Played the Peace Fair on Brunswick green Saturday. Our mando player Ben’s mother, a German war bride and longtime social justice activist, administers this event, which annually draws a healthy cross-section of southern Maine’s aged hippie population. This year, for these unreconstructed lefties, we performed a Pete Seeger tribute/sing-along. The crowd was big (for a peace fair, in August) and the weather held off. But the big deal came before I had played a note. Ben’s brother Matt, a gifted pianist, was up for the event and brought along a fellow Nutmegger native on sax. They started our set (we followed a five-0piece that featured two steel drums) with a four-piece tribute to the recently departed Horace Silver (above), a jazz name I sorta knew but not really. The song they chose, appropriately, was “Peace”, and it transported me.
In the early 1990s, I was news editor at a couple of daily newspapers in Massachusetts. The life was somewhat nocturnal: I’d arrive a 5 p.m., put the paper on the press at 2 a.m., and go home — unless the paper crowd had gathered for very late-night revelry. Even a ridiculous schedule like this can become routine: I’d arrive in the newsroom and flip on NPR out of WGBH in Boston. The first two hours of the work “day” were a mix of gay banter, serious story planning, photo assessment (from what had been shot that day) and assignment (to be shot that night), and front page/section layout. All this took place with All Things Considered as soundtrack.
At 7 p.m., things got more down to business. Reporters were headed off to meetings or coming back from accidents/crime scenes/sporting events to begin filing stories — stories that I would read and edit before sending the final layout to the paste-up/press operation a few towns over.
But nothing serious got done, not at my desk anyway, until 7:04. WGBH aired a jazz program starting each night at 19:00 called “Eric in the Evening”. The show theme was this beautiful piece of jazz that dripped from the radio each night, by itself, starting at exactly 7 p.m. The routine of its play provided the perfect respite and regathering moment before the radio got turned off and we all transitioned to the mania of another night on deadline.
I’m not a huge jazz guy. I like a massive cross-section of the genre, though when I pin myself down, I can see how the influence of Charlie Brown and Vince Guaraldi shaped this particular aspect of my musical taste. Dave Brubeck. Bill Evans. That’s the stuff I’m drawn to apparently: white guys from the late ‘50s and early 60s. Very uncool, I’m afraid. Just the way it is.
I left the Marlboro Enterprise and Hudson Daily Sun in 1992. I never did get the name of that theme music to “Eric in the Evening”. Every couple years it would jump into my brain — not because I’d heard it, but because I’d remember just how resonant and important it was to me, at one time, in my work likfe. I googled “Eric in the Evening theme” one time, with no luck. Eric Jackson still does a jazz show on WGBH radio, but it seems he’s gone off the regular-theme music thing and just excerpts bits from that night’s guest or spotlight artist.
Well, that Silver piece, “Peace”, is in fact Eric’s old theme. I knew it from the moment I heard the opening two measures on Saturday.
Here’s is Silver’s original version, from 1959 (right in my wheelhouse; I should have been cast in the movie, “Diner”, as I dig that period couture, as well). Sadly, after scouring iTunes and youtube.com, I have determined this is not the arrangement Eric deployed back in the early ‘90s. That was a more saucy, piano-centric, sax-featuring recording. And so the search continues, but at least I know the name of the fucking song. Only took me 23 years.