GO --Dexter Gordon 
w/Gordon--tenor sax / Sonny Clark--piano / Butch Warren--bass / Billy Higgins--drums

A 1961 gathering, a roll-up the sleeves where only the music mattered, from the sounds of things here. Gordon has such an easy gait on the slower, bluesier tunes, and an engulfing sense of swing on the faster tracks. And in between, any number of moods , his phrases whimsical, suggesting , perhaps, what Paul Desmond might have wished he sounded like if he would only dare step out of that glossy, modal style and burn a little. He might have garnered a bit of Gordon's humor. Billy Higgins is wonderful here, and Sonny Clark is a bright star through out: his chord work and harmonic turns brighten up the room. This is the kind of music that makes you want to drink after shave and wash your cat in the sink.

Hooray for Eric Dolphy

Iron Man - Eric Dolphy

I put this 1963 session on the player yesterday and let saxophonist/flutist/bass clarinetist/composer extraordinaire Dolphy blast away; I am still putting my living room back together. Hyperbole, of course, but it underlines Dolphy's genius, and Iron Man highlights both his mastery of large group format and the balancing act of merging Modernist ensemble jazz, in the tradition of Monk and Mingus, with improvisation that tempts the abstract harmonica edges of Coltrane and Pharaoh Saunders. What emerges, though, isn't emulation in the slightest, but a new, vibrant, exquisitely abrasive sound. Dolphy carves up and flays forth with solos that are fluid, quick cut, full of pops, exclamations, and savage sonorities, and the band, including trumpet genius Woody Shaw and the very fine vibraphone work of Bobbie Hutcherson, compliments the dark, churning backdrop behind the leader's quicksilver delivery. Dolphy took up Mingus's ideas of starting within the chord progressions and then to attack the walls of what was restricting him, venturing beyond the barely comprehensible tones and textures of the individual notes and sending out probes into what lies beyond the formulations of sound that pleased the human ear. He didn't quite reach the heart of the sun, for which I am glad, because in any sense of the metaphor, he would have been finished with his mission to make his instruments create a jazz sound where none like existed previously. He died too young, yes, but we can also say the fire the started hasn't burned out. This music continues to burn hot and brilliant in the moonlight it defies.

Tom Wolfe wrestles big ideas with an erratic syntax

I doubt that there's been a writer my age who hasn't been influenced by the hyperventilated prose of Tom Wolfe. He was a must read in the Sixties through the Eighties, journalist, critic, wise guy who got the Zeitgeist. His high octane paragraphs were masterpieces of overstatement, a mockery of nonsense and balderdash, a fun read combined with some potent talking points to whatever conventional wisdom happened to be in circulation at the moment. The problem, of course, is that as one gets older, youthful exuberance and stylistic license turn into mannerisms if one continues to use them into their senior years.

Wolfe,84, has continued his manner of composition, ratcheted up his disgust with cultural habits of the moment and has become, in fact, a cranky old cuss who is no longer the refreshing breath of fresh air blowing into a room full of overheated bloviating.  Wolfe's tirades have become the overheated blather he lampooned. I've not yet read his new book "The Kingdom of Speech", wherein he takes on Darwin and his theories on Evolution and the work and ideas of  Noam Chomsky. I will read it, to be sure, as there is not a Wolfe book that does reward with a solid phase, a brilliant metaphor, even a pertinent question that needed to be asked in the arena of ideas. But when Wolfe, who has a doctorate in American Studies from Yale, decides to get theoretical and trades realm of ideas rather than be the mere journalist or novelist, his reasoning gets skewed, confused, and seems little else than perpetual wallow in sarcasm and an unnamed source of bitterness. The open sequence is distressing for reasons that make you think less of James Joyce, who seems an obvious model, than it does of a man who lost his glasses, rummaging through drawers and desktops, making a mess until he finds the crucial lenses.  So that you know, Wolfe is attempting to broach the subject of Rice University. A sample of the slew:

 “I surfed and Safaried and finally moused upon the only academic I could find who disagreed with the eight failures, a chemist at Rice University … Rice … Rice used to have a big-time football team … the Rice Owls … wonder how they’re doing now? I moused around on the Rice site some more, and uh-oh … not so great last season, the Owls … football … and I surfed to football concussions … exactly as I thought!” 

Some will find genius, as Wolfe diehards customarily do, but these are variations of a theme being played on an untuned piano. Wolfe is given to rants in these slim volumes he's produced over the decades, single essays on subjects like contemporary art (The Painted Word) and modern architecture (From Bauhaus to Our House) where he could handily lampoon the pretentiousness and walled off cosmologies of disciplines that confound and irritate the Little Guy. Unfair but effective, he entertained and forced readers to consider the babble and cant of vested interest they may have purchased the whole hog, critically uninspected. Lately, though, he seems less a bomb thrower than an old grouch hard-wired to complain, with or without a point or a quotable phrase. Figuratively speaking, of course, Digression is my middle name with regards to stylish prose concentrating on little more than what interests the author at the moment, but this seems more a stumble or a stall. All told, I will read this book and pray that there is a bit of lucidity lurking under the encrusted sarcasm that has become Wolfe's worldview.

Literature's shelf life

Everything and everyone gets forgotten eventually, especially for writers and poets, who's livelihoods and legacies rely less on critics suddenly brandishing them as names we must remember (or rediscover in fits of revisionist apologetics) than on an audiences to sit for long periods and absorb words of description, abstraction, feeling, have a willingness to suspend disbelief long enough to take in nuanced tale of experience they are otherwise unfamiliar with. The period of suspension is getting shorter, I'm afraid, as surveys indicate that fewer than half of adults who read consume literary fiction for "pleasure". That frightfully reduces the potential audience for the Good Stuff to a handful of academics, students compelled to read assigned authors for a grade, and a smaller handful of dedicated booksellers and their shrinking coterie of customers still willing to read deeply and longingly.

The internet, of course, is the go-to villain when assigning blame , but history is a long string of disruptions when new technologies severely intervened in whatever elevated discourses were occurring and forced everyone to change the way they did things and to reassign their priorities. I do feel badly when books I have read and cherished and written and spoke so often for so long fall out of print, or when I encounter younger people who don't know the names of Cheever, Hemingway, Baldwin, Oates, Abe, Faulkner. Part of me thinks that's inexcusable, but then there is the sudden realization that time goes on , inevitably, and each generation gains their own heroes as those new heroes struggle with experiences that seem central to the current decade.

Might these young readers be as curious as I was to investigate older writers from generations prior to their own, as I tried to be when I enrolled in as many literature classes as I could? Memory is a tricky thing as one ages; back in the day I seemed to have been smarter, faster, more daring and curious than I actually was. I was a smug little boy blessed with enough vanity to read authors I wouldn't normally have merely in order to keep pace with what I thought was a competition with my peers. I didn't like not being part of the conversation that ensued. Years later, though, the weight of the experiences and adventures I consumed for vanity's sake takes effect, and I have now something nearing wisdom, or at least a practical realism about my expectations about anything and the flux and flow of the world that churns through populations and their arts and culture . One scratches their head and stares at their own library now that they're in their mid-sixties and , in the flush of memory, pray that such beautiful words find fate more fitting than a compost heap or a crowded, mildewed shelf in an Oregon attic.

Poetry the tease

It's been my feeling that poets express their contempt of poetry by continuing to write poems about poetry. This isn't the garden variety poetaster at an open reading who furiously scribbles breathless, broken-lined manifestos about the responsibilities and burden of being a poet in a blind and cruel world; this is poetry as Priesthood, a habit of thinking many who have lapsed from their own religions and seek to imprint their inadequate sense of how the universe functions behind the veil on the entirety of poetry itself. Those blessed (and burdened) with the gift of seeing things as they really are become the cliche's greatest promoter. There is no ridding the world of these good folks.It's the serious poets, the ones with books and reviews of their work, who work teaching poetry survey courses and conduct workshops. 

During my time as member of Slate's belated Poems Fray discussion board, where a good many bright discussants would parse, yay or nay, poetry editor Robert Pinsky's choice for Slate's Poem of the week, I noticed a rash of poems that could not back away from the urge to invoke of some sort; the rationalizations in the critical jargon was rich and insightful in how many of us argue for something without telling anyone how any of it is any good for us, but it never seemed to me to be more than a go-to move for a poet who is stumped at any ironic turning point.

A poet begins the poem talking about being a poet wrestling with reality by poetic means and at the end of linking associations, one after the other, in that essaying forth of getting a peek beyond the mere appearances of the world, some goes awry in the speculation and dreamy thinking that contradicts everything and lo!, the poet finds out that he or she has been relying upon a literary form that will not reveal the thing-ness of things no matter how effervescent the poetry is. We cannot escape the prison house of language, the poet finds, the music swells, the sun sets on the poet as he or she grows cold and melancholy in their realization that their craft is useless for anything other than reminding themselves that the senses are fallible.  The end.  

  Every defense has been given within the confines of the poem itself, not in any discussion happening in the room, at a table, filled with people who’ve read and seek to discover what is they felt, what they thought, what the thought about how they felt.  The written is written to short circuit our emotional with the verses that have been read—our discussions are guided along a primrose path and little spontaneity of response, no honestly felt and strongly argued exclamation of “this sucks phallic verbs “.  What it all means not longer matters, not on a group level, not as a pastiche  of  responses culled from a brainstorming of interpretations, not from  a sudden image of a time formerly locked away in the deeper recesses of memory that now emerges again to haunt you and further stain your expectations of some kind of renewal through right living and solemn vows. Worse, we discover that may none of it mattered anyway. 

Many stanzas, rhymed, unrhymed, irregular, evocative and vague,  have changed nothing in the world. What it has done is make being alive in those naked minutes when dread and fuck off panic nearly overwhelms you. Poetry, the art of the allusive line and image that seem to  be about something,makes being in this cold light of fear bearable for another minute,another hour, until the fear slumbers again and you are something like sane again, smiling, eager for breakfast and a walk in the  sun, or at least a couple of long distance phone calls.

album review:LEANING IN AND OUT OF THE SUNLIGHT

INTROVERSIONS--Sluka

Introspection, guilt, a wan hope of transcendence through the attainment of a love that cleanses the soul of all sins real and imagined, perceptions of failure that will not relent, a personal paradigm of feelings so deep that the world, indeed the universe, is coded by the severe lack of self esteem, the ever deepening chasm of depression. Those are my impression of what is generally regarded as Goth rock, the decades of stylized gloom and regret and corrosive self -regard that’s made listening to tunes by The Cure, Bauhaus, and the solo offerings of Peter Murphy work to listen to, even in my leisure time; I’m a sucker for suffering poets, outcast lovers standing upon a widow’s walk or overlooking a stormy ocean from a high, jagged cliff. Eccentrics that don’t fit in with the cookie-cutter approximations of normal behavior and attitude spoke to me for a period when I was in my own private hell as a teen who found solace in Dylan and Leonard Cohen and in the deeper metaphors of Romantic Poets for whom the insanity of being ruled by emotion was more valuable than sex or money.

Into adulthood, of course, I eventually got my terminal uniqueness and took an adult approach to matters, but not entirely. Some of me longed to immerse myself in the vats of sadness again, wallow, put on head phones and drink a rank glass of sherry, droning, guitar and synth laced songs making the cruelty of the world a personal matter. It is, in the final consideration, all about me and my feelings. Of course this is the equivalent of picking the scab and taking pleasure in the wound not healing. The seductive tones of Goth placed its tattered shawl around my shoulders more than once.

Sluka, nee Christopher Sluka, is a San Diego based singer songwriter in the Goth mold, ironic as his home base is famous for sunshine and beaches, not cliffs, dark skies or weather that reinforces dark moods. He is, though, good at the style, quite good, in fact. His latest release, Introversions shows us a man who knows the considered craft of writing solid pop tunes and who appreciates the need for variety in the flow of material. Figuring alluring riffs on keyboards and synths and supplying a variety of hooks and instrumental textures, this percolates along, each track pulling you in with a personality of its own. The lead instrument is Sluka’s remarkable voice, at first making you think of David Bowie (or Bowie’s primary influence vocally, Anthony Newley), but the resemblance fades away as this artist convincingly converts existential dread and worry into playfully , soulfully inflected readings of the surreal lyrics. Agonized crooning, Beatlesque harmonies, emphatic phrasing on the harder edged material, Introversions , as the title implies, is a series of testaments of a man investigating his emotions , with the hope that he can transcend them. This is very much about the old adage, reputedly coined by uber gloomster Nietzsche , that if you stare into the abyss, the abyss will wind up staring at you. The hitch, however, is that Sluka prefers a little flavor to his plate, a little color to shine in to the dank vault of a world view. He remembers to rock, to croon, to laugh (if slightly) to lift his voice on high (if briefly) before it it drags along the lower registers again, grainy and unloved.

The stylistic range is impressive, with album opener “Valentine Lies”, guided by pensive piano configurations and melodramatic beats, climbs from the ground up, with Sluka’s voice capturing the mood of a man giving himself over to the sweep of love. “San Diego Zoo” takes a lighter, airier approach, strummed guitar and tasty, short guitar riffs, sweets bits of whimsy and regret, a man looking to move out of the dark house and into the sunshine of the spirit. Sluka’s voice’s, at once nasal, husky, and amazingly lithe, phrases the contradictions concisely. The final track, “Gothic Cavalier”, is the strongest song, a bit of menace provided by chunky guitar chords, a persistent bass and synth textures that overlay an enterprisingly off-kilter melody, the song swells at the chorus as Sluka relates the first person tale of a man seemingly encased in a gloom he cannot shake, an observer, a man of part unable to make lasting connections with the normal life. 

This is, in a word, catchy as anything you’re likely to come across among recent releases. Sluka’s preferred mood, of course, is downcast, the fatalistic pessimism and anesthetized moodiness that are the creative grounds for poets and assorted fans afflicted with swampy temperaments, but what gets me to play Introversions again and again in one day are his hooks, his riffs, his melodies, his skill at varying his moods and styles and thereby modulating his songs through a richer than usual selection of emotions. His music is catchier, his manner is more questing, searching, a man in a dark room braving a bit of sunshine, a little bit of joy. 

Poetic interpretation

A  young man I was chatting with the other day mistook me for someone who knew something about poetry and put the question to me about how he can learn to analyze a poem and receive an "A" for his effort. He actually used the word "effort" when he framed his question, and I began my routine spiel about investigating poems by mention that "effort" is synonym for "work", meaning that he would have to read the poem and pour over the words no less than any endeavor he'd undertake with the intention of getting a more than  satisfactory result.The basis of what I said is this: What I do is read a poem several times through, completely each time, first for what the poem sounds like, how well it flows, how well the general language goes together, whether images, similes, and metaphors both enliven the reading and fit the cadence. In other words, to get a solid sense of the poem’s music and rhythm; that can give you inspiration, as it often has me, as to the mood and drift of the poem, if not the actual theme. You should also ascertain the context of the poem—funeral? romance? remembrance? 

This gets you to dig harder in your reading and sharpens your sense of why some words are being used and others are not. Successive readings of the poem have to do with language and, generally, the search for keywords, antonyms, and synonyms, words, and images that would both contradict and compliment each other and offer up a solid clue of competing for ideas the poet is weighing. Often times poets will address a concept that is antithetical to the theme they may be dealing with as their dominant theme. If you think you’ve grasped a principle idea, be on the lookout for those images and tropes that would provide a counter-argument. With me, this provides me with a framework as to how well the poet resolves the contradiction in the situation that inspires the poem; this is where you break down what the poet has written and then argue how well or not the writers have accomplished his or her task.  It is also a handy way of developing a few new ideas to occupy , resonate and otherwise make wonderful intellectual music   in the space between my ears, an instance that often enough renews my curiosity with the world and keeps me from getting morose  and feeling older than the one lost shoe you always find behind the sofa when it comes time to move yet  again.