Stricken

Other dictionaries offer humdrum meanings for "epiphany". I prefer the longer, arguably more human, definition from the Cambridge:

A moment when you suddenly feel that you understand, or suddenly become conscious of, something that is very important to you.

● Note "important to you". It needn't be a universal experience. I was in my late teens before I saw my first car race. At Mallory Park circuit I stood on a earth bank overlooking a corner, quite close to and looking down on the cars flashing past. The sense of speed and of danger was, to me, epiphanic.

Rock climbing, my quondam enthusiasm as a youth, should have been a rich source of epiphanies but simply being afraid (a frequent state) didn't quite cut the mustard. Perhaps because I was mainly incompetent.

● My first controlled parallel turn in ski-ing was an epiphany. I was at the centre of the experience, travelling fairly quickly, employing little energy, touching on grace.

● James Joyce is famous for epiphanies although in his case the word's definition includes a rider:

The manifestation being out of proportion to the significance or strictly logical relevance of whatever produces it.

I like that. A third the way through Ulysses I found myself reflecting on the character of Leopold Bloom, recognising in him an exemplar of humanity, its failings and its magnificences. Definitely an e-moment.

● Making love? Not the first time but almost certainly the second. Important that it occurred in London.

● Music? The only endeavour where I anticipate epiphanies. A regular source: The Soave il vento trio from Cosi.

● The bursts of admiration and sympathy I feel for Gina Miller.

● Coming unexpectedly upon one of the Rembrandt self-portraits. Where? I can't remember.

Jazz for grownups

Bebop (bop) jazz developed by Charlie Parker, Dizzy Gillespie and Thelonious Monk is easier to recognise than define. Best to dwell on what bop isn't. I like "it strove to counter the popularisation of swing (eg, Benny Goodman, Glen Miller) with non-danceable music that demanded listening." - a crusade launched to stamp out depraved dancing then.

The technical definitions are confusing. Certainly fast tempi and instrumental virtuosity are essential bop elements but being "based on the combination of harmonic structure and melody" doesn’t distinguish bop from other jazz. I agree with this Wikipedia pearl: "(it had) an air of exclusivity, the 'regular' musicians would often reharmonise the standards in order to exclude those whom they considered outsiders or simply weaker players." Of all music bop is easily the most elitist.

Most find it hard to sing along to bop solos, let alone whistle them. Either they're resolutely minor key or possibly atonal, which I take to mean unattached to any formal key signature. So how are we supposed to appreciate them?

Well, it's always fun to watch and/or listen to any activity based on the My-Next-Trick-Is-Impossible text. Here's Dizzy with SALT PEANUTS - note his second solo starting about 4 min 20. Professionals only need apply. Funny, I like this but hate deliberately difficult posh stuff like Tartini’s Devil’s Trill.

Bop is no doubt serious music despite the verve with which it’s played. I don’t think we’re meant to listen to twenty bop tracks one after the other. Not me, anyway. Also I reckon we’re asked to applaud the sheer technical skill as something separate from the music – a tribute to human endeavour if you like. Oh yes, here’s a plus – bop is never sentimental.