About 482-and-half days before configuring myself into a fully-boring attaché of music research machine to complete Charlie Parker: The Analytical Study of Twenty-Two Performance Versions of Now’s The Time, I was sitting in a dusky corner of the White Library, all alone, slowly browsing through countless rolls of ancient microfilms (pretending they were yummy dinner rolls), yawning, and secretly thinking about al dente spaghetti, grilled veggies, and Alfredo sauce all...