Jazz Poems

COLTRANE, SYEEDA’S SONG FLUTE

FOR M & P.R.

When I came across it on the 

piano it reminded me of her, 

because it sounded like a 

happy, child’s song.

COLTRANE

To Marilyn, to Peter,

playing, making things : the walls, the stairs,

the attics, bright nests in nests;

the slow, light, grave unstitching of lies,

opening, stinking, letting in air

you bear yourselves in, become your own mother

and father,

you own child.

You lying closer.

You going along. Days.

The strobe-lit wheel stops dead

once, twice in a life: old fashioned rays:

and then all the rest of the time pulls blur,

only you remember it more, playing.

Listening here in the late quiet you can think

great things of us all, I think wwe will all, Coltrane,

meet speechless and easy in Heaven,our names

known and forgotten, all dearest, all come

giant-stepping

out into some wide, light, merciful mind..

John

Coltrane, 40, gone

right through the floorboards,

up to the shins, up to the eyes,

closed over,

Syeeda’s happy child’s song

left up here, playing.

JEAN VALENTINE

from Jazz Poems ~ Selected and Edited by Kevin Young

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Requisites

Trailways Express ~ Philly Joe Jones | By Eddie Carter

A few nights ago, I spent the evening listening to albums by three of my favorite drummers: Art Blakey, Elvin Jones, and Philly Joe Jones. This morning’s record from my library inspired me to take a trip aboard the Trailways Express (Polydor – Black Lion Records 2460 142), a 1971 U.K. release by Philly Joe Jones. It was his sixth album as a leader and was recorded in 1968, a year after he moved to London. He’s accompanied on this date by Les Condon on trumpet (track: B1), Kenny Wheeler on flugelhorn (A1 to A3, B2, B3) and trumpet (B1), Chris Pyne on trombone (B3), Peter King on alto sax (A2, A3, B1 to B3), Harold McNair on flute (A2, B2) and tenor sax (A1, B1 to B3), Mike Pyne on piano, John Hart (B1), and Ron Matthewson (A1 to A3, B2, B3) on bass. My copy is the 1975 U.S. Stereo reissue (Black Lion Records BL-142).

The group jumps headfirst into the spirited melody of Mo Jo by Philly Joe Jones. Mike ignites the opening statement with electrifying notes. Harold continues creating a crisp, upbeat solo, and then Kenny glides and soars smoothly on the flugelhorn next. Mike and Philly exchange ideas as the song progresses until the final chorus and conclusion. The tempo shifts as the front line introduces Gone, Gone, Gone by George and Ira Gershwin. It starts with a slower beat that steadily climbs as the septet embarks on their theme. Peter is up first and delivers a vibrant interpretation. Kenny, still on flugelhorn, spreads his wings next. Philly’s exquisite brushwork closes the solos before the ensemble returns to the theme.

Baubles, Bangles, and Beads by Robert Wright, George Forrest, and Alexander Borodin begins with Philly’s short introduction, preceding the group’s lively melody. Peter initiates the good times in the first solo, followed by Kenny, again on flugelhorn, who keeps the brisk mood alive. Mike takes over for a short, jubilant performance, and then Ron walks in vivaciously. Philly Joe precedes the ensemble’s closing chorus with a succinct remark. The title tune, Trailways Express by Philly Joe Jones, kicks off Side Two with Les taking over on trumpet and Philly’s introduction calling the group to action. Harold lights the fuse in the opening presentation; then Peter continues spreading the fire next. Philly fans the flames further toward the theme’s reprise and gradual descent to a fadeout.

Here’s That Rainy Day by Jimmy Van Heusen and Johnny Burke begins with Philly guiding the ensemble’s melody in his introduction. Peter starts with a soothing statement, and Harold narrates the next solo masterfully on the flute. Mike comes in next with a relaxed, easygoing reading. Philly delivers the song’s final festive swing ahead of Harold and Peter’s closing theme and the finale. The final track is Ladybird by Tadd Dameron and Ted Heath. Philly starts with a brief introduction before the septet’s vibrant theme. Mike sets the stage for the goodies to come. Harold follows him cheerfully, and Kenny moves along swiftly with cat-like ease next. Chris amazes in a dazzling interpretation, and Philly concludes with a final flourish, leading the ensemble back to the reprise and climax on a high note.

Alan Bates produced Trailways Express, though the identity of the recording engineer remains a mystery. Nonetheless, the album boasts a strong soundstage that listeners will find delightful. Philly Joe Jones was an outstanding drummer and the powerhouse behind the first great Miles Davis Quintet of the fifties. His nickname, Philly, distinguished him from another renowned drummer, Jo Jones. Although Jones’s discography as a leader is limited, he collaborated with numerous top-tier musicians as a sideman throughout his career. For fans of hard-bop and post-bop who seek exceptional drumming, Trailways Express by Philly Joe Jones is a must-listen. Its exceptional musicianship, led by Jones’s drumming, makes it a pleasure to listen to repeatedly!

~ Here’s That Rainy Day – Source: JazzStandards.com

~ Baubles, Bangles and Beads, Ladybird – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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Jazz Poems

MAY 12

From The Daily Mirror

A book could be written on the moment swing turned into bop the moment Lester Young, Roy Eldridge, and Teddy Wilson gave way to Bird, Dizzy, Miles, Bud and Monk in fact it would be a great movie at least the sound track would be “beyond category” as Duke Ellington would have put it the life of a jazz musician (about which I know so little) is the life for me I felt on the afternoon Jamie and I visited his father who sat at the piano and talked and played I was tongue-tied and wanted him to play a song as if Helen Merrill were there and her voice and his fingers were about to have an intimate talk

DAVID LEHMAN | 1948

from Jazz Poems ~ Selected and Edited by Kevin Young

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Requisites

Repetition ~ Clifford Jordan Quartet | By Eddie Carter

This morning’s record from the library, Repetition (Soul Note SN 1084), is a delightful album by the Clifford Jordan Quartet. Clifford Jordan began playing the piano at a young age, then picked up the tenor sax at thirteen. Early in his career, he played with Max Roach and Sonny Stitt and was a member of a few rhythm and blues groups. He later moved to New York City, recorded three albums for Blue Note, and toured overseas in Africa and Europe. Jordan recorded thirty-six albums as a leader and was featured on many others as a sideman; his most appearances were with Art Farmer, Charles Mingus and Cedar Walton. The superb rhythm section accompanying him on this album is Barry Harris on piano, Walter Booker on bass, and Vernel Fournier on drums. My copy is the 1984 Italian Stereo release.

Side One kicks off with a trip to Third Avenue by Clifford Jordan. The trio sets a lively pace with their introduction before the saxophonist joins in for the melody. Clifford’s initial statement bursts with joyful exuberance, followed by Cedar’s swift and swinging interpretation. A delightful conversation between the leader and Vernel culminates in a reprise of the theme and a satisfying conclusion. Fun is a collaborative creation by Jordan, Harris, Booker, and Fournier. Vernel starts with a short, lively introduction preceding the quartet’s vivacious theme. Clifford sets the stage by diving into an energetic first solo. Barry takes a high-spirited interpretation next, and then Vernel shines in a short statement, leading to an abrupt yet perfect closing chorus.

The tempo slows down for Neal Hefti’s Repetition, a beautiful song where the trio’s introduction begins at a mid-tempo beat before the saxophonist completes the theme. Clifford is up first and whets the listener’s appetite for the following solo. Barry demonstrates how the right choice of notes can tell a compelling story preceding the closing chorus and a climatic finish. The pace remains at a moderate level for Thelonious Monk’s Evidence. The foursome dives straight into the theme, then Barry gets the nod for a first solo as refreshing as a cool breeze on a hot day. Clifford contributes to the outdoorsy feeling with a bluesy statement, and Walter wraps up the solos with an attractive portrait before the group exits.

The second side begins with a melody of Nostalgia by Fats Navarro and Casbah by Tadd Dameron. The quartet embarks on a lovely theme that would fit perfectly in a love story. Walter takes the opening solo and caresses each note delicately. Barry follows with a statement that is equally skillful and caring, and then Clifford closes with a warm, relaxed reading into the restatement of the theme and a velvety climax. The ensemble pays a House Call by Clifford Jordan next. Vernel’s drums introduce the song, segueing to the quartet’s melody. Vernel, Barry, and Walter each have a short word ahead of Clifford, who shares a conversation with Barry. The pianist takes over for a lengthy solo before the theme returns.

Clifford Jordan’s Quit ‘n Time ends the album on an upbeat note, with the rhythm section’s introduction leading to the foursome’s brisk theme. Clifford launches the opening statement with ease and mastery. Barry follows with a display of extreme agility. The leader returns to engage in a lively exchange with Vernel before the drummer gets the final spotlight until the quartet takes the song out. Giovanni Bonandrini produced Repetition, and Dave Baker was the man behind the dials of the recording. This is a beautiful pressing, and the album has a stunning sound. The vibrant soundstage allows the musicians to come alive in your listening room as if playing before you. The record is also silent until the music starts.

Clifford Jordan performed throughout the seventies, eighties, and nineties and was one of the best tenor saxophonists in the annals of jazz. Whether in the studio or when performing live, his music has given jazz fans great pleasure over the years. He led a big band and regularly performed at Eddie Condon’s in Greenwich Village and 52nd Street. He died from lung cancer at age sixty-one on March 27, 1993. If you’re a Clifford Jordan fan or enjoy the tenor sax’s sound, I invite you to consider Repetition by the Clifford Jordan Quartet on your next record hunt. It’s an outstanding album that has aged well, scores on all accounts, and no library should be without it!

© 2025 by Edward Thomas Carter

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JAZZ POEMS

ONE O’CLOCK JUMP

Still tingling with Basie’s hard cooking

between two sets I stood at the bar

when the man next to me ordered

scotch and milk. I looked to see who had

this stray taste and almost swooned

when I saw it was the master.

Basie knocked his shot back,

then, when he saw me gaping,

raised his milk to my peachy face

and rolled out his complete smile

before going off with friends

to leave me in that state of grace.

A year later I was renting rooms

from a woman named Tillie who wanted

no jazz in her dank, unhallowed house.

Objecting even to lowest volume of solo piano,

she’d puff upstairs to bang on my door.

I grew opaque, unwell,

slouched to other apartments,

begging to play records.

Duked, dePrezed, and unBased, l

onging for Billy, Monk, Brute, or Zoot,

I lived in silence through

that whole lost summer.

Still, aware of divine flavor, I bided time

and waited for the day of reckoning.

My last night in Tillie’s godless house,

late—when I knew she was hard asleep—

I gave her the full One O’Clock Jump,

having Basie ride his horse of perfect time

like an avenging angel over top volume,

hoisting his scotch and milk as he galloped

into Tillie’s ear, headlong down her throat

to roar all night in her sulphurous organs.

PAUL ZIMMER | 1934

American Society of Journalists and Authors Open Book Award

from Jazz Poems ~ Selected and Edited by Kevin Young

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