PATRON SAINT OF JAZZ
She lived in the corner
in the record rack
Her face, flat on an album cover
but spin that vinyl and ooooh
She sang about life
About the sad truth that
black lives didn’t always matter
Especially in the south in the 30s
Her voice gave witness
to a woman’s weary world
Her curls pressed, ironed
Her veins spiraled in junk
Her attitude, defiant
Her circumstance,
forced compliant
by companies and creeps
No one could deny her
power, the flower behind
one ear; the blossom
gardenia, always
The voice got harsher
as did the years, but
Billie was the patron saint
of one little abused white girl
who understood without knowing
there was anything else to be
but to be a musician, or
anything else to do but sing the blues
© 2016 Amy Barlow Liberatore/Sharp Little Pencil
Decades before cultural appropriation was a thing, I was a white girl singing blues and jazz (from the age of around 6). I copied no one, truly; probably had more Judy Garland in me than anything. But the feeling, yes. I got that. Grew up around it, heard so many singers and musicians, both black and Anglo, who encouraged me. They never made a distinction about my race, they just said, “Sing it, baby.” The depth of feeling was natural for me, it ran through me like my own blood.
Having said that, I DO “get” cultural appropriation and am PROUD I never thought to copy any of Billie Holiday’s stuff. Too many female singers of all ethnicities adopted the gardenia behind one ear; I always thought it terribly corny and a bit disrespectful.
For Poets United, the Midweek Motif is Patron Saints.
Peace and a spin on the turntable, Amy
Sing to Spring
(Fade in on open field, where members of the local Women’s Chorus are engaged in their annual ritual of welcoming the new season. Dressed like milkmaids; everyone thinks they are a little nutty.)
Amorous buxom choristers, dancing everywhere
Fearless, guileless, heaving inspirations, juggling knowledge and
lascivious, mature natures…
Pendulum quickens; rhythmic sashay turns vibrant windmill…
(Two hours later, at a coffee shop, the event concludes with these time-honored words…)
Yum! Zabaglione!
© 2015 Amy Barlow Liberatore/Sharp Little Pencil
Yes, my mother told me that, one fine spring day, a group of her friends from a local women’s barbershop group got together and did indeed “Sing to the Spring.” Of course, it didn’t involve a coffee shop; methinks they were slightly hammered!
For Imaginary Garden With Read Toads, where “Play It Again, Toads” found me attracted to Marian’s ABC romp through the alphabet, along with Margaret’s post of “Spring – detail” (1890) by Thomas Wilmer Dewing. Peace, Amy (and what a fun singer was my Mom, right?)
All That And More
Voice like menthol
Balls of brass
Face like schoolgirl
Killer ass
Charmful armful
Singing sinner
Rings the bell for
raunchy dinner
All the makings
All the style
Shimmy, chanteuse
Make ‘em smile
© 2013 Amy Barlow Liberatore/Sharp Little Pencil
You want a jazz poem, dverse? One from the heart, heels, and head of a vintage babe who sang in clubs for 35 years and never overstayed her welcome. .
Also on the sidebar at Imaginary Garden With Real Toads. Peace, Amy
GET TO THE GIG, GIRL!
Take the A train? Hell, no
I’ve faster ways to go
Head south on Amsterdam
Keep low and lively, ma’am
I filter through the fog
and gusting city smog
The traffic’s fierce, you see
I keep it high and free
Some pieces of the News
Fly by in folded twos
Through bitter cold and then
I spring balloon to end
And climb on up and out
the fountain’s water spout
The cries of “Viva! Viva!”
when I arrive, La Diva
Enough to warm my heart
And now my gig I start
© 2013 Amy Barlow Liberatore/Sharp Little Pencil
The “B” on the balloon is for Barlow, my former stage name. At dverse Poets Pub, we were challenged to an ekphrastic prompt – writing to an image; I used words from The Sunday Whirl. The brill artist is Judith Clay, and you can see more of her fantastic fantasies and read other poets HERE, as well as check out what other poets did with the Whirl Wordle HERE.
Fun prompt. Was ready for one. It was a long week, but things are looking up! Peace, Amy
At the Great American Food & Beverage Co., Wilshire at Sixth (1979)
Joe’s behind the keys
Doug, Lisa and I singing backup until
others join the fray, Carolyn on cabasa
This restaurant is like nothing ever
Ever
EVER
Smells mingle and linger
Rib sauce, beer, whipped cream
Sweat and hot chocolate
Sounds bounce and dervish
Music: Tambourines, guitars,
ivories, voices of every color and timbre
It’s late, so Jamie takes to the piano
“Heartbreak City” in the key of frenetic
Climbing on tables, raising hell, crazed
Chuck on “Takin’ It To The Streets”
We gather around him, the army of
musicial pacifists, guitars the only weapons
No mics, just naked acoustics, so I have to
wait for a lull and take the piano with great
intention to render “Skylark” as it should be
People wait for hours outside
Munching veggie trays, waiting for
two hours just to get in
The floorboards harbor stories
of naked piano players, cooks banging
fudge pots, making fun of musicians
Of after-hours massage lines, practical
jokes magic serving starving
The life of a singing waiter or host
Poppy stops in, baby River bops in his arms
He laughs when he smells the Divine Weed
wafting from the kitchen
Enrique the dishwasher knows three words
in English: “E-spread ‘em, babeeee!”
Kitchen staff schooling him
Late nights playing pinball for free
Greggie found the key and we laugh and
drink and sing the old songs, it’s quiet now
Lights out, don’t have to go home
but ya can’t stay here…
Farewell, my youth, my touchstone
© 2013 Amy Barlow Liberatore/Sharp Little Pencil
Imaginary Garden With Real Toads’ Fireblossom wanted poems about a specific place. How about a specific place and time, with specific people? For those of you who never experienced the Great American Food & Beverage Co. in Santa Monica in the 70s, this is only a taste of the wild, wickedly fun, wantonness that was the G.A. A place that holds me fixed in time and space, a place where I went from girl to woman – and from beer to beyond. Peace, Amy
Imaginary Garden With Real Toads presented me with a real challenge – a new form! Not my strong suit, but once I got going, I was on FIRE, baby! I’ve also placed this on the shelf of the Poetry Pantry at Poets United. Process notes below.
I.
She sings
for the lonely
whose martini glasses
teeter their moods to sighs of “then”
Choosing songs with good bones, timeless, misty
Watching hookups destined to fail
Witness to a rapt drunk
who cries; to whom
she sings
II.
The blur
of is/is not
falls upon her lightly
winds around her soul so tightly
She seeks solace in the bitter bottle
Battles blues with burn of bourbon
Diff’rent bottle, the script
would help her beat
the blur
© 2013 Amy Barlow Liberatore/Sharp Little Pencil
PROCESS NOTES:
First, thematic: She Sings is from my days in piano bars, where I was the only performer. Some nights I found that the sights and emotions of my customers were more interesting than my music. The reference to “good bones” is, of course, from old houses in terms of reconstruction.
The Blur can be any sort of mental disorder, when the person chooses to self-medicate rather than follow the doctor’s plan. In this case, she has received her diagnosis, gotten her meds, and won’t “play along.” Most heavy drinkers I know don’t gave the insurance or don’t realize they need a psychiatrist; I’ve seen this lead to the worst ends possible, including several suicides… and my mother’s lifelong battle with booze.
AS TO THE FORM: A Rictameter is a “form with a shape.” The syllable count is 2-4-6-8-10-8-6-4-2.
A bit of history from the Real Toads site: Created in the early 1990s by two cousins, Jason D. Wilkins and Richard W. Lunsford, Jr., for a poetry contest that was held as a weekly practice of their self-invented order, The Brotherhood of the Amarantos Mystery. The order was inspired by the Robin Williams movie Dead Poets Society.
First, watch this classic, short clip from “Sunset Boulevard,” with Wm. Holden and Gloria Swanson
Studio Blues (the session)
So we’re sittin around
mid-session/post-mortem
We are, so far, not happy
It doesn’t sound like us at all
The urge to get it right
to project confidence and
unity in the band’s sound…
Technology can get in the way:
Today was a clusterfrack of
padded drums with five mikes
and 64 tracks on the sound board
and an OCD tech whose mantra is
“Perrrrrrr-fect”
(If he were a makeup artist,
a single smudge would be verboten)
Inquisitive as to our dissatisfaction
(this being an old-style jazz recording)
he joins us and digs into the
delicious coffee cake make by
the bass player’s girlfriend. I activate
the discussion: “It’s too clean.”
Tech gets defensive. “I’ve made
stellar recordings for (so-and-so)
It takes the master’s touch to clean up
the blips and merge all the tracks.”
“Look,” sez I, “let’s do a Sinatra session.
Strip the drums – Mike, use brushes
Jimmy, get your stand-up bass, no more electric
Screw the keyboard effects, Stu, just
tickle the baby grand in the corner. One
mike on that, and I’ll sing in the center,
Billie-style. Lower the lights and let’s
get the mood right.” Tech is instructed
to merge all tracks simultaneously and
create a single, live session. “But there
will be off notes and sometimes the
guitarist squeaks on the strings!” frets he.
“You need reverb, some sweetening…”
I honey/hotsauce him: “Listen, babe,
I’m a singer, not a vocal machine, and
we want soul, not squeaky-clean.
“Wanna know how we did it when
I started out? Watch this and
get schooled, learn from someone
who came up in smoky clubs.
“Dusty Springfield sang sitting on a toilet
because the sound was better in the bathroom.
We didn’t NEED reverb then…
We had voices.”
© 2013 Amy Barlow Liberatore/Sharp Little Pencil
Well, the Real Toads had a “come one, come all” today, so I thought I’d pick up a prompt from The Sunday Whirl. This comes from my “old school” background in music, where the singers whose catalogs I raided (Sinatra, Billie, Bennett, Satch, Nat “King” Cole, the early years of Barbra Streisand) all had one thing in common: They recorded live with their band or orchestras. No fiddling around with the sound post-session.
Once Madonna came on the scene, she was sued for using a second singer’s voice to give her own so-so voice that high-nasal feel (She lip-synched most of “Like A Virgin” at the Grammy Awards, but no one noticed because she was writhing on the floor). Studios full of baffles, drum rooms, and solo vocals recorded separately after the band, a jillion tracks they could add later, as well as reverb (the first vocal enhancement) and eventually the vocanizer, which not only “sweetens” a vocal flat note but was used by Cher on “Believe (In Life After Lov e)” – that “it takes ti-i-i-ime” computerized effect, used to create an interesting vibe.
MY PEOPLE SANG. Sinatra always had an audience (women had to remove all clinky jewelry); Billie sat in the middle of a circle, mike suspended from the ceiling; Streisand, accompanied by full orchestras in her 20s, had a knack for getting her emotional performances on the very first take. Nat live in sessions, playing his own piano? The livin’ end.
In other words, things change, but I don’t have to follow the trend. None of the recordings you have heard from me have ever had any monkey business, no sweetening, etc. Pure, simple jazz. Peace, Amy
Blessed Blue
I am one of many or one of few
blessed with blue beneath my beige
Age has no power over singers
even the unbalanced or quirky
First a slap on the upright bass
not uptight, plays soooo right
Then a snippet of snare and a
clink on the ride cymbal, yeah
Dust off a classic, “St. James Infirmary”?
Nope, too melancholy mournful
This lineup deserves a quick trip
on Route 66, flying down that road
on wings of azure razor-sharp steel
In an instant, the crowd really feeling it
One deep breathe and she does the whole
trip, all destinations, in one breath:
St. Louis, Joplin, OK City, Amarillo,
Gallup, Flagstaff, Winona, Kingman,
Barstow, San Bernadino… and then,
with a gasp, winds down to the final line:
“Get your kicks – on Six-Six”
Sure, it’s Nat’s line, but it’s homage
to the King of cool, of keys, ivories
We’re all Cole miners in this club
© 2013 Amy Barlow Liberatore/Sharp Little Pencil
Photo of Amy sitting in with Madison’s All That Jazz, used by permission.
NOTE: The links below lead to YouTube videos – check out Krupa, Sinatra, and especially my girl Dusty.
For the Sunday Whirl and Poets United’s Poetry Pantry. The word “Blue” shouted to me in the Whirl Cloud – then the snare and ride, both essentials in any drum kit. The snare most folks know – it’s the smaller drum up front; the ride cymbal is one of two in most kits, and it gives a light tapping sound, while the “crash” cymbal does exactly that! There’s also a “high hat,” that gizmo with two small cymbals facing each other, connected to a long rod and controlled with a foot pedal, sometimes hit with sticks during a solo. Add a bass drum controlled with a kick pedal and a tom-tom (or “tom”), which has a deeper tone than the snare, and you’re about fixed. The toms get a workout on Gene Krupa’s classic, “Sing, Sing, Sing.”
Of course, REAL jazz players use more than sticks; for singers who have a ballad to share, they should have brushes for that swooshing sound in the rhythm. Some players use bundled bamboo sticks, which give a sharp, crispy tone to the skins (drum heads). But the most important part of any drummer’s kit? THE BRAIN. Good drummers have taste, a knowledge of the tunes (not just the pace, but the flavor of the song). The best musicians I know, the non-singers, learn the whole song, including lyrics. This gives a distinct flavor to any solo, knowing what word goes with what note, so when they streeeeeetch out on Johnny Mercer’s “Laura,” say, they can slide into “footsteps that you hear down the hall” with meaning. (Mercer wrote the words after David Raksin provided the theme for the Gene Tierney movie, “Laura.” The tune was so popular, they hired Mercer to write lyrics, and the song took off, especially the version by Frank Sinatra. any others. Same goes with “Satin Doll,” the Ellington classic – lyrics later provided by Mercer.)
Good example of tasteful sax soloing: Listen to Dusty Springfield’s version of “The Look of Love.” Stan Getz, who went to Brazil to pioneer the samba with Gilberto and Jobim, plays the sparest, breathiest solo to back up Dusty’s menthol cool. Tasteful piano? Listen to Bill Evans back up Tony Bennett years ago, two giants in one studio. Another vocal-sax pairing of note, Billie Holiday and Lester “Prez” Young.
I could go on, but how about this: Tell us YOUR example of taste in a song, where all planets were in alignment! Peace, Amy
Gorgeous “Goldfinger” Gal: Shirley Bassey
Ah, the Bond movies!
Yes, I thought, let’s sit back and
drool over the biggest misogynist franchise
ever undertaken (overtaking box offices
worldwide, and a great date movie,
if the woman is passive: He can close his eyes
and pretend she’s Ursula Andress later.)
My “blah” goes gaga when Shirley Bassey
Herself takes the stage, clutching a mic
Her first phrase, tentative,
lacking that signature tremolo of
“Gowld-fin-gaaaaaaaah”
But as the song progressed, we
stopped staring at her stifling corset and
listened to the majestic magic spell
cast by a 76-year-old woman,
an icon in every sense of the word
(and a favorite lip-synch of
drag queens back in my day)
By the song’s crashing climax,
she nailed that note. Crushed it.
Grabbed it by the saddle horn and held onto
the bucking broncho of all classic
movie themes. She was triumphant.
Gracious. Luminescent.
In short, Adele could learn a lot from
the great, grand, gorgeous Shirley Bassey!
© 2013 Amy Barlow Liberatore/Sharp Little Pencil
Honest to Pete, I was ready to be embarrassed when Shirley Bassey came onstage at the Oscars. I thought, “Oh no, another golden girl who’s appearing in casino lounges now. This is gonna be bad, friends.” Later on, my BFF John and I were texting (throughout), and we agreed: Adele (although the cutest young woman and quite bubbly) wrote a song almost as bad as her rendering of said tune onstage.
BFF and I felt like calling both Bassey and La Streisand up to say, “If you two are feeling generous, please take that nice little Brit under your golden wings. WE BEG YOU.”
And about Affleck not being nominated for Best Director: Directors make those nominations, and I think they’re simply jealous that Ben looks better than most of them.
For ABC Wednesday, Real Toads’ Open Link Monday, and dverse Open Mic Night! Peace, Amy
Sharp Little Pencil 