Jazz Poems
THE JAZZ OF THIS HOTEL
Why do I curse the jazz of this hotel?
I like the slower tom-toms of the sea;
I like the slower tom-toms of the thunder;
I like the more deliberate dancing knee
Of outdoor love, of outdoor talk and wonder.
I like the slower, deeper violin
Of the wind across the fields of Indian corn;
I like the far more ancient violincello
Of whittling loafers telling stories mellow
Down at the village grocery in the sun;
I like the slower bells that ring for church
Across the Indiana landscape old.
Therefore I curse the jazz of this hotel
That seems so hot, but is so hard and cold
VACHEL LINDSAY
from Jazz Poems | Selected and edited by Kevin Young
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Requisites
Amsterdam After Dark ~ George Coleman | By Eddie Carter
George Coleman enters this morning’s spotlight with an excellent 1979 quartet album, Amsterdam After Dark (Timeless SJP 129). I first heard him playing alto on Houseparty and The Sermon. I later discovered he also played tenor and enjoyed his work on Eastern Rebellion, ‘Four’ and More, Maiden Voyage, Miles Davis In Europe, My Funny Valentine and Seven Steps To Heaven. This morning’s album from the library was his debut as a leader, and he composed four of the tunes. He’s joined on this date by The Hilton Ruiz Trio. Hilton Ruiz on piano and Eastern Rebellion colleagues Sam Jones on bass and Billy Higgins on drums. My copy is the original Netherlands Stereo release.
Side One opens with the trio’s introduction to the title tune, Amsterdam After Dark. George takes over and starts the fire burning on the song’s infectious melody and opening solo. Hilton sinks his teeth into the second reading, and then Sam speaks confidently, preceding the tenor’s joyful vitality in the closing chorus. Hilton Ruiz’s New Arrival picks up the quartet’s pace in an engaging opening chorus. Coleman takes flight first and builds a perfectly crafted interpretation effectively. Ruiz comes on next and is shown to great advantage in the closing statement ahead of the theme’s reprise and fadeout.
Lo-Joe is a feisty original that opens with an airy statement of the theme. George gets things going with a passionate first solo, followed by Hilton, who suggests a happy mood in the second statement. Billy’s brushwork in the closing statement swings very nicely into the foursome’s ending theme and exit. Autumn In New York by Vernon Duke is the album’s only standard. The quartet dresses up this old favorite with an intimately tender introduction and melody. Coleman’s opening statement is reflective and quite beautiful. Ruiz takes a moment for an elegantly exquisite comment leading to the leader’s delicately pretty ending.
Apache Dance is an impressive tune from the opening notes of the two-instrument conversation with tenor sax and drums, leading to a quick run of the ensemble’s theme. George unravels a lot of twists and turns in the first solo. Hilton comes right behind him, keeping his foot on the gas. Billy delivers the song’s final solo until the group reappears to take it out. Blondie’s Waltz begins with the quartet establishing an optimistic melody. Coleman starts things off with a beautifully phrased statement. Ruiz jumps in next to move things along in a lively interpretation. Higgins adds to the fun with a short spot until Coleman’s reappearance for the finale.
Wim Wigt produced Amsterdam After Dark. Bob De Caro and Jim McCurdy were the recording engineers. The album has an exceptional soundstage that comes through your speakers convincingly. If you close your eyes, it’s like the musicians are playing right in front of you. George Coleman is on fire throughout each selection, and the trio compliments him efficiently. At 88 years old, he’s showing no signs of slowing down and is still performing for jazz fans. I’ve caught a few of his performances at Smalls via their nightly streams. If you only have albums with George Coleman as a sideman, I invite you to take a trip to visit Amsterdam After Dark. It’s worth every penny for a spot in your library and is an excellent trip you can take without leaving the comfort of your chair!
~ Eastern Rebellion (Timeless SJP 101), ‘Four’ and More (Columbia CL 2453/CS 9253), Houseparty (Blue Note BLP 4002/BST 84002), Maiden Voyage (Blue Note BLP 4195/BST 84195), Miles Davis In Europe (Columbia CL 2183/CS 8983), My Funny Valentine (Columbia CL 2306/CS 9106), Seven Steps To Heaven (Columbia CL 2051/CS 8851), The Sermon (Blue Note BLP 4011/BST 84011) – Source: Discogs.com
~ Autumn In New York – Source: JazzStandards.com
© 2023 by Edward Thomas Carter
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Jazz Poems
POEM
Little brown boy,
Slim, dark, big-eyed,
Crooning love songs to your banjo
Down at Lafayette–
Gee, boy, I love the way you hold your head,
High sort of and a bit to one side,
Like a prince, a jazz prince, And I love
Your eyes flashing, and your hands,
And your patent-leathered feet
And your shoulders jerking the jig-wa.
And I love your teeth flashing,
And the way your hair shines in the spotlight
Like it was the real stuff.
Gee, brown boy, I loves you all
I’m glad I’m a jig. I’m glad I can
Understand your dancin’ and your
Singin’ and feel all the happiness
And joy and don’t-care in you.
Gee, boy, when you sing, I can close my ears
And hear tom-toms just as plain.
Listen to me, will you, what do I know
About tom-toms? But I like the word, sort of,
Don’t you? It belongs to us.
Gee, boy, I love the way you hold your head,
And the way you sing and dance,
And everything.
Say, I think you’re wonderful. You’re
All right with me.
You are.
HELENE JOHNSON
from Jazz Poems ~ Selected and Edited by Kevin Young
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Requisites
Blowin’ The Blues Away ~ The Horace Silver Quintet and Trio | By Eddie Carter
It’s always a pleasure listening to Horace Silver, and one of my favorite albums by the arranger, composer, and pianist became the inspiration for this morning’s discussion. Blowin’ The Blues Away (Blue Note BLP 4017/BST 84017) by The Horace Silver Quintet and Trio is Horace’s ninth album as a leader and one of the best in his extensive discography. He composed all the selections, and his supporting cast on this date are Blue Mitchell on trumpet (tracks: A1, A3, A4, B1, B2), Junior Cook on tenor sax (A1, A3, A4, B1, B2), Eugene Taylor on bass, and Louis Hayes on drums. My copy is the 2008 Classic Records U.S. deep groove Mono audiophile reissue sharing the original catalog number.
Side One is off to the races with the title tune, Blowin’ The Blues Away. The quintet is firing on all cylinders from the start of their lively theme. Junior takes the first solo in high gear. Blue keeps the velocity up in the following reading, and then Horace delivers an exhilarating statement. Both horns add the exclamation point in a vigorous exchange, leading to the ensemble’s closing chorus and quick stop. The trio makes the first of two appearances in The St. Vitus Dance and establishes a happy beat in the melody. Horace radiates an infectious enthusiasm as the song’s only soloist into the reprise and exit.
The quintet takes a quick trip to Break City next, beginning with their swift melody. Junior gets the solos underway with a speedy interpretation. Blue accelerates with riveting urgency in the second statement. Horace rips through the third reading, and Hayes travels toward the song’s brisk conclusion in a conversation with the front line. Peace is a very pretty ballad that opens with the ensemble’s soft, sultry melody. Blue begins with a beautifully tasteful lead statement. Horace completes the solos with a tenderly passionate performance ahead of the group’s gentle theme restatement and climax.
Side Two starts with the ensemble taking us to church to meet Sister Sadie, starting with an infectious theme. Blue gets into a funky groove on the lead solo, followed by Junior, who wails with authority next. Horace captures the song’s pure goodness in the third statement, and the front line’s final sermon leads us out of the church into the closing chorus. Baghdad Blues begins with a Middle Eastern flavor in the introduction before the quintet changes gears for the bluesy melody. Junior has the first say and gives a marvelous interpretation. Blue shares a few thoughts of his own in the second solo, and Horace feels right at home, leading to the reprise and exit.
Melancholy Mood is the album’s second trio number and was first heard on Further Explorations by The Horace Silver Quintet. Like its predecessor, this rendition expresses the pianist’s softer emotions in the gentle melody. Horace gives a poignantly beautiful performance enhanced by the rhythm section’s tender accompaniment ahead of the close. Alfred Lion produced Blowin’ The Blues Away, and Rudy Van Gelder was the recording engineer. Bernie Grundman remastered the Classic Records audiophile reissue, and the record was pressed on 200 grams of Quiex SV-P Handmade Super Vinyl.
The reissue’s sound quality is excellent, with a superb soundstage that brings the musicians to your listening room with stunning definition. Horace Silver spent twenty-five years at Blue Note from 1955 to 1980, and some of his greatest work appears on the label. If you’re a fan of Mr. Silver or are just discovering his music, I offer for your consideration Blowin’ The Blues Away by The Horace Silver Quintet and Trio. It’s a wonderful hard bop album you can enjoy anytime that gets better with repeated listening. I am happy to have it in my library, and I highly recommend it for yours!
~ Further Explorations by The Horace Silver Quintet (Blue Note BLP 1589/BST 81589) – Source: Discogs.com © 2023 by Edward Thomas Carter
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Jazz Poems
JAZZ FANTASIA
Drum on your drums, batter on your banjoes,
sob on the long cool winding saxophones
Go to it, O jazzmen.
Sling your knuckles on the bottoms of the happy
tin pans, let your trombones ooze, and go husha-
husha-hush with the slippery sand-paper.
Moan like an autumn wind high in the lonesome tree-
tops, moan soft like you wanted somebody terrible, cry
like a racing car slipping away from a motorcycle cop,
bang-bang! you jazzmen, bang altogether drums, traps,
banjoes, horns, tin cans-–make two people fight on the
top of a stairway and scratch each other’s eyes in a
clinch tumbling down the stairs.
Can the rough stuff… now a Mississippi steamboat
pushes up the night river with a hoo-hoo-hoo-oo… and
the green lanterns calling to the high soft stars… a red
moon rides on the humps of the low river hills… go to
it, O jazzmen.
CARL SANDBURG
from Jazz Poems ~ Selected and Edited by Kevin Young
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