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Archive for June, 2014

BOBBY WOMACK (March 4, 1944 – June 27, 2014) | in memoriam

Sunday, June 29th, 2014


“I was used to basically working by myself, answering to myself,” Womack explained, and this independent streak made him both successful and destructive in equal measure. In the early 1970’s, Womack had a creative hot streak – the title track to the Womack-penned 1970 blaxploitation movie soundtrack Across 110th Street ranks among his finest work; his slow-grooving crossover hits during this period included ‘That’s The Way I Feel About Cha’ and ‘Woman’s Gotta Have It.”’
–Womack to TIME, days before his death


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She’s tellin’ me about the things that her girlfriend’s got

What she ain’t got and she wants me to go out and get ’em
xxxfor her

But, girl, I can’t be in two places at one time
— ‘If You Think You’re Lonely Now’;
© Bobby Womack, Patrick Moten, Sandra Sully
© 2013 Danny E. Martindale / Getty Images  | Bobby Womack at the July 5, 2013 Roskilde Festival, Denmark

Bobby Womack’s Greatest Hits (Billboard)

15 Photos from Bobby Womack’s Life

38px-Speaker_Icon.svgACROSS 110th STREET — the featured Bobby Womack soundtrack
vidcamera003‘ACROSS 110th STREET’
— the full movie



Saturday, June 21st, 2014

‘No el cielo sino su sombra tumbada sobre el agua’

‘Not the sky but its shadow lying back on the water’

— Nancy Morejón
(Translation: Pamela Carmell)

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Nancy Morejón, Cuba’s leading poet, performs the title selection from Homing Instincts (Querencias), her latest collection, at San Francisco Public Library’s Koret Auditorium, 2014

Al & Nancy by Kathleen
Photo: Kathleen Weaver

Al Young with renowned Cuban poet Nancy Morejón during the Bay Area swing of her late summer 2014 USA reading and speaking tour.

En Cárdenas, todos
escuchan el canto
de su andar
hecho de spuma

In Cárdenas, everyone
listens to the song of your footsteps
made of sea foam

–Nancy Morejón
from Homing Instincts (Querencias),
translated by Pamela Carmell,
Cubana Books, 2014

“How fine it is to be kept vertical by two accomplished beauties.”
— Bob Baldock

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Kathleen Bob Nancy by AY Photo: Al Young

[L-R] Poet and translator Kathleen Weaver, KPFA Special Events Coordinator Bob Baldock, and celebrated Cuban poet Nancy Morejón | September 2014

Al & Nancy Cam
Kathleen Weaver magnifying_glass_icon


AY Sketch from Buskirk Pix
Sketch based on a SmartPhone photo by Dan Buskirk

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Al & Mary Mackey August 2014

Katherine Davis Alice Pennes Mary Mackey AY @ Ohmega 23Aug2014

(L-R) Ohmega Salvage owner Katherine Davis, poet-novelist Mary Mackey, Al Young, and Ohmega events coordinator Alice Pennes


Sonny Guarding the Harvest

Sonny guarding the harvest | Photo: Kent Crockett



Al@Squaw 2014 A Dawn Dorland
Photos: Dawn Dorland

Bassist Jason Roberts, singer Al Young, drummer Christopher Kiefer and guitarist Louis B. Jones perform Wes Montgomery’s ‘West Coast Blues‘ at the Squaw Valley Community of Writers‘ Follies Night | July 14, 2014

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New Baby Bluejays by Kent & Cindy
Kent & Cindy Crockett

New baby bluejays greet the Summer Solstice


Photo: Ofelia

Still crazy and creative after all these years, (L-R) poet Al Young, physicist Bert Pohl, opthalmologist/light scholar Mark Cohen, and psycholinguist Dan I. Slobin. Detroit Central High cronies,they  lunch for the last time at Bo’s BBQ in downtown Lafayette, CA. Bo’s will close and reopen in San Francisco. | June 2014




Page Under Construction

HORACE SILVER | September 2, 1928 – June 18, 2014 | in memoriam

Thursday, June 19th, 2014


Horace Himself on Horace Silver

Courtesy Blue Note Records

Legendary jazz pianist, composer-arranger and poet-sculptor of funky hard bop, dies at age 85


Horace Silver was brilliant. A populist musician-performer, he loved and respected the audience he’d helped build for an earthy style of bebop deeply rooted in jazz’s blues and gospel origins. With drummer Art Blakey, Silver co-founded the conquering Jazz Messengers. I’m old enough to remember seeing his name listed as Stan Getz’s pianist on 78- and 45-rpm discs on the Royal Roost label when, at age 12, I began to collect records in earnest. I remember, too, the time I called to speak to him when Phil McKellar, a radio DJ at CKLW — a Canadian station in Windsor, Ontario, across the river from Detroit — was interviewing Silver right after Six Pieces of Silver, his first Blue Note album, came out.

A tuba player in Detroit’s Central High band, I was just beginning to play trumpet. In a live broadcast Horace asked: “Al, do you play?”

“Yes,” I said.



“Oh, yeah, all right! Come on down to the club, man — and bring your horn.”

I almost died. I’d just sarted taking lessons. By the time he reached his late teens, Horace Silver had moved  from Connecticut to New York to play professionally.

Consider the titles of some of his classics: “Señor Blues,” “Opus de Funk,” “Quicksilver,” “The Preacher,” “Filthy McNasty ,” “Sister Sadie,” “Doodlin’,” “Opus de Funk,” “Nica’s Dream,” “Strollin,'” ‘The Tokyo Blues” “The Bagdhad Blues,” “Psychedelic Sally,” and “Song for My Father.”

Is there a price we can place on the treasury of pleasure Horace Silver has left to us?

— Al Young



‘Horace Silver, 85, Master of Earthy Jazz, Is Dead’ | Peter Keepnews, | January 18, 2014

Horace Silver, a pianist, composer and bandleader who was one of the most popular and influential jazz musicians of the 1950s and ’60s, died on Wednesday at his home in New Rochelle, N.Y. He was 85.

His death was announced by Blue Note Records, the company for which he recorded from 1952 to 1979.

After a high-profile apprenticeship with some of the biggest names in jazz, Mr. Silver began leading his own group in the mid-1950s and quickly became a big name himself, celebrated for his clever compositions and his infectious, bluesy playing. At a time when the refined, quiet and, to some, bloodless style known as cool jazz was all the rage, he was hailed as a leader of the back-to-basics movement that came to be called hard bop.
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Prolific composer and master jazz pianist Horace Silver dies at 85

By John Andrews
24 June 2014

Jazz emerged in the 1920s to the clarion call of Louis Armstrong’s trumpet, whose musical ideas dominated until the “young Turks” of the 1940s, led by alto saxophonist Charlie Parker, trumpeter Dizzy Gillespie and pianist Bud Powell, broadened the harmonic and rhythmic vocabulary of jazz, creating the new musical language of bebop.

Much as the conventions of early jazz were consolidated, polished and expanded by the swing bands of the 1930s—the only period when jazz dominated popular music in the US—so the innovations of modern jazz were explored and developed into sundry forms during the 1950s, the aesthetically most diverse and richest decade in jazz history.
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Jazz Profiles
from NPR

Horace Silver
Produced by Miyoshi Smith

Horace Silver
Read and listen



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38px-Speaker_Icon.svg1983 HORACE SILVER INTERVIEW 
Three Audio Clips 

Canadian Jazz Archive Online | FM 91 (Toronto)

Song_for_My_Father_(Horace_Silver_album_-_cover_art) © Blue Note Records

YouTube icon wee38px-Speaker_Icon.svg Listen to “Song for My Father,”(Canção para Meu Pai) just one of Horace Silver’s celebrated and much-played works.

npr logo38px-Speaker_Icon.svg Seasoned jazz lovers A.B. Spellman and Murray Horowitz revisit Horace Silver’s music to discuss in depth his deathless “Song for My Father.”


Jazz Messengers Nica;s Dream

“Nica’s Dream”

Horace Silver, composer and pianist; Donald Byrd, trumpet, Hank Mobley, tenor saxophone; Doug Watkins, bass; Art Blakey, drums


© Columbia Records
nica's dream bk cvr


The Official Website
of Horace Silver




 © Francis Wolff | Mosaic Images

A Horace Silver Discography



DMQ Review | Summer 2014 | Sally Ashton, editor

Monday, June 16th, 2014


‘Summertime Blues’?

sally ashton waves
Sally Ashton: DMQ Editor and Santa Clara County’s former poet laureate

DMQ Review Summer 2014 banner


DMQ Cures the Blues cover

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Thomas Gillaspy © 2014 All Rights Reserved

Table of Contents


Three Poems   David Lazar
Two Poems   Ronda Broatch
Howling  David Ebenbach
Signals   John Nimmo
Hum In Me, Muse. No Words, Just Thousands of Arpeggios   Tina Kelley
The Uppermost Affliction    Sarah Sloat
Under the Lines  Melissa Gordon
Why Your Signature Is Illegible   M. Nasorri Pavone
First Night Alone  Donna Vorreyer
Always you will  Sara Kearns
Exotic Travel  Bernard Henrie
Farmington: August   Jeff Streeby


From the Ether    Sally Ashton, Editor-In-Chief button cam

From the Archives    Karyna McGlynn, August 2004 Issue

Visuals by
Thomas Gillaspy

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Guidelines          Staff          Archives          Cover

Sally Ashton, Editor in Chief
Associate Editors: W. Todd Kaneko, Anne M. Doe Overstreet
Assitant Editor: Marjorie Manwaring
Editorial Assistant: Marta Svea
Poet’s Bookshelf  Editor: Peter Davis


CHARLES WRIGHT: The new U.S. poet laureate

Friday, June 13th, 2014


Charles Wright on Poetry as ‘A Reason for Living’

PBS NewsHour


Who Is Charles Wright, the New Poet Laureate?

The Library of Congress announced today [Thursday, June 12, 2014] that Charles Wright will be the next Poet Laureate, kicking off his tenure with a September 25th reading of his work

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Charles Wright
Photo courtesy Library of Congress ||| CLICKABLE


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The older we get, the deeper we dig into our childhoods,
Hoping to find the radiant cell
That washed us, and caused our lives
xxxxxxxxxxxxxxxxxxxxxto glow in the dark like clock hands
Endlessly turning toward the future,
Tomorrow, day after tomorrow, the day after that,
xxxxxxxxxxxxxxxxxxxxxxxxxxxxall golden, all in good time.

© Charles Wright
An excerpt of “Archeology” from  Nothing to Say & Saying It (2006)


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New Poet Laureate: ‘The Meaning Has Always Stayed The Same’

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© Holly Wright / Farrar Straus Giroux


What Does a Poet Laureate Do, Anyway?

On Thursday, the Library of Congress named poet Charles Wright the country’s 20th Poet Laureate. Mr. Wright, 78, has received the Pulitzer Prize and the National Book Award for his past work. Reached by phone in Charlottesville, VA, where he said he was “just about to be attacked by a huge thunderstorm,” he spoke about his plans for the new position, his summer retreat in Montana, and Ezra Pound

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“I saw and read a lot of Charles Wright during the years he and I served on the Associated Writing Progams’ board of directors. As the 1970s faded into the early 1980s, I worked in Hollywood, writing and rewriting scripts. Reading Charles’ poetry alongside the lyrical prose of another Charles Wright — the late African American novelist and Village Voice essayist — I began to sense the intimate relationship poetry and screenwriting share. The screenplay is indeed a lyric form. The poetic novels of Charles Wright and much of the new U.S. poet laureate’s work read like scripts waiting for creative filmmakers.”
— Al Young

chas wright headshot
The novelist Charles Wright


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The Art of Poetry #41

Interviewed by J.D. McClatchy