jazz

‘And whoever picks it up grabs the magic’

Will Alexander on Close Listening, October 19, 2016

Photo of Will Alexander by Kelly Writers House staff, 2016.

Editorial note: Charles Bernstein and Will Alexander had a conversation about Alexander’s work for Clocktower Radio’s Close Listening at PennSound’s Carroll Garden Studios in Brooklyn, New York, on October 19, 2016. Some of the topics they touched on include: Alexander’s works, philosophy, connections and citations and references and sources, mythology, genre, aural properties of writing and performance, jazz, drawing and sketching, identity and politics of writing, location, and the writer’s mindset. 

We're not of this world

Jake Marmer's free jazz/poetry

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.

Whelm lessons (PoemTalk #60)

Clark Coolidge, "Blues for Alice"

LISTEN TO THE SHOW

Brian Reed (in from Seattle), Maria Damon (Minnesota), and Craig Dworkin (Utah) joined Al Filreis at the Writers House (Philadelphia) in a rare and — we think — rather fluid convergence of poetic minds prepped to figure out how to talk about an instance of verse bebop. The bop was Charlie Parker’s, as a model for languaged sound (by poet Clark Coolidge), and the template song was “Blues for Alice” (Coolidge’s poem uses the title), and among the possible Alices are Alice Coltrane, Alice Notley, and Alice in Wonderland.

Whelm lessons (PoemTalk #60)

Clark Coolidge, 'Blues for Alice'

LISTEN TO THE SHOW

Brian Reed (in from Seattle), Maria Damon (Minnesota), and Craig Dworkin (Utah) joined Al Filreis at the Writers House (Philadelphia) in a rare and — we think — rather fluid convergence of poetic minds prepped to figure out how to talk about an instance of verse bebop. The bop was Charlie Parker’s, as a model for languaged sound (by poet Clark Coolidge), and the template song was “Blues for Alice” (Coolidge’s poem uses the title), and among the possible Alices are Alice Coltrane, Alice Notley, and Alice in Wonderland. We speculate about Alice Coltrane and Alice in Wonderland, but as for Notley: Brian Reed finds evidence that Coolidge meant to dedicate his poem version of the standard bop dedication indeed to Notley. This leads Maria Damon to wonder about all these women dedicatees – these recipients or objects of blues syllabics — in light of such strong male performative struggles, or attempts to “get in on the try,” managed by creative men: Coolidge and Parker, or course, but perhaps Ted Berrigan too, and surely also Jack Kerouac, whose bop-inspired babble flow is very much part of the PoemTalk conversation. The key source for Coolidge’s working out of Kerouac is his important 1995 article published in American Poetry Review on Kerouac’s babble flow and his improvisation generally.

Nate Chinen: jazz and lunch

New York Times jazz critic - and once a Writers House-affiliated student here - comes back to 3805 Locust on March 25. Listen to this for more.

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