When I was about 14 years old, riding in the car with my dad and doing errands, we were listening to a Saturday morning jazz show on WHRO (an infrequent occurrence for our mostly classical family) when I heard something fascinating: a jazz quartet playing behind, not a singer, but a poet. The idea that poetry was not just words on a page, but something that could be performed, was a new idea to me, and the connection between some kinds of poems and some kinds of jazz was electrifying.
It took me years to find the piece, and I’m not 100% sure I did, but I’m pretty sure it’s one of the works on this mix. There’s a lot of obscure stuff here, so I’m going to give you a track by track breakdown.
The intro comes from e.e. cummings’ great Six Nonlectures: i, the first of his Charles Eliot Norton lectures at Harvard. The lectures were not only published but also recorded, released on Caedmon Records, and I’m looking forward to doing an Album of the Week series on them at some point once I track down volumes 4 – 6.
Philip Levine’s “Gin,” which I heard him read live at the University of Virginia as a still-practicing poet in the early 1990s, is conversational and funny, but also deep. He recorded dozens of his poems with saxophonist Benjamin Boone before his death in 2015, and they’ve been released in two albums (so far) of jazz/poetry bliss. “Gin” and the version of Levine’s great “They Feed They Lion” later on the mix both come from the first volume.
Lawrence Ferlinghetti’s Coney Island of the Mind is one of those great New Directions paperbacks that you can easily find in used bookshops, and it’s a great read. It’s a great read, very fun (as the first excerpt indicates), and has some great things to show about poetic diction.
I’ve featured Gil Scott-Heron on other mixes, but this one highlights more of his spoken word performance. He’s a fiery speaker and anchors his sometimes hopeful, sometimes despairing performance of “The New Deal” in the condition of black Americans — and all Americans as a whole.
Ronald Stone is a lesser known performer, but the New Jazz Poets anthology this is drawn from is a must-have. While there’s no jazz accompaniment here, Stone’s delivery draws both from jazz song and birdsong in an homage to Billie Holiday (among other subtexts).
Bob Hardaway’s performance of William Carlos Williams’ “Young Sycamore,” with none other than Hoagy Carmichael at the piano, comes from one of the earliest jazz poetry anthologies. It’s a little more dramatic than some of the more conversational spoken word of a Gil Scott-Heron, but still fascinating listening.
Charles Mingus’ “Scenes in the City,” with a Langston Hughes and Lonne Elder text narrated by Mel Stewart, is one of the two candidates for the performance I heard on WHRO all those years ago. It’s a narrative that touches on poverty, jazz music, love, the desire for greatness, and other universal themes, and is a fun listen to boot. Branford Marsalis covered it on his very first album for Columbia Records, years later.
Jack Kerouac and Steve Allen’s “Sounds of the Universe Coming In My Window” is a fun read, and Allen is an unexpectedly sympathetic collaborator with the great Beat poet. Similarly rewarding is Langston Hughes’ performance with the pianist (and frequent Mingus collaborator) Horace Parlan, in which there are frequently recurring themes of the dream deferred but also of city life.
There are a few tracks featuring poems written and performed by jazz players. Hasaan Ibn Ali’s “Extemporaneous Prose-Poem” is just that, a brief moment of unaccompanied verse from the eccentric pianist. I’ve written about Archie Shepp’s “Malcolm, Malcolm, Semper Malcolm” before; his threnody for the slain civil rights leader is powerful both lyrically and musically here.
None of this prepares one for Marion Brown’s “Karintha,” a musical setting of a poem by Harlem Renaissance author Jean Toomer and the other candidate for that poem I heard on WHRO all those years ago. An uncomfortable exploration of gender relations, female sexuality and its consequences, it’s riveting and not an easy listen.
After one more Ferlinghetti interlude, we get “At Night,” an unpublished John Coltrane poem read by American author and performer Julie Patton with a quartet led by Coltrane’s son Ravi. Released on the 2005 compilation Impulsive!, the musical setting is as playful as the cosmological contents of the poem are grand; one suspects the senior Coltrane might have done something different with the setting, but it’s still a good, and respectful, listen.
The final track on the album, “And Then He Wrote ‘Meditations’” brings together a number of these themes, including civil rights, poetry for its own sake, and jazz musicians (particularly Coltrane) into a single heady brew. The great Gil Scott-Heron is our spiritual guide here, on a track that for my money is an under-appreciated masterpiece.
Listen!
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- Gin – Benjamin Boone and Philip Levine (The Poetry of Jazz)
- Coney Island of the Mind, Pt. 20 – Lawrence Ferlinghetti (Beatnik)
- The New Deal – Gil Scott-Heron (The Mind Of Gil Scott Heron: A Collection Of Poetry And Musi)
- Lady Day Spring – Ronald Stone (New Jazz Poets)
- Young Sycamore – Bob Hardaway (Jazz Canto Vol. 1)
- Scenes in the City – Charles Mingus (A Modern Symposium of Music and Poetry (Remastered 2013))
- They Feed They Lion – Benjamin Boone and Philip Levine (The Poetry of Jazz)
- Sounds of the Universe Coming In My Window – Jack Kerouac & Steve Allen (Beatnik)
- Double G Train – Langston Hughes & Horace Parlan Quintet (The Weary Blues With Langston Hughes)
- Extemporaneous Prose-Poem – Hasaan Ibn Ali (Retrospect in Retirement of Delay: The Solo Recordings)
- Malcolm, Malcolm, Semper Malcolm – Archie Shepp (Fire Music)
- Karintha – Marion Brown (Geechee Recollections)
- Coney Island of the Mind, Pt. 26 – Lawrence Ferlinghetti (Beatnik)
- At Night (A Poem featuring Ravi Coltrane with Julie Patton) – John Coltrane (Impulsive! Revolutionary Jazz Reworked)
- …And Then He Wrote Meditations – Gil Scott-Heron (Free Will)