AG: Where were we? Oh Creeley? So Creeley. (Robert) Creeley. Each syllable is a thought. That’s a good way of (describing it), actually. That’s an aphorism for Creeley – “One thought per syllable” (in the sense that each syllable seems to be like a new thought) – opposite from my kind of writing, or, say, somebody else, … Read More
From the author’s web-site: “Bop Apocalypse is largely the story of the evolution of jazz and its relationship to the Beats: the first time that drug use coalesced with music and literature, becoming a central element in the creation of an avant-garde American voice and underground cultural sensibility.”.
The book, (an outgrowth of a chapter in an earlier book of Torgoff’s, and very much its compliment, Can’t Find My Way Home), “features vivid portraits of … Read More
Charlie Parker‘s birthday today. We salute, as before, on The Allen Ginsberg Project, “the creator of the cool sound, the most modern of all horn men…”
Bird-fanciers (ornithologists) have plenty to be grateful for this year with the release this past month of Unheard Bird – The Unissued Takes, a new double-CD, featuring 58 previously-unreleased recordings made between 1949 and 1952 for Norman Granz, foumder of Verve Records, showcasing Parker in a variety of settings – in a Latin-jazz orchestra (spotlighting Afro-Cuban rhythms), leading all-star quartets, quintets, and septets, (and we do mean all-star!), solo-ing over … Read More
August 29, it’s Charlie Parker‘s birthday. We continue our jazz salutes.
Steve Silberman: Yeah, and that poem (Kerouac’s Mexico City Blues) [not to mention, your own work]) was very much influenced by Charlie Parker who you knew, or saw.
Allen Ginsberg: I saw him a number of times, yeah. In those days – meaning the early ’50s and early ’60s – the musicians, though, they were barred from playing in the clubs under the cabaret licensing laws, which were quite fascist. Anybody who had been busted couldn’t play in a cabaret, and if you couldn’t