Jazz Poems

ALMOST BLUE

Chet Baker, 1929-1988

If Hart Crane played trumpet

he’d sound like you, your horn’s dark city

miraculous and broken over and over,

scale-shimmered, every harbor-flung hour

and salt-span of cabled longing,

every waterfront, the night-lovers’ rendezvous

This is the entrance

to the city of you, sleep’s hellgate,

and two weeks before the casual relinquishment

of your hold—light needling

on the canal’s gleaming haze

and the buds blaming like horns—

two weeks before the end, Chet,

and you’re playing like anything,

singing stay little valentine 

stay

and taking so long there are worlds sinking

between the notes, this exhalation

no longer a voice but a rush of air,

brutal, from the tunnels under the river,

the barges’ late whistles you only hear

when the traffic’s stilled

by snow, a city hushed and

distilled into one rush of breath,

your, into the microphone

and the ear of that girl

in the leopard-print scarf,

one long kiss begun on the highway

and carried on dangerously,

the Thunderbird veering

on the coast road glamor

of a perfectly splayed fender,

dazzling lipstick, a little pearl of junk,

some stretch of road breathless

and traveled into… Whoever she is

she’s the other coast of you,

and just beyond the bridge the city’s

long amalgam of ardor and indifference

is lit like a votive

then blown out. Too many rooms unrented

in this residential hotel,

and you don’t want to know

why they’re making that noise in the hall;

you’re going to wake up in any one of the

how many ten thousand

locations of trouble and longing

going out of business forever everything must go

wake up and start wanting.

It’s so much better when you don’t want:

nothing falls then, nothing lost

but sleep and who wanted that

in the pearl this suspended world is,

in the warm suspension and glaze

of this song everything stays up

almost forever the long

glide sung into the vein,

one note held almost impossibly

almost blue and the lyric takes so long

to open, a little blood

blooming: there’s no love song finer 

but how strange the change 

from major to minor 

everytime 

we say goodbye

and you leaning into that warm

haze from the window, Amsterdam,

late afternoon glimmer

a blur of buds

breathing in the lindens

and you let go and why not

MARK DOTY

from Jazz Poems ~ Selected and Edited by Kevin Young

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Daily Dose Of Jazz…

LaVerne Butler was born on February 25, 1962 in Shreveport, Louisiana. The daughter of saxophonist Scott Butler, she was extensively exposed to jazz and rhythm and blues music and with a lot of encouragement from her father.

Leaving Shreveport for New Orleans, Louisiana she attended the University of New Orleans. During this period LaVerne became a fixture in the city’s Dixieland and bebop venues singing with Ellis Marsalis, Alvin Batiste, Henry Butler ( no relation) and James Black, among others. A move to New York City in 1984 had her working as an English teacher, singing in clubs and studying with jazz veteran Jon Hendricks.

Her musical influences were Nancy Wilson and Sarah Vaughan. In 1992 she recorded her debut album No Looking Back for Chesky Records. Her sophomore album for the label was Day Dreamin’ , then planned on  signing with Herbie Mann’s Kokopelli label in 1997, but that fell through when the company experienced financial problems. She then was brought into the MaxJazz label for two albums and finally landed with HighNote Records for her 2012 release Love Lost and Found Again.

Vocalist LaVerne Butler, who has yet to receive the recognition her talent deserves, continues to perform around the country.

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Daily Dose Of Jazz…

Patti Wicks was born Patricia Ellen Chappell on February 24, 1945 and began playing the piano at the age of three. She later attended the Crane School of Music at the State University of New York at Potsdam.

Influenced by Bill Evans, she began to perform professionally and moved to New York City, where she played in small ensembles. She founded her own trio featuring bassists such as Sam Jones, Richard Davis, Brian Torff, and Mark Dresser, and drummers Curtis Boyd, Louis Hayes, Mickey Roker, and Alan Dawson.

In the 1970s, Wicks moved to Florida where she worked as a musician with, among others, Clark Terry, Larry Coryell, Frank Morgan, Ira Sullivan, Flip Phillips, Anita O’Day, Rebecca Parris, Roseanna Vitro and Giacomo Gates.

As an educator she taught jazz piano at colleges and gave private lessons. In 1997, Patti released her debut album Room at the Top: The Patti Wicks Trio. She was a guest on Marian McPartland’s NPR program Piano Jazz.

Vocalist and pianist Patti Wicks died on March 7, 2014.

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CHRISTIE GRACE

Christie Grace returns to Frankie’s, showcasing Burt Bacharach’s classics with her signature velvety voice Paul Shaffer describes as “sweet honey & fine wine.” Following last summer’s sold-out show, she and her stellar band bring soulful new facets to these cherished songs. Jazz legend Sheila Jordan captures Christie’s evocative essence: “When I hear Christie sing, I believeevery word. She’s beautiful and then some”.

The Band: Christie Grace – vocals, Tom Arntzen – piano/vocals, Bill Runge – tenor sax/ flute, Conrad Good – bass, Buff Allen – drums.

Tickets: $23.00

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CHUCK ISRAELS JAZZ ORCHESTRA

Tickets: $25.00~180.00

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