Badsleeper Life

Continuing to write about music that inspires and captivates me, so that it can continue to do so in new ways.

Third Eye Blind’s self-titled debut album, ‘Third Eye Blind’:

This album is ludicrously good. In my opinion!

It wouldn’t be for very long that this band truly felt like a ‘band’. Publicized stories about lawsuits between lead-singer Stephan Jenkins and guitarist Kevin Cadogan paint a picture of betrayal, egomania, and deep resentment. Kevin tells of being ousted after Stephen’s conspiratorial effort to establish sole rights to the group’s brand and catalog, despite the two supposedly having a verbal agreement to be 50/50 partners. Stephan Jenkins’ dickish/douchey persona, his smug and smirking visage filling the frame of their music videos and stage performances, hardly compelled 3eb fans to call out “Stephen!? He would never do such a thing!” Since Kevin Cadogan’s departure I always had a strong perception of Third Eye Blind being Stephan Jenkins’ solo project. The first album, with the two musicians in their closest collaboration, is a triumph of 90s rock music. And Kevin’s guitar work is a defining feature, an electric conveyance of human spirit that would never be heard in such a way again, despite the band subsisting for another 28 years. The main pop culture hits of ‘Semi-Charmed Life’ and ‘Jumper’ remain fantastic, but it’s the powerhouse opener ‘Losing A Whole Year’ and the consecrated closing triad of “The Background”, “Motorcycle Drive By”, and “God of Wine” that make it legendary in my mind.

Sonata in C# Minor for Saxophone and Piano by Fernande Decruck (née Breilh): This piece of music captured my soul from the first time I heard it when I was a freshman in music school. I listened to it in amazement and declared to myself, “I will play that at my senior recital.” And I did exactly that. Now that I have gravitated towards a serious effort to learn the piano, I am declaring to myself “I will play that piano part!” It seems impossibly out of reach…Flying, flourishing runs of sixteenths, triplets, and sextuplets all throughout the sprawling range of the instrument, movements that I can’t comprehend my fingers and hands ever being capable of executing. I wonder if it’s truly impossible for me. I will find out.

My Little Suede Shoes by Charlie Parker: This infectious and simple tune was the first thing assigned to me when I signed up for summer Jazz saxophone lessons as a middle schooler. I recall entering a nearly empty Transit Middle School on a hot summer day and meeting with a local teacher in the band room. It was a strange lesson. He informed me about the musical prowess of Charlie Parker and told me how “In these lessons, we will be singing and using our voice. This is non-negotiable when learning jazz. Some people are uncomfortable singing but you’ll just have to get over it.” I remember feeling sick to my stomach with anxiety lol I was the quintessential ‘afraid to sing in front of people’ kid. He then told me about the incredible achievements of his former saxophone student ‘Dan’ and Dan’s remarkable work ethic. This was later brought up again in an episode of chastising after I showed up to a subsequent lesson ill-prepared. Something about it was strange to me. I think that experience has shaped my perspective when it comes to my own students: I will work with them to be the best version of themselves, not in comparison to anyone else. In any case, I’m grateful for being introduced to this tune. I’ve been revisiting it on the piano this week, transcribing Charlie Parker’s solo and now, as an adult, feeling much better equipped to understand the genius that lies within this modest and charming little song.

I had intended to write and reflect on a few more tunes but I think that’s plenty for now. More later!