Rather, police might be able to arrest the person who sold that gun – and presumably other guns – into the underground market. If detectives spent time tracking down the history of the gun, Phil Cook says, law enforcement could go beyond simply catching one perp with one gun. “When a gang member or another dangerous person gets picked up that has a gun there needs to be a lot of questions asked about where that gun came from, what their source is,” he says. Phil Cook argues for a change in the way law enforcement does its job. After Maryland passed a Firearm and Safety act in 2013, 41 percent of surveyed parolees in the state reported that it was more difficult to get a handgun.Īnd a study of over three decades of data on handguns recovered in Boston shows that fewer guns are illegally obtained from states where people are restricted to legally buying just one gun a month. And lawmakers can do something about this.įor example, laws designed to regulate legal gun sales can significantly affect the underground market. One thing that’s clear from Phil Cook’s research is that something needs to be done to stop the flow of guns into urban neighborhoods like the one Samuel grew up in. “You know you didn’t have to pay because whoever was in your gang that’s really leading the gang, they would have that connection,” Samuel says. Usually he didn’t even have to pay for the gun. In his experience, getting a gun was as easy as getting a beer. He says if you’re connected to a social network like a gang, it’s easy to get a gun. Samuel is a former gang member from Chicago. There’s just so much divine, cosmic beauty, and meaning in that entire experience.” Cook will play All These Years in the Nelson Music Room at Duke University, an intimate recital hall built in 1912.What his team found is this: while policymakers argue about things like background checks for legal gun purchases, criminals, for the most part, are not getting guns through legal means. The sounds of the street bled through those brick walls.Ĭook describes the resulting songs as “hymn-provisations,” telling the INDY Week ’s Dan Ruccia that making the album was “an act of me getting out of my own way and having it not be about anything other than what needed to come through in a moment. These ten pieces came to life on a long-cared-for and much-loved 100 year-old Steinway over three days at the church. Yet it was during hour-long stretches of improvisation in NorthStar Church of the Arts in Durham where the music could open up to the presence of divine intoxication. Phil experimented with sanctuary in order to honor the ritual: he retreated alone to the mountains in North Carolina to write, sojourned to family abodes in Wisconsin to nurture. In a note accompanying the recording, Trevor Hagen describe the process: Recorded on a 1923 Steinway in Durham’s NorthStar Church of the Arts, All These Years is “a turn toward the minimal, the meditative, the powerful” ( Volume One magazine ) that finds Cook exploring his relationship to the piano, his primary instrument. Phil Cook returns to Duke Performances for an intimate performance of the entirety of his new solo piano album All These Years. Phil Cook Tuesday, Ma| 8:00 pm Nelson Music Room
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