use that word lightly) Sonny Rollins in today’s Boston Globe.

The man is going to celebrate his 80th birthday this year (in September) and is still active, creative, engaged.

There are certain artists who are so incomparable, as artists, as human beings, as role models, that enough good things cannot possibly be said. There are not many in this category, but if anyone is, Rollins must be included. Ceaselessly humble, relentlessly ambitious and seldom (if ever) satisfied with his performances, Rollins is the rarest of birds: the enlightened being who figured out early on how to live life in full, on his own terms, and has never strayed from that almost monastic path.

A few money quotes from the article:

“I don’t care about landmarks and foolishness,’’ he says. “I am a musician very much into everyday activities. I practice everyday. I compose. I am in the middle of my career in my mind.’’

“I never thought anything was as important as understanding what I needed to do as an artist,’’ he says. “You can’t care about how the public reacts. It’s not something you can contemplate and anticipate. I try to get close to my inner self, and I know that will be OK. When I know I’m playing well, I know that everyone else feels that way.’’

You want to know what a bad ass motherfucker Sonny Rollins is? There are numerous examples, but two leap to mind (one well-known; the other less so):
Example one: two words, The Bridge. (I could explain this, but thanks to YouTube, footage exists of him describing this unbelievable story.)

Example two: at a concert in the ’80s, Rollins was in the middle of one of his ebullient solos when, in the joy of the moment, decided to leap off the stage. Suddenly, silence. After a few stunned moments, the music started up again. Miraculously this is caught on film, and the cameras pan in on Sonny, flat on his back, continuing to play. Cool enough, right? It turns out he broke his heel in the fall. And continued to play. Not just the song, but the rest of the show. The show, of course, must go on.

The last century blessed America with more than a handful of geniuses whose lives and work will be studied and appreciated many, many centuries after they are gone. Rollins is most definitely on the short list of masters who can teach us a great deal about ourselves and how we should aspire to be, and in the process, as all great art inevitably does, make that life quest immeasurably richer and more enjoyable in the process.

Blow on, Sonny.

(Recommended Rollins for the uninitiated: Sonny Rollins Plus 4, Saxophone Colossus, Night at the Village Vanguard, Alfie, and East Broadway Rundown which, for whatever it’s worth, is one of my all-time favorite recordings in any genre.)

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Five Easy Pieces

Music always helps.

Here are representations from each of the five major food groups (jazz, blues, reggae, classical, rock) that are unceasingly able to make me happy, or at least happier. Music is the one miracle you can always count on, and I can always count on these five easy pieces.

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