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

from Jazz Poems ~ Selected and Edited by Kevin Young

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Daily Dose Of Jazz…

Hugh Ferguson was born on March 26, 1958 in Boston, Massachusetts and began playing at six years old. Starting on the drums in grade school and taking lessons from his Catholic school nuns, by age eleven he was influenced to play guitar by his two older brothers who played the instrument. Inspired by James Taylor and Simon & Garfunkel he started on the acoustic guitar, then switched to electric when he heard Duane Allman, Jeff Beck and Carlos Santana.

Being self-taught he had very little music knowledge, but listening to records he was able to learn stuff by ear. He developed scale patterns.As a composer he would create a chord melody mostly on his guitar. Playing by intuition he has created his own phrasing and added space to his solos.

In the 70s the fusion wave hit with John McLaughlin, Billy Cobham and Tony Williams and Hugh got into the fusion jazz-rock music. 1978 saw him living and playing in Phoenix, Arizona before moving to Los Angeles, California in 1986.

As a contemporary guitarist he worked on musical projects that incorporated the music of Led Zeppelin, Eminem, Sting, Don Henley along jazz fusion lines. He opened for Larry Carlton, Al Dimeola and Hiroshima.

Guitarist Hugh Ferguson, who led a fusion jazz trio with bassist Brian Wright and drummer Roger Carter,  died on March 21, 2012.

Daily Dose Of Jazz…

Albert Burbank was born March 25, 1902 in New Orleans, Louisiana and was taught clarinet by Lorenzo Tio, one of that city’s most famous clarinet players. Staying in the New Orleans area throughout the 1920s, he played wherever his services were needed. During the 1930s, he worked with Kid Milton’s band but was drafted into the US Navy during World War II.

Upon demobilization, he worked internationally with the bands of Paul Barbarin and Kid Ory. Returning to New Orleans he played with several of the well-known jazz and brass bands in the city. He was regularly seen at Preservation Hall and toured Australia with a band made up of Preservation Hall musicians.

In 1975 Albertsuffered a stroke but continued playing until his death on August 15, 1976. Many of his recordings of broadcast performances with Kid Ory’s band at San Francisco’s Hangover Club, have been issued on the Danish Storyville label, and some with trombonist Bill Matthews appear on Southland.

Burbank would go on to record with Wooden Joe Nicholas, Herb Morand, Kid Clayton, Paul Barbarin, Percy Humphrey, and Jimmy Archey.

Clarinetist Albert Burbank died on August 15, 1976 in his hometown.

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Requisites

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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Daily Dose Of Jazz…

Alfred Winters was born March 24, 1931 and raised in New York City, New York. He completed his Bachelors and Masters degrees from Hofstra University and began working professionly since 1957.

He studied with the Metropolitan Opera Orchestra principal trombonist Roger Smith. He went on to play with Bobby Hackett, Gene Krupa, Phil Napolean, Wild Bill Davison, Benny Goodman. Recorded with numerous artists including Gene Krupa and Bobby Hackett.

Relocating in 1966 to the Detroit, Michigan area he performed and recorded with the Austin-Moro Big Band and the New Mckinney’s Cottonpickers as well as local artists like Tom Saunders.

He led his own band beginning in 1988 and performed at numerous jazz festivals including Newport Jazz Festival, Montreaux Jazz Festival and the Sacramento Jazz Jubilee.

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