Jazz Poems

WHAT I’M WILD FOR

I broke when I was ten and forty-

year-old Mr. D. was clambering on top of me

and it was all I could do to kick him back, keep

the red ceiling light in sight, and wait

for her to find me. So this is what she’s on

her knees for every night, praying

for Pops to come on back, rip her skirt off

and ride her until it’s only skin she ever wants

to feel again. I wanted to fling that in her face

the way a slick trumpeter cat from Philly

flung any panties at me summer I was fifteen.

I’ve seen more love in Alderson, behind

the warden’s back, behind Jim Crow’s back

on the way home from movies: dykes would touch

hands, feed cigarettes to one another

like they were kisses, before the cells broke us all up–-

forgers, whores, boosters, pushers, users.

The soldiers had it, too, begging for pieces

of my dress and stockings, tearing them to petals

under their noses because they have the smell 

of woman on them. I could love a whole

army like that. But two husbands later

and the hungry I feel is not the 600-miles-a-night

on a bus flashing slow silver between gigs

while my stomach opens wide. The cure

for that is simple as a couple bucks, red beans

and rice. What I’m wild for is a few grains

of dope and the shakes I get from head to satin

feet when it’s “Strange Fruit.” One night, my

body can’t

hold me down, the notes break clean, and no one

can see me, but they point to the voice flying over

the band and say, Billie, nobody sings 

hunger like you do, or love.

JANET M. CHOI

SUITE TABU 200

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Little Johnny C ~ Johnny Coles | By Eddie Carter

It happened like this: after listening to Bass on Top, my memories of my mom led me to another of her favorite jazz albums. Little Johnny C (Blue Note BLP 4144/BST 84144) by Johnny Coles is the trumpeter’s second release as a leader and his only Blue Note session. It was recorded in 1963 and released the following year. Johnny’s joined on this hard bop date by Leo Wright on alto sax (tracks: A1 to A3, B2, B3) and flute (B1), Joe Henderson on tenor sax, Duke Pearson on piano, Bob Cranshaw on bass, Walter Perkins (A1 to A3), and Pete La Roca (B1 to B3) on drums. My copy is the 1990 Toshiba EMI Japanese Stereo reissue sharing the original catalog number.

Little Johnny C is the first of five tunes by Duke Pearson. It kicks off Side One at a fast tempo with Duke’s brisk introduction to the front line’s lively theme. Leo comes out cooking first; then Johnny steps swiftly into the second statement. Joe wails in the following solo; then Duke shows his impressive skills into the group’s climax. Hobo Joe by Joe Henderson is a Latin-flavored blues that opens with the trio’s introduction, ahead of the sextet’s easy going melody. Coles begins this pleasant trip; then, Pearson picks up the next part of the journey. Wright continues the leisurely caravan, and Henderson concludes the trek in a fine finale ahead of the theme’s return and the trio’s fadeout.

Jano picks up the beat to end the first side with the ensemble’s medium melody. Leo sets the scene in the opening solo. Johnny takes over for a lengthy reading; then Joe builds the third statement exquisitely. Duke provides the closing remarks before the group returns to take the song out. My Secret Passion is a pretty ballad taken at a medium bounce, with Johnny leading the sextet in the melody and Pete La Roca taking over on drums. Coles opens the solos with a warm tone. Henderson displays delicacy and sensitivity in the following reading. Wright comes in next on the flute and gives a heartwarming statement. Pearson’s soulful interpretation brings us back to the reprise and ending.

Heavy Legs delivers an upbeat invitation to relax and enjoy the sextet’s ride through the opening chorus. Johnny is concise and to the point in the first reading. Joe follows with an equally enjoyable solo; then Leo steps in next for a rousing interpretation. Duke brings the solos to a happy conclusion ahead of the sextet’s theme restatement, slowly dissolving into nothingness. So Sweet My Little Girl is Pearson’s tribute to his then seven-year-old daughter, Cynthia. Johnny starts the melody softly with the saxes in the background. It sets the scene for the pianist’s tender performance as the song’s only soloist, leading to the front line’s return for a gentle climax.

Alfred Lion produced Little Johnny C and Rudy Van Gelder was the man behind the dials of the recording. The album sounds amazing, with a stellar soundstage that’s so good you’ll think you’re in the studio with the musicians as they are playing. Toshiba EMI did an excellent job with this reissue and the record is also very quiet until the music starts. Johnny only recorded five albums as a leader but has an extensive discography as a sideman. If you’re a hard bop fan and unfamiliar with Johnny Coles, I invite you to look out for Little Johnny C on your next record shop visit. It’s simply a great jazz album that I’m sure would make a perfect addition to any library and become a favorite on your turntable!

© 2024 by Edward Thomas Carter



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Jazz Poems

JAZZ


I’d like to know everything

A jazz artist knows, starting with the song

“Goodbye Pork Pie Hat.”


Like to make some songs myself

“Goodbye Rickshaw,”

“Goodbye Lemondrop,”

“Goodbye Rendezvous.”


Or maybe even blues:


If you fall in love with me I’ll make you pancakes

All morning. If you fall in love with me

I’ll make you pancakes all night.

If you don’t like pancakes

We’ll go to the creperie. If you don’t like pancakes

We’ll go to the creperie.

If you don’t like to eat, handsome boy,

Don’t you hang around with me.


On second thought, i’d rather find

The fanciest music I can, and hear all of it.


I’d rather love somebody

And say his name to myself every day

Until I fall apart.


ANGELA BALL

SUITE TABU 200

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Epistrophy: The Last Concert ~ Charlie Rouse | By Eddie Carter

Charlie Rouse was one of jazz’s great musicians, but he is best known as the tenor saxophonist in The Thelonious Monk Quartet for eleven years. He enters this morning’s spotlight with Epistrophy–The Last Concert (Landmark Records LLP-1521). The album honors the pianist and was recorded live at The Thelonious Monk Birthday Tribute during the Jazz in The City Festival. His bandmates for this exceptional performance are Don Cherry (tracks: B1, B2) on trumpet, Buddy Montgomery (B1, B2) on vibes, George Cables (A2, A3, B1, B2), and Jessica Williams (A4) on piano, Jeff Chambers on bass, and Ralph Penland on drums. Orrin Keepnews is the host. My copy is the 1989 U.S. Stereo release.

Orrin opens with a few words about Charlie Rouse before introducing him; then, the two men share Some Words About Monk that are just as entertaining as the music that follows. Nutty is taken at a medium tempo, and Charlie swings easily on the theme and the first solo. George picks up the groove and gets into something interesting; then Ralph shares the finale with Rouse and Cables preceding the ending. Ruby, My Dear is named after Monk’s first love, Rubie Richardson and is one of his most beautiful tunes. Charlie and the trio tenderly begin the melody. Rouse continues delivering the opening solo with sultry notes from his tenor sax. George compliments him with elegant execution in a short statement. Charlie adds a few final gentle touches before the closing chorus and the delight of the crowd.

Blue Monk was Monk’s personal favorite of all his compositions. Jessica takes over on piano and opens with a quirky introduction to the foursome’s bluesy melody. Charlie takes the lead solo with a relaxing informality that flows naturally. Jessica takes a comfortable ride in the second reading, and Jeff has an enjoyable moment in the closer, preceding the theme’s restatement and close. ‘Round Midnight by Thelonious Monk, Cootie Williams and Bernie Hanighen is Monk’s best-known and most recorded creation. George starts with a lengthy introduction, segueing into the trio’s gorgeous melody and the pianist’s opening solo. Buddy comes in next for a touching interpretation, and then Don expresses his thoughts in a haunting, muted performance. Charlie provides the pretty exclamation point ahead of the climax.

Epistrophy by Thelonious Monk and Kenny Clarke was the pianist’s closing number at each live set. George sets everything in motion for the ensemble’s lively melody. Don opens with a few twists and turns; then Charlie wails with ease next. Buddy answers with a spirited performance. George adds to the excitement, and Don, Charlie, and Buddy swap notes with Ralph ahead of the reprise and close, which receives abundant applause from the audience. Orrin Keepnews produced the album, and Ron Davis was the recording engineer. David Luke was the digital engineer, and the mastering was by George Horn. The album’s sound quality is stunning with an excellent soundstage that takes the listener to the club to enjoy the musicians as they are performing.

Epistrophy-The Last Concert is dedicated to Charlie Rouse’s memory and is the last album he recorded before his death from lung cancer seven weeks later on November 30, 1988. He was only sixty-four but leaves behind a legacy of thirteen albums as a leader. He also co-founded and recorded six albums with the group Sphere (Thelonious’ middle name). He also made quite a few titles as a sideman, including twenty-four with Thelonious Monk during his lifetime. Palo Alto was recorded in 1968 but not released until 2020. If you’re a fan of Monk’s music or Post Bop, I offer for your consideration, Epistrophy–The Last Concert by Charlie Rouse the next time you visit your favorite record shop. It’s one of the most enjoyable albums I’ve heard and is a title I’m sure you won’t regret adding to your library!

~ Palo Alto (Impulse B0032181-01) – Source: Discogs.com ~ Blue Monk, ‘Round Midnight – Source:JazzStandards.com ~ Epistrophy, Ruby, My Dear – Source: Wikipedia.org © 2024 by Edward Thomas Carter

***In Like Bud which is included in the YouTube version of the album, is only available on compact disc and not on the original wax recording.

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Jazz Poems

FALL DOWN

in memory of eric dolphy

All men are locked in their cells.

Though we quake

In fist of body

Keys rattle, set us free.

I remember and wonder why?

In fall, in summer; times

Will be no more. Journeys

End.

I remember and wonder why?

In the sacred labor of lung

Spine and groin,

You cease, fly away

To what? To autumn, to

Winter, to brown leaves, to

Wind where no lark sings; yet

Through dominion of air, jaw and fire

I remember!

Eric Dolphy, you swung

A beautiful axe. You lived a clean

Life.

You were young–

You died.

Calvin Hernton 

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