Jazz Poems
GYRE’S GALAX
Sound variegated through beneath lit
Sound variegated through beneath lit through sound beneath variegated lit sound variegated through beneath litVariegated sound through beneath lit dark
Variegated sound through beneath lit dark sound variegated through beneath lit variegated sound through beneath lit darkThrough variegated beneath sound lit
Through variegated beneath sound lit through variegated beneath sound lit through variegated beneath sound lit Through variegated beneath sound lit Through variegated beneath sound lit through beneath lit through beneath lit through beneath lit through beneath lit Thru beneath Thru beneath Thru beneath through beneath lit Thru beneath through beneath lit Thru beneath through beneath lit Thru beneath Thru beneath through beneath lit Thru beneath Thru beneath through beneath lit Thru beneath Thru beneath Thru beneath Thru beneath Thru beneath Thru beneath Thru beneath Through beneath litTwainly simple of amongst
twainly simple of amongst Twainly simple of amongst twainly simple of amongst Twainly simple of amongst twainly simple of amongst In lit black viewly viewly viewly in viewly viewly viewly in viewly viewly in viewly viewly in viewly viewly viewly viewly in viewly viewly In lit black viewly in dark to stark In dark to stark In dark to stark in dark to stark In dark to stark in dark to stark In dark to stark In above beneath In above beneath In above beneath above beneath lit above beneath above beneath above beneath above beneath lit above beneath above beneath lit above beneath above beneath lit above beneath above beneath lit above beneath above beneath above beneath above beneath above beneath lit above beneath above beneath above beneath lit above beneath above beneath above beneath above beneath above beneath above beneath above beneath above beneath above beneath litN. H. PRITCHARD
from Jazz Poems ~ Selected and Edited by Kevin Young
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Requisites
Relaxin’ at Camarillo ~ Hank Jones | By Eddie Carter
Have you ever found yourself planning to listen to a specific album in your library, only to be drawn to another title on the shelf? That’s precisely what happened to me, and it ultimately led to a delightful surprise and this morning’s discussion. Hank Jones has been one of my favorite pianists since I first heard him on Bass on Top, New Trombone, Portrait of Art Farmer, and Somethin’ Else many years ago. Relaxin’ at Camarillo (Savoy Jazz WL 70504) was initially released in 1956 as the Hank Jones Quartet, and this gem is often overlooked within his extensive discography. Accompanying Hank in this session are Bobby Jaspar on flute, Paul Chambers on bass, and Kenny Clarke on drums. My copy is the 1984 U.S. mono reissue.
The album opener is the lovely forties tune Moonlight Becomes You by Jimmy Van Heusen and Johnny Burke. A brief piano introduction sets up Bobby’s gentle melody, with the trio in tow. Hank begins the solos with notes of beautiful simplicity. Bobby takes over to deliver the second statement effortlessly, then comes Paul’s elegantly subtle closer before the melody returns and ends softly. The title track, Relaxin’ at Camarillo by Charlie Parker, elevates the pace for the foursome’s mid-tempo theme. Jaspar takes flight first in a spirited presentation of rhythmic energy. Chambers then walks skillfully through the following solo, and Jones vigorously tackles the third reading. All three soloists repeat this sequence several times until the theme’s reprise ends abruptly.
Side Two begins with Minor Contention by Hank Jones. The pianist’s introduction ushers in the foursome’s upbeat melody. Bobby leads the charge, building each chorus with irresistible momentum. Hank surges into the following interpretation with a vibrant energy. Paul takes a jaunty walk through the third performance, and finally, Bobby, Hank, and Kenny conclude with an exhilarating three-way dialogue, culminating in a splendid finale. The quartet enjoys a pretty Sunday in Savannah by Hugh McKay next. Hank’s slow-paced introduction blossoms into Jaspar’s tenderly passionate melody. Jones opens with a delicately thoughtful presentation, and then the flutist provides a sultry commentary preceding a gentle conclusion.
The beat ascends one final time for an original by Cannonball Adderley, Spontaneous Combustion. Bobby’s introduction opens the door for the quartet’s blues-infused theme. Hank dives into the leisurely opening solo with relaxing lines. Bobby follows with a refreshing statement reminiscent of a cool swim on a sweltering summer day. Jaspar and Jones share a delightful exchange of notes, leading to Paul’s pleasant moment ahead of the climax. Ozzie Cadena produced the initial session, while Bob Porter oversaw the reissue’s production. Rudy Van Gelder operated the recording dials. The album boasts a stunning soundstage for a fifties release, with instruments that jump out of the speakers in this mono reissue.
Throughout his illustrious career, which spanned sixty-six years, Hank Jones recorded over sixty albums as a leader. He was also a prominent member of the Great Jazz Trio, contributing to thirty-eight albums and an additional seven titles with the Great Jazz Quartet and Quintet. His extensive discography also includes numerous appearances as a sideman. If you’re a piano jazz enthusiast and also enjoy cool jazz and hard bop, Relaxin’ at Camarillo by Hank Jones is an exceptional choice for a spot in your library. As I mentioned earlier, it’s a delightful surprise with the addition of Bobby Jaspar to the trio, making this a title that shouldn’t be missed on your next record-shopping trip!
~ Bass on Top (Blue Note BLP 1569/BST 81569), Hank Jones Quartet (Savoy MG-12087), New Trombone (Prestige PRLP 7107), Portrait of Art Farmer (Contemporary Records C3554/S7027), Somethin’ Else (Blue Note BLP 1595/BST 81595) – Source: Discogs.com
~ Moonlight Becomes You – Source: Wikipedia.org
© 2025 by Edward Thomas Carter
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Jazz Poems
LEAVING SATURN
Sun Ra & His Year 2000 Myth Science
Arkestra at Grendel’s Lair Cabaret, 1986
Skyrocketed—
My eyes dilate old
Copper pennies.
Effortlessly, I play
*
Manifesto of the One
Stringed Harp. Only
This time I’m washed
Ashore, shipwrecked
*
In Birmingham.
My black porcelain
Fingers, my sole
Possession. So I
*
Hammer out
Equations for
A New Thing
Ogommetelli.
*
Ovid & Homer
Behind me, I toss
Apple peelings in
The air & half-hear
*
Brush strokes,the up
Kick of autumn
Leaves, the Arkestra
Laying down for
*
New dimensions,
I could be at Berkeley
Teaching a course—
Fixin’s How to Dress
*
Myth or Generations
Spaceships in Harlem
Instead, vibes from Chi-
Town, must be Fletcher’s
*
Big Band Music—oh,
My brother, the wind—
I know this life is
Only a circus. I’m
*
Brushed aside: a naïf,
A charlatan, too avant-
Garde. Satellite music for
A futuristic tent, says
*
One critic. Heartbreak
In outer space, says
Another, —lunar
Dust on the brain.
*
I head to New York
New York loves
A spectacle wet pain
Of cement, sweet
*
Scent of gulls swirling
Between skyscrapers
So tall, looks like war
If what I’m told is true
*
Mars is dying, it’s after
The end of the world.
So, here I am,
In Philadelphia,
*
Death’s headquarters,
Here to save the cosmos,
Here to dance in a bed
Of living gravestones.
MAJOR JACKSON
from Jazz Poems ~ Selected and Edited by Kevin Young
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Requisites
Gettin’ Together ~ Art Pepper | By Eddie Carter
This morning’s library selection is a standout example of cool jazz by the multi-talented musician Art Pepper. Gettin’ Together (Contemporary Records M3573/S7573), released in 1960, was his third album on Lester Koenig’s label. It
demonstrated his creativity and versatility as a composer and featured a superb lineup. Conte Candoli on trumpet (tracks: A1, A2, B1), Art Pepper on alto (A1, A3, A4, B2) and tenor sax (A2, B1, B3), Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb (listed here as Jimmie) on drums. My copy is the 1984 U.S. Original Jazz Classics stereo reissue (Contemporary Records OJC-169).
Side One opens with Whims of Chambers by Paul Chambers, initially recorded by the bassist in 1957. Art, Paul, and Jimmie’s introduction gets things started ahead of the ensemble’s melody. Art sets the groove with some homecooking, and then Wynton follows with a thoroughly satisfying statement. Conte steps in briefly before Paul takes the next flight. Art and Jimmie briefly exchange thoughts, leading to the theme’s reprise. Bijou the Poodle is an original by Art Pepper, inspired by his dog; the quintet collectively presents the medium-paced melody. Pepper opens with long, flowing phrases, and then Candoli makes a profound impression. Kelly gets into the groove next, succeeded by Chambers, who weaves comfortably through the final interpretation until the climax.
Up next is a quartet performance of Why Are We Afraid? by Dory Langdon and André Previn. Wynton’s brief introduction leads into Art’s gentle theme and first solo, which asks this tender question with tranquil support from the rhythm section. Wynton continues the thoughtful mood in the following interpretation before Art makes a few final comments and delivers the ending theme. The tempo picks up with Softly As In a Morning Sunrise by Sigmund Romberg and Oscar Hammerstein II. The trio gets things started, then Pepper leads the lively melody. The leader steps into the spotlight first with a terrific presentation. Kelly takes a sizzling reading next. Paul walks through the third reading with strong bass lines, and Pepper and Cobb engage in an upbeat conversation, leading to the melody’s restatement.
Side Two opens with Thelonious Monk’s Rhythm-a-Ning. Jimmy starts with a brief introduction before the quintet dives into the playful theme. Art goes right to work with fiery passion, and then Conte plays with intense emotion. Wynton makes a quick, impressive statement, and then Paul delivers a deeply expressive reading. Art and Jimmie conclude with an inspired improvisation, leading to the finale. Diane is Art Pepper’s heartfelt tribute to his wife. The rhythm section introduces this gentle ballad ahead of Pepper’s beautiful melody. He continues in the opening solo, displaying romantic tenderness. Kelly glides elegantly into the following performance, culminating gracefully with the quartet’s out-chorus and exit.
The title tune, Gettin’ Together, by Art Pepper, is a blues that allows each musician to shine. The quartet gets underway with Art guiding them through the relaxing theme. The saxophonist opens with a lightly swinging statement. Wynton offers a few breezy choruses next, and then Paul strolls leisurely. Finally, Art and Jimmie briefly converse before the theme returns. Lester Koenig produced the album, and Roy DuNann and Howard Holzer were behind the dials. This OJC reissue is an excellent recording with a stellar soundstage and crystal-clear sonics. If you’re a cool jazz fan, I invite you to check out Gettin’ Together by Art Pepper on your next record hunt. It’s a stellar effort in allareas that sounds as fresh as when it was first released and is highly recommended for a spot in your library!
~ Whims of Chambers (Blue Note BLP 1534/BST 81534) – Source: Discogs.com~ Softly As In a Morning Sunrise – Source: JazzStandards.com
~ Rhythm-a-Ning – Source: Wikipedia.org
© 2025 by Edward Thomas Carter
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Jazz Poems
THELONIOUS SPHERE MONK
Cold, the day you leave
you can use that hat.
Ahh Monk, the station fades
as the suburbs begin
you bent the notes right
they will not lose their ring.
I see your shuffle dance
up from the 5 Spot piano
and hear you, wordless, sing.
BILL CORBETT
from Jazz Poems ~ Selected and Edited by Kevin Young
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