Archives for category: Music

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In August 1969, Iain Macmillan shot the photo that would become the cover of Abbey Road, the Beatles‘ 11th (and last) studio album. Abbey Road was first album ever to omit the artist and title from the cover — a photographer’s dream: the cover consisted of the photo, the whole photo, and nothing but the photo. Macmillan had just 10 minutes to shoot the photograph — standing on a step ladder while a policeman stopped traffic.

Besides John, barefoot Paul, George, and Ringo, the photo included two notable features. The first was the white VW beetle on the left with license plate number LMW 281F. After Abbey Road’s September 1969 release, the car’s license plate was repeatedly stolen by souvenir seekers. The second notable feature was Paul Cole, the man standing in the mid-right-hand portion of the photo — an American tourist who had no idea he’d ended up in the shot until the album came out.

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PORTLAND COLISEUM
by Allen Ginsberg

A brown piano in diamond
white spotlight
Leviathan auditorium
iron run wired
hanging organs, vox
black battery
A single whistling sound of ten thousand children’s
larynxes asinging
pierce the ears
and following up the belly
bliss the moment arrived
 
Apparition, four brown English
jacket christhair boys
Goofed Ringo battling bright
white drums
Silent George hair patient
Soul horse
Short black-skulled Paul
with the guitar
Lennon the Captain, his mouth
a triangular smile,
all jump together to End
some tearful memory song
ancient-two years,
The million children
the thousand words
bounce in their seats, bash
each other’s sides, press
legs together nervous
Scream again & claphand
become one Animal
in the New World Auditorium
—hands waving myriad
snakes of thought
screetch beyond hearing
 
while a line of police with
folded arms stands
Sentry to contain the red
sweatered ecstasy
that rises upward to the
wired roof.

– August 27, 1965

“Portland Coliseum” by Allen Ginsberg commemorates the Beatles’ appearance in Portland, Oregon, on August 22, 1965. The poem is found in READ THE BEATLES: Classic and New Writing on the Beatles, Their Legacy, and Why They Still Matter (Penguin, 2006), available at Amazon.com.

Photo: The Beatles performing “I’m Down” in Portand, Oregon, on August 22, 1965 (Bob Boris, ALL RIGHTS RESERVED)

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“I remember you well in the Chelsea Hotel
you were famous, your heart was a legend.
You told me again you preferred handsome men
but for me you would make an exception.”

From Chelsea Hotel #2, song by LEONARD COHEN

Over the years, Leonard Cohen has expressed regret about naming Janis Joplin as the inspiration for “Chelsea Hotel #2,” a song from his 1974 album New Skin for the Old Ceremony. (Read the lyrics here.) Others believe Janis — who died in 1970 — wouldn’t have minded, since she spoke openly of her encounters with Jim Morrison and Leonard Cohen. Apparently she met Cohen in the elevator at the Chelsea Hotel while  looking for Kris Kristofferson. When Cohen learned of her mission, he told her: “I’m Kris Kristofferson,” though he was sure she knew that the author of “Me and Bobby McGee” was a lot taller.

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In 1969, photographer Henry Diltz and The Doors showed up at The Morrison Hotel – 1246 S. Hope Street in L.A.’s skid row — figuring the proprietor would be more than happy to let them shoot some photos. When the hotel manager told them to hit the road, the group stood on the sidewalk trying to figure out a Plan B. Opportunity knocked when Diltz looked through the hotel’s front window and saw the desk clerk leave his post. He told the bandmates to run inside and assume various positions at the window.

Diltz was able to fire off just one roll of film during the session — but just about every shot turned out a classic. The crown jewel was, of course, the above photo that graced the cover of the 1970 album of the same name.

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CAR RADIO
by Donald Revell

An in-joke and the long days faltering
at the edge of fields just visible as we
drive on, the windows shuddering in twilight,
are parts of the songs. And we are traveling
faster all the time, no way to keep
up with them. Between ourselves and the night
coming on to uneasy towns like smoke
the songs are a commitment we do not make 
that gets made for us. Our own words reshaped
into the reliable, broken speech of the next
town and all those after it. As we
drive on, we see each one of them escape
us, certain that it will reappear in the context 
of another song, the in-joke of the whole country.

ABOUT THE AUTHOR: Donald Revell, born in New York City in 1954, is a poet, essayist, translator, and professor. He has won numerous honors and awards for his work, beginning with his first book, From the Abandoned Cities, a National Poetry Series winner. Other honors include the 2004 Lenore Marshall Award, two PEN Center USA Awards in poetry, the Gertrude Stein Award, two Shestack Prizes, two Pushcart Prizes and fellowships from the National Endowment for the Arts, as well as from the Ingram Merrill and Guggenheim Foundations. He has taught at the Universities of Tennessee, Missouri, Iowa, Alabama, Colorado, Utah, and Nevada, served as editor of Denver Quarterly from 1988–94, and has been a poetry editor of Colorado Review since 1996. (Source: Wikipedia)

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JAZZ HAIKU
by Al Lowe

My drummer helped me
Count the syllables
In this haiku. 

Credit: Al Lowe, allowe.com, ALL RIGHTS RESERVED

Painting: “Jazz Drummer” by Claire Stringer, clairestringer.com, ALL RIGHTS RESERVED.

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JAZZ HAIKU
by Etheridge Knight

Making jazz swing in
Seventeen syllables AIN’T
No square poet’s job.

…From The Essential Etheridge Knight (University of Pittsburgh Press, 1986). Copies available at Amazon.com.

Illustration: “Colorful Music Notes” by FunnyMusic. Postcards available at zazzle.com.

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JAZZ FANTASIA
by Carl Sandburg

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 treetops,
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.

Illustration: “Icarus” from Jazz, a book of 100 prints based on paper cutouts by Henri Matisse published in 1947. Copies available at Amazon.com.

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AUTUMN IN NEW YORK
lyrics by Vernon Duke

Autumn in New York, why does it seem so inviting?
Autumn in New York, it spells the thrill of first knighting
Glittering crowds and shimmering clouds in canyons of steel
They’re making me feel, I’m home

Its autumn in New York that brings the promise of new love
Autumn in New York is often mingled with pain
Dreamers with empty hands, may sigh for exotic lands
It’s autumn in New York, its good to live it again

Autumn in New York, the gleaming rooftops at sundown
Autumn in New York, it lifts you up when you’re run down
Jaded roués and gay divorcées who lunch at the Ritz
Will tell you that it’s divine

This autumn in New York transforms the slums into Mayfair
Autumn in New York, you’ll need no castle in Spain
Lovers that bless the dark on benches in Central Park
Greet autumn in New York, its good to live it again

Listen to BIllie Holiday sing “Autumn in New York” in a lovely vintage New York autumn video at youtube.com.

ABOUT THE SONG (from Wikipedia.org):  Vernon Duke composed the jazz standard “Autumn in New York” for the Broadway musical Thumbs Up!, which opened on December 27, 1934. Over the years, a wide range of performers have recorded many version of the song, a favorite of jazz performers — including  Chet Baker, Charlie Parker, Billie Holiday, and Sarah Vaughan, Louis Armstrong, and Ella Fitzgerald.

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ABOUT THE COMPOSER: Russian-born Vernon Duke (1903 – 1969) was an American composer/songwriter, who also wrote under his original name Vladimir Dukelsky. He is best known for “Taking a Chance on Love” with lyrics by Ted Fetter and John Latouche, “I Can’t Get Started” with lyrics by Ira Gershwin, and “April in Paris” with lyrics by E. Y. (“Yip”) Harburg (1932). He wrote the words and music for “Autumn in New York” (1934). Vernon collaborated with lyricists  Johnny Mercer, Ira Gershwin, Ogden Nash, and others — and his works have been performed and recorded by Count Basie, Bunny Berigan, Billie Holiday, Benny Goodman, Charlie Parker, Thelonious Monk, Bud Powell, the Modern Jazz Quartet, André Previn, Frank Sinatra, Tony Bennett, Wynton Marsalis, and many others. (Read more at Wikipedia.org.)

Illustration: “Street, New York I” (1926) by Georgia O’Keeffe

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On April 17, 2013, John Densmore — best known as drummer for The Doors — released The Doors Unhinged: Jim Morrison’s Legacy Goes on Trial, a memoir about his extended legal battle with bandmates Ray Manzarek and Robby Krieger over the right to use the name “The Doors.”

OFFICIAL OVERVIEW OF THE BOOK: The subject of The Doors Unhinged is the “greed gene”, and how that part of the human psyche propels us toward the accumulation of more and more wealth, even at the expense of our principles and friendships and the well being of society. A Rock and Roll Hall of Fame band, The Doors fractured because of this. In his book, drummer John Densmore looks at the conflict between him and his band mates as they fought over the right to use The Doors’ name. At the same time, Densmore examines how this conflict mirrors and reflects a much larger societal issue — that no amount of money seems to be enough for even the wealthiest people.

OUR THOUGHTS: When The Doors started out in 1965, the bandmates decided to share everything equally — and give everyone equal credit. That meant that no matter who had written a song, the credit line would read: The Doors. This has always struck me as smart — and a way of making sure that everybody stayed involved and felt appreciated, because everybody was making the same amount of money.

But after frontman/rock god Jim Morrison died in 1971, the three remaining bandmates couldn’t agree about how and when to use The Doors’ music and name, with Densmore as the holdout when it came to selling out (especially when it came to using their songs for advertising). All hail, John Densmore! 

ABOUT THE AUTHOR: An original and founding member of the musical group The Doors, John Densmore co-wrote and produced numerous gold and platinum albums and toured the United States, Europe, and Japan. His autobiography, Riders on the Storm, was on the New York Times bestseller list, and in 1993 he was inducted into the Rock & Roll Hall of Fame. He has written numerous articles for Rolling Stone, London Guardian, The Nation, LA Times, Chicago Tribune, and Utne Reader. He co-produced Road To Return, narrated by Tim Robbins — a film that won several prestigious national awards and was screened for Congress, resulting in the writing of a bill. He also executive produced Juvies, a film narrated by Mark Wahlberg that aired on HBO and won numerous awards, including 2004 IDA for excellence and U.S. International Film Fest for creative excellence.

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Joan Jobe Smith (pictured in June 2013 with John Densmore) — author of the Silver Birch Press Release CHARLES BUKOWSKI EPIC GLOTTIS: His Art, His Women (& me) — was a go-go dancer for seven years and in 1966 danced live with The Doors at Whisky a Go Go on the Sunset Strip in Los Angeles.

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Smith and her husband, poet Fred Voss (pictured at left with John Densmore) — a longtime avid fan of The Doors — attended a book signing on June 1, 2013 at Fingerprints, a record store in Long Beach, California, where they waited in line with hundred of other fans for a chance to meet Densmore and hear about his book. The reading was originally planned for late May, but Densmore rescheduled out of respect for his bandmate Ray Manzarek, who passed away on May 20, 2013 at age 74.

Like Fred Voss, I am a longtime, avid fan of The Doors — and I can’t wait to read The Doors Unhinged (great title!), available at Amazon.com.

Photos by Fred Voss and Joan Jobe Smith