"So okay, I accepted, and I realized while working for that concert that I'd been missing something very important and vital to me, and that something was music"
About this Quote
A casual "So okay" opens the door like a shrug, but what follows is a quiet confession of self-repair. Joseph Jarman frames the moment as an almost accidental turning point: he accepts a gig, does the work, and only then recognizes the absence that had been quietly reorganizing his life. That pacing matters. It turns music from a hobby or career choice into a bodily need you only notice when it’s been gone long enough to leave a shape.
The quote’s power sits in its double emphasis: "very important and vital". Jarman isn’t reaching for poetic abstraction; he’s using the plainest language to describe an internal emergency. For a musician associated with the AACM and the Art Ensemble of Chicago, "music" isn’t just sound. It’s a practice, a community, a discipline, a way of thinking in time. The line hints at a period of distance, maybe burnout, maybe spiritual searching, maybe survival logistics. He doesn’t dramatize the reasons. He dramatizes the discovery.
Subtextually, this is about permission. Accepting "that concert" reads like saying yes to a version of himself he’d put on mute. The phrase "working for that concert" also reframes music as labor, not just inspiration: the return isn’t romantic, it’s earned. In a culture that treats artists as either constantly "on" or washed up, Jarman offers a more human narrative: identity can go dormant, then roar back the moment you step back into the room.
The quote’s power sits in its double emphasis: "very important and vital". Jarman isn’t reaching for poetic abstraction; he’s using the plainest language to describe an internal emergency. For a musician associated with the AACM and the Art Ensemble of Chicago, "music" isn’t just sound. It’s a practice, a community, a discipline, a way of thinking in time. The line hints at a period of distance, maybe burnout, maybe spiritual searching, maybe survival logistics. He doesn’t dramatize the reasons. He dramatizes the discovery.
Subtextually, this is about permission. Accepting "that concert" reads like saying yes to a version of himself he’d put on mute. The phrase "working for that concert" also reframes music as labor, not just inspiration: the return isn’t romantic, it’s earned. In a culture that treats artists as either constantly "on" or washed up, Jarman offers a more human narrative: identity can go dormant, then roar back the moment you step back into the room.
Quote Details
| Topic | Music |
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