Dean Benedetti’s relationship to Charlie Parker was a complicated one and contained a desire for, fascination with, and disdain for blackness, all at once. A fellow saxophone player, he studied, transcribed, and obsessed over Parkers talent and became respected as an accidental musicologist. Jennie C. Jones takes this relationship as a starting point for her sound installation and drawings and creates a meditation on a unique musical encounter that serves as a model for larger issues of race relations and the anxiety of influence.