GC: Do you remember when the New York City, (which we’re from), when, in the old days when Frank O’Hara, John Ashbery and Kenneth Koch.. They also had great painters around them, you know, they benefited each other. Did we have anybody, you know,in San Francisco, when the poets got together in San Francisco have any painters around there?
GC: Yes, but I’m talking about the guys up there, lets say, like (Morris) Graves, or…
AG: (Kenneth) Rexroth knew Graves and had arranged..
GC: ..and all those guys, right?. And there was another guy who was doing things. What was his name?
AG; There was Clyfford Still who was around…
GC: Clyfford Still, that’s the one, right.
AG : Yeah.. all those guys…
GC: Rexroth regularly
AG: ..recorded-jazz was going on.
GC: You mentioned before that you were gonna read with jazz but what difference – you said you it’s different– what difference say from the time that Rexroth or Kenneth Patchen would read and they’d have a bass behind him and a piano and a drum, What would be the difference now?
AG: I think now the musicians start with the text and compose around the text, specifically tailored toward the text rather than noodling, or separated, or background music, or impressionistically contrived on the spot
GC: Yes..ok.. They know more
AG: so their attending to it like sprechstimme, actual speech with the music underlining it
The best thing we did was (I don’t know if you’ve heard on my record [The Lion For Real]) there is a good version of “Aunt Rose” and there’s a really elevated, noble “King of May” version. Oh, and then we have a great little tiny poem called “Fuck me and spank me” ‘(“CM’on Jack”)
GC “Fuck me and spank me”
GC: It’s not the Master, “Please Master”, one?
AG: No, but it’s a mini version of it and it’s really a funny poem that I was really ashamed (by)… Steve Swallow picked it (he’s one of the major people working on the record and he made this laid-back version of this extremely hot little poem (which I liked because it was so genuinely hot and so representative of a moment of a moment of ecstasy).
AG: ..but he made a very laid-back disco version, so that’s going to be on the CD. I don’t think we’ll put it on the..
GC: Oh no, but that’ll be good. The idea of the disco rhythm and just saying “fuck me” (but probably they wouldn’t understand the lyrics..)
AG: “Fuck me and fuck you, da-da da-da da”. No, they’ll understand the lyrics very clear very clear!
GC: They could try it out
It’s coming out as a regular record.. There’ll be long liner notes..
to be continued