On The Bookshelf
The Jazz Poetry Anthology
Since the turn of the century, poets have responded to jazz in all its musical and cultural overtones. The poems here cover the range of jazz itself: from early blues to free jazz and experimental music. Among the 132 poets included are James Baldwin, Lawrence Ferlinghetti, Langston Hughes, Jack Kerouac, Mina Loy, Ishmael Reed, Sonia Sanchez, Amiri Baraka, Carol Bergé, Sterling A. Brown, Alice Fulton, and Carl Sandburg.
The poems give the reader a sense of jazz imagery through the history of the music, yet have been lost to so many jazz enthusiasts and aficionados of the 20th century. Many of the names in this publication will be familiar but most one will discover anew.
Each poet has heard, felt the emotion of and experienced the music from a different perspective, writing in that voice. This makes for a pleasurable journey through time for the reader, especially those familiar with the music and the musicians.
This anthology represents the broad appreciation for jazz as poetic inspiration, not only from the Beat movement but from writers across the decades and around the world.
The Jazz Poetry Anthology: 1991 | Sasha Feinstein & Yusef Komunyakaa
Indiana University Press
Daily Dose Of Jazz…
Daniel Asbury Mixon was born August 19, 1949 in Harlem, New York City. He started off as a tap dancer, attending the Ruth Williams Dance Studio. Later, he attended the High School of Performing Arts with Dance as his major but soon switched to playing the piano after being inspired by visits with his grandfather to see jazz artists playing at the Apollo Theater.
In 1966, at the age of 17, Danny was invited to play with the trumpet player Sam Brown’s band backing Patti LaBelle & the Blue Bells in Atlantic City at Reggie’s Cocktail Lounge. After working with Joe Lee Wilsonfor three years beginning in 1967 then started to play regularly with Betty Carter during the years 1971–72.
Formed his own jazz trio, he recorded with the Piano Choir and worked with a variety of important jazz musicians including Kenny Dorham, Cecil Payne, Art Blakey’s Jazz Messengers, Frank Foster, Grant Green, Pharoah Sanders, and singers Joe Williams, Eddie Jefferson and Dee Dee Bridgewater.
1976 saw Mixon playing in Charles Mingus’ band. He then played with Dannie Richmond in the late 1970s, toured the U.S. with Yusef Lateef and played a few years with the Lionel Hampton Big Band. Since his twenties Mixon has worked continuously with Frank Foster as a pianist for the Big Band; Frank Foster’s Loud Minority, and his quartet the Non-Electric Company.
He plays piano on many recordings. He appears with Hank Crawford on Tight and After Dark and has also recorded with The Danny Mixon Trio and has recorded On My Way. In 2004 he was awarded as a legendary pianist by the National Jazz Museum in Harlem during their series Harlem Speaks honoring Harlem Heroes. He was also the musical director of the Lenox Lounge in Harlem, where he also regularly played with his trio, until it closed in 2012.
Pianist Danny Mixon, at 76, continues to perform and record.
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Daily Dose Of Jazz…
Frank Parker was born on August 18, 1919 in New Orleans, Louisiana and began drumming at the start of his career in show business at the age of 5. He gained experience playing with various bands in New Orleans, including The Gin Bandits. He performed as a member of Kid Clayton’s band before relocating to Los Angeles, California. There he hooked up with Teddy Buckner at the Beverly Caverns and the Johnny Otis Band.
Returning home in 1949, Parker played alongside such notables as Fats Domino, Joe Phillips, Roy “Good Rocking” Brown, and Paul Gayten. Nearly ten years later he went on the road with Ray Charles, which was followed up by a spot with the Louis Jordan Band. In 1959 he was back in Los Angeles working with Lou Rawls among others.
By 1970, Parker was working once more on Bourbon Street with Thomas Jefferson, George Finola, Papa French, Santo Pecora, and Wallace Davenport. During his later years, he performed with Laverne Smith at Marriot and Fairmont hotels, toured with One Mo’ Time in 1979, a stage hit about black vaudeville in the early days of jazz. A year later he was playing drums for Percy Humphrey and the Preservation Hall Band.
He ultimately retired in 1990 after suffering a stroke. Just a few months after The Louisiana Jazz Federation presented him with a lifetime achievement award, drummer Frank Parker died on January 23, 2001 in his hometown.
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Requisites
Jammin’ With Gene ~ Gene Ammons All-Stars | By Eddie Carter
A few evenings ago, after dinner, I was enjoying a good book when I suddenly craved some jazz with a tenor sax. That decision led me to today’s discussion. Upon going to the shelf, I rediscovered one of my favorite records by the Gene Ammons All-Stars. “Jammin’ With Gene” (Prestige PRLP 7060) was the tenor saxophonist’s third release as a leader when it hit the stores in 1956. It was also the second of seven blowing session albums he recorded forthe label. The personnel for this date is a stellar supporting cast: Art Farmer and Donald Byrd on trumpet, Jackie McLean on alto sax, Mal Waldron on piano, Doug Watkins on bass, and Arthur Taylor on drums. My copy of this album is the 1977 Victor Musical Industries Japanese mono reissue (Prestige VIJ-5039).
The first side opens with the title tune, Jammin’ With Gene, by Gene Ammons. From the start, the septet establishes a cohesive atmosphere, with the front line delivering the melody in tight, harmonious unison. Gene takes the lead solo, slipping into a soulful groove that floats effortlessly over the rich foundation provided by his fellow musicians. Donald steps in next, his interpretation unfolding with increasing intensity, from a gentle warmth to a robust climax, also with the front line shadowing him. Art and Jackie then state their cases in the subsequent two readings, each presentation adding a fresh layer of expression. Mal wraps things up with a laid-back performance, which is followed by the group circling back to their unified closing chorus.
The album’s only standard, We’ll Be Together Again, by Carl Fischer and Frankie Laine, opens gently as Gene, Mal, and Doug’s introduction segues into a subtle, slow-moving melody by Ammons. Gene then steps forward, launching the opening statement with a smooth, relaxed swing. Art follows, infusing the second reading with vivacious energy, and then Jackie picks up the rhythm with lively, enthusiastic lines. Donald delivers the goods on the following interpretation, after which Mal ushers in a flowing groove leading into Gene’s closing passage back into a ballad tempo for the group’s graceful finish.
The album’s finale, Not Really The Blues by Johnny Mandel, is a lively, up-tempo tune that takes off with a brisk melody from the whole ensemble. Donald leads off, delivering a spirited statement that sets the pace, then Jackie adds some bite with sharp, energetic phrasing. Art keeps the momentum high with his vigorous contribution, while Gene steps in with high-octane in the next solo. Mal keeps things simmering with his smooth piano work, paving the way for a rapid-fire exchange among Farmer, Byrd, McLean, and Ammons. The excitement builds as Donald, Jackie, Art, and Gene trade choruses in a heated musical conversation, driving the group toward a swift and exhilarating exit.
Bob Weinstock supervised the session, and Rudy Van Gelder was responsible for the recording duties. This reissue’s sound quality is a delight to hear, with a vivid soundstage that transports the musicians to the sweet spot in your listening room. If you’re a Gene Ammons fan and appreciate a good bop album, I happily recommend “Jammin’ With Gene” by the Gene Ammons All-Stars for a spot in your library. It’s an underrated, but excellent album that every tenor sax enthusiast should seek out on their next record-shopping trip!
~ We’ll Be Together Again – Source: JazzStandards.com
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
James Benjamin Sherman was born on August 17, 1908 in Williamsport, Pennsylvania. He played piano in dance bands in the late 1920s and played on and off with Jimmy Gorham in the metropolitan Philadelphia area. In 1930 he began playing on a steamboat in Alphonso Trent’s band, then played in the 1930s with Peanuts Holland, Al Sears, Stuff Smith, Lil Armstrong, Putney Dandridge, Mildred Bailey, and Billie Holiday.
From the mid- to late ’30s Jimmy played in various swing groups but is best known for his hand in composing the jazz standard Lover Man, co-written with Jimmy Davis and Roger Ramirez, and was first recorded by Billie Holiday
He became the pianist and arranger for The Charioteers in 1938, remaining with the group until 1952. Following this he played primarily locally in eastern Pennsylvania. In 1960 he took up a residency at Miss Jeanne’s Crossroad Tavern in Chester County, Pennsylvania, where he played until shortly before his death.
Pianist and arranger Jimmy Sherman died on October 11, 1975 in Philadelphia, Pennsylvania.
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