How we cite our quotes: Citations follow this format: (Part.Chapter.Paragraph)
Quote #19
Holy flowers floating in the air, were all these tired faces in the dawn of Jazz America. (III.3.42)
Sal repeatedly uses jazz to characterize the America in his time.
Quote #20
Once there was Louis Armstrong blowing his beautiful top in the muds of New Orleans; before him the mad musicians who had paraded on official days and broke up their Sousa marches into ragtime. Then there was swing, and Roy Eldridge, vigorous and virile, blasting the horn for everything it had in waves of power and logic and subtlety - leaning to it with glittering eyes and a lovely smile and sending it out broadcast to rock the jazz world. Then had come Charlie Parker, a kid in his mother’s woodshed in Kansas City, blowing his taped-up alto among the logs, practicing on rainy days, coming out to watch the old swinging Basie and Benny Moten band that had Hot Lips Page and the rest - Charlie Parker leaving home and coming to Harlem, and meeting mad Thelonious Monk and madder Gillespie - Charlie Parker in his early days when he was nipped and walked around in a circle while playing. Somewhat younger than Lester Young, also from KC, that gloomy, saintly goof in whom the history of jazz was wrapped; for when he held his horn high and horizontal from his mouth he blew the greatest; and as his hair grew longer and he got lazier and stretched-out, his horn came down halfway; till it finally fell all the way and today as he wears his thick-soled shoes so that he can’t feel the sidewalks of life his horn is held weakly against his chest, and he blows cool and easy getout phrases. Here were the children of the American bop night.
Stranger flowers yet - for as the N***o alto mused over everyone’s head with dignity, the young, tall, slender, blond kid from Curtis Street, Denver, jeans and studded belt, sucked on his mouthpiece while waiting for the others to finish; and when they did he started, and you had to look around to see where the solo was coming from, for it came from angelical smiling lips upon the mouthpiece and it was a soft, sweet, fairy-tale solo on an alto. Lonely as America, a throatpierced sound in the night. (III.10.4, III.10.5)
Sal traces a hereditary jazz tradition through two generations of musicians. The passing on of tradition, too, is part of America, but Sal examines it in his own counter-culture way, through the underground musicians of the night.
Quote #21
We passed Walsenburg; suddenly we passed Trinidad, where Chad King was somewhere off the road in front of a campfire with perhaps a handful of anthropologists and as of yore he too was telling his life story and never dreamed we were passing at that exact moment on the highway, headed for Mexico, telling our own stories. O sad American night! Then we were in New Mexico and passed the rounded rocks of Raton and stopped at a diner, ravingly hungry for hamburgers, some of which we wrapped in a napkin to eat over the border below. (IV.4.4)
Sal sees sadness in America because of his inability to connect with so many of the Americans he passes. For every connection, there are a million missed ones.