Here is a video-recording of a performance of “Facts,” performed by Jake Marmer, Frank London, Greg Wall and Uri Sharlin at Cornelia Street Cafe at the release party of the Hermeneutic Stomp CD, October 14, 2013. Watch and you’ll hear the refrain, chanted by the audience: "We’re not of this world." For more about the CD, see this comment at Jewish Currents; the piece includes a link to an audio recording of "Bath House of Dreams." Frank London is of course the Grammy Award-winning trumpeter who performs with the Klezmatics. Marmer’s first book of poems is Jazz Talmud, published by Sheep Meadow Press in 2012. He left a small provincial town in the Ukraine at the age of 15. He is co-founder of North America's first Jewish Poetry retreat at KlezKanada Festival.
Back in April 2013, I featured in this commentary an instance of Jake Marmer’s improvisational work, under the title “Improvised poetry: palimpsest of drafts.” Recently, Marmer recorded an another poetic improvisation. The improvisation is based on one of his poems — and is a departure from it, “a new radical spontaneous draft.” It was remixed by Israeli bassist Jean-Claude Jones, who also recorded an improvised a bass track for it. Above is the handwritten “shape poem” version (to borrow Hank Lazer’s phrasing) which Marmer says he found specifically helpful in the improvisatory process.
Here is the recording, as composed and performed by Jake Marmer and then remixed by Jean-Claude Jones (with added bass): MP3.
Below is a short essay written by Andrew Levy about improvisation, first published published in W Magazine at the Kootenay School of Writing some years ago (which we here gratefully acknowledge: W #12 “ALL MUSIC,” 2007). He revived the old note after having read Jake Marmer’s piece made available recently in Jacket2 in this commentary: “Improvised poetry: palimpsest of drafts.” Levy’s original note had been inspired by something Anthony Braxton had said: the idea that some people believe jazz improvisers are simply making it all up in the moment, that they are somehow tuned in via a form of trance or something, that it’s an expression of their personal genius. He dismissed that notion of spontaneity. For him improv is a form of hearing and thinking. It is making measure in the familiarity of one’s attention. “If I were to revise my essay today,” Andrew wrote me recently, “I might search for a different word than ‘constructivist’ with which to counter the notion of spontaneity. It has an art historical resonance that might be unnecessary.”
Grateful acknowledgment is made to Jake Marmer, who has consented to the publication of this essay here. — A.F.
I remember listening to Marc Ribot’s band Ceramic Dog, thinking: My entire brain — the main line and the back corners — is burning to grasp this music. That night, the avant-garde guitarist played what was likely an entirely improvised set with three fellow musicians. I tried to follow each new direction the music took, each new interaction that erupted; I was fully consumed in some new state of attention, witnessing all the multiple levels of the work coming together in front of me.
I wanted to improvise poetry as Ribot had improvised his music. It’s not a new idea. Jack Kerouac, like a number of other poets of the Beat era, wrote ecstatic, unedited compositions that felt raw and spontaneous. Kerouac famously explained that he wanted to be known as the “jazz poet blowing a long blues in an afternoon jazz session…” But his improvisation was limited to the writing process. Once finished, these poems remained more or less static throughout the publications and poetry readings that followed.