Poetry by Michael Keshigian

April 1st, 2013

 

 

 

 

SYNERGIST

 

All day
I’ve listened to the song
of a single cardinal

ripple stillness
just outside my office window.
An opera in red tux

his throat is a spring
stretching an aria
through the cluttered house

of sound, awakening memories
of events since past.
The timbre enlivens my heart.

I can almost touch
what once was
as it floats between

song and wind. An inflection
so crisp, that I’m convinced
the cardinal sings for more

than to merely texture
the commotion. His tune
incites another gift.

He performs daily,
tireless and without hoarseness,
to make sad hearts flutter.

 

 

RECITIAL CLASS

 

On piles of brick and mortar
in an acoustically enhanced chamber,
he perches like a judge
about to pass sentence,
clad in a checkered suit
with matching bowtie,
listening to one performance recital
after another,
considering wrong notes,
squeaks, and never-ending passages
of questionable intonation
while a recruited student audience observes.
What must the cardinals think
about this cacophony of musical interpretations?
Hour after hour, one with the chair
and its deaf serenity,
he sits and stares
as the building shudders
with every gasp of breath.
Windows teeter upon the brink of disintegration.
How frightened the composers must be,
covering their ears from heavenly posts,
intentions distorted
at the price of an educational tryst.
Even in the Spring heat,
children circumvent the building
while cars pass at greater speeds.
Yet he sits, professor of music,
seer of the future, content to listen
till the setting sun strikes the windowpane,
knowing these melodies will mitigate.
Their players, like fireflies,
will eventually illuminate
the trepidation of a sullen soul.

 

 

SYMPHONIC EVE

 

Walls pulsate
on waves
of rhythmic Stravinsky jokes.

Crickets scratch song
to throated gurgles
of a bubbling spring.

Soft rain dances rooftop
and strokes panes
on a mild breeze

painting
vague shadows
upon sidewalks.

I sit here waiting,
content,
eager for sunlight’s

blinding glare
to burst through darkness,
the grand finale.

 

 

HONEYCOMB BLUES

 

This is how it used to be
with him and his lover,
she taught him
a new song
every morning,
a different line
with her head
on the pillow,
climbing the stairway
of his spine
with a weightless melody
until it filled his brain
and he sang
as he rolled over
to lock his lips
around hers
so she might sugar his mouth
with more honey,
her tongue tipping sweet melodies
backwards in his throat.
The day was longing
after mornings like that,
sunlight a lonely companion,
though the song droned
like bees in the hive
all day in his head.

 

 

BURGLAR

 

Two days ago
the sun caught me stealing
the cardinal’s song
to construct a melody,
demanded restitution,
then reported me
to Mother Nature
who posted my likeness
about the land.
Soon, the ocean,
forest, birds, flowers, et. al.
filed suit for substantial abuse
and complacent appropriation
without permission.
I pleaded guilty;
admitted taking
rain from the clouds
for rhythm,
breath from wind
for deliverance,
stars from the sky
for harmony,
and rage from the ocean
for intense dynamics.
Convicted and confined
to a windowless, insulated room
with no composing
or suggestion of resonance,
I was sentenced to imagine music
without embezzlement
and the wholesale exploitation of nature.

 

 

WHAT TO DO WITH INTANGIBLES

 

Early morning, a little snow
teases the outstretched branches
with the help of the wind.
It is cold, but inside the stove’s warmth
cradles the recliner in the lamplight
where he sits and listens to Brubeck.
His fingers, thick and calloused,
flip pages of the score enthusiastically
as he notices the shape of his nails,
much like his father’s, no moons rising.
And like his father had done,
it’s time to contemplate departure.
One day, the stove unlit, will dispense
the damp aroma of creosote,
the score will lie closed
upon the arm of the recliner.
One day, a relative will enter
and acknowledge
that the house is empty,
no warmth, no breath, no Brubeck,
an indentation upon the seat
next to the score.
The change will go unnoticed
by the snow, wind, ice, and
those few crows meandering
for morsels upon the buried landscape.
He returns to follow the music,
the harmonies and rhythms delight him.
What would become of these joys,
he wonders.
Someone should take them.

 

 

THE COMMISSION

 

He felt as if he were born
to the sawdust and nails
of composing, working daily
in hours of solitude
to construct a sound structure,
which at times
seemed like a pointless task,
devoid of shelter for any dweller,
a paper house
easily toppled in a stray breeze.
On many afternoons
he abandoned the work,
meandered outdoors
to view the project from afar,
somewhat defeated yet relieved
once he soaked his head
in the light of the sun
which cleansed the motifs, themes,
chords and progressions
from his brain,
allowing a bit of respite
while the half house
toppled in a sigh of wind.
He could hear the creaks
of settling rubble.
Fallen walls, once separated
by harmonies and timbre,
were now splintered by light
in puffs of dust,
carried off with a gust,
floating until another melody
whistled in his head,
a new rhythm of nails
that would bond a varied design
upon an alternate musical landscape.

 

 

MUSIC GRATIFICATION

 

He wanted to know everything
a musician knew,
how to start with a note
that blossomed into a composition,
jazz or symphonic,
it didn’t matter much,
Take Five or Beethoven’s Fifth
as long as he could make
some toe-tapping or baton swinging
sense of the melodies
that swirled in his head.
He could write lyrics
all day long on a blank page
but had only the rhythm of words
to dance to,
the timbre and articulations
came from a different place
and were never enhanced
by a slick clarinet gliss
or a violin’s frenetic staccato.
He was happy, though,
that he could listen to
the most complex pieces
or simplest tunes
and transform himself
into a feather
that floated upon the resonance,
landing gently at the final cadence,
gratified that he could internalize
the intention of sounds
he couldn’t call his own.

 

 

THE CORNER MUSICIAN

 

With massive gasps and fluid fingers
a saxophonist improvises the sounds of city,
capturing the rhythm of urban diaspora
as it approaches the cadence of life.
His licks and riffs reveal
the tempest of the metropolitan mentality,
his intonation shades its complexities
as he attempts to calm the pulse
of the sprawl with modal motifs
that identify the dissonance
each inhabitant exudes
as they follow a silent song.
He clears the way
with a beam of sound
and opens a passage that is human,
capturing passion and sensitivity
in a web of eighth notes
that interview the mystery
between asphalt and the soul.

 

 

 

DOWNBEAT

 

Seconds tick away,
the orchestra sits quietly.
Upon the podium the conductor awaits,
arms by his side,
right hand gripping the baton.
The room is silent,
coughs in the audience cease,
doors to corridors have been closed.
Blinking lights bidding attention wane
and the old lady who taps
upon the wooden armrest
stills her beat to watch pensively.
The maestro signals for attention,
arms apart,
an eagle about to soar
above the sounds of foliage
replenish ing the naked woods,
unraveling a song of loneliness
into a symphony of triumph.
The buses are motionless on the street,
ships dock in the harbor.
Crickets in crevices
no longer rub their legs
and dead composers peer down
from celestial balconies.
An entire city awaits
the stroke,
a downbeat unfolding tribulation
and long suffering angst
wrapped in a coil of musical colors.
Drop the baton,
and the ocean will stop slapping the shoreline.
Even Beethoven,
proudly embossed above the stage in gold,
stares downward and shakes his fist in defiance
of the anticipation
while inserting the hearing horn
into his deaf ear.

 

 

 

PIANO DREAMS

 

He thinks about the piano
even when he is not playing.
The largest and heaviest instrument of all,
this curious black beauty,
with shoreline shape,
is the most elegant object on center stage,
in tux with white trim tie,
he stares to absorb its magnificence,
ponder its potential and history.
When he plays,
each key he strokes
becomes a syllable to a story
in which he scales
the dizzying highs and lows
with the endurance to climb Everest,
exploring secrets of shapes and timbres
that awaken the chordal children
who dance with him
through bebop and jazz,
from spirituals to classical,
follow him away from home and back again,
till the gig is complete.
After each performance,
when the letters of sound fall silent,
he pauses before leaving the stage
to take it all in,
bringing this mirage,
with its Cheshire smile
and three stubby legs,
back to the practice room for more inspiration.

Share this:

Comment on this article:

Your email address will not be published. Required fields are marked *

Site Archive

Your Support is Appreciated

Jerry Jazz Musician has been commercial-free since its inception in 1999. Your generous donation helps it remain that way. Thanks very much for your kind consideration.

Click here to read about plans for the future of Jerry Jazz Musician.

Publisher’s Notes

Creatives – “This is our time!“…A Letter from the Publisher...A call to action to take on political turmoil through the use of our creativity as a way to help our fellow citizens “pierce the mundane to find the marvelous.”

In This Issue

Monk, as seen by Gottlieb, Dorsett and 16 poets – an ekphrastic poetry collection...Poets write about Thelonious Monk – inspired by William Gottlieb’s photograph and Rhonda R. Dorsett’s artistic impression of it.

Poetry

photo of Miles Davys by User:JPRoche, CC BY-SA 4.0 , via Wikimedia Commons/adapted by Rhonda R. Dorsett
“Thinking of Mr. Davis on the Fourth of July” – a poem by Juan Mobili

Poetry

21 jazz poems on the 21st of June, 2025...An ongoing series designed to share the quality of jazz poetry continuously submitted to Jerry Jazz Musician by poets sharing their relationship to the music, and with the musicians who perform it.

The Sunday Poem

”The Subtle Art of Dinner Music” by Fred Shaw

The Sunday Poem is published weekly, and strives to include the poet reading their work.... Fred Shaw reads his poem at its conclusion


Click here to read previous editions of The Sunday Poem

Essay

“J.A. Rogers’ ‘Jazz at Home’: A Centennial Reflection on Jazz Representation Through the Lens of Stormy Weather and Everyday Life – an essay by Jasmine M. Taylor...The writer opines that jazz continues to survive – 100 years after J.A. Rogers’ own essay that highlighted the artistic freedom of jazz – and has “become a fundamental core in American culture and modern Americanism; not solely because of its artistic craftsmanship, but because of the spirit that jazz music embodies.”

Community

The passing of a poet: Alan Yount...Alan Yount, the Missouri native whose poems were published frequently on Jerry Jazz Musician, has passed away at the age of 77.

Interview

photo Louis Armstrong House Museum
Interview with Ricky Riccardi, author of Stomp Off, Let’s Go: The Early Years of Louis Armstrong...The author discusses the third volume of his trilogy, which includes the formation of the Armstrong-led ensembles known as the Hot Five and Hot Seven that modernized music, the way artists play it, and how audiences interact with it and respond to it.

Essay

“Is Jazz God?” – an essay by Allison Songbird...A personal journey leads to the discovery of the importance of jazz music, and finding love for it later in life.

Poetry

What is This Path – a collection of poems by Michael L. Newell...A contributor of significance to Jerry Jazz Musician, the poet Michael L. Newell shares poems he has written since being diagnosed with a concerning illness.

Publisher’s Notes

Where I’ve Been…and a brief three-dot-update...News about an important life experience, and an update about what's going on at Jerry Jazz Musician

Feature

Jimmy Baikovicius from Montevideo, Uruguay, CC BY-SA 2.0, via Wikimedia Commons
Trading Fours, with Douglas Cole, No. 25: “How I Hear Music: ‘Feel the Sway,’ A Song in Three Movements”...In this edition, due to a current and ongoing obsession with drummer Matt Wilson’s 2006 album The Scenic Route, Douglas Cole writes another poem in response to his experience listening to the track “Feel the Sway.”

Feature

Jazz History Quiz #181...Before recording his most notable work (to that point) as a saxophonist in Miles Davis’ “Birth of the Cool” nonet, his initial reputation was as an arranger, including a stint in 1946 as the staff arranger in Gene Krupa’s Orchestra. He would eventually become one of the leading voices on his instrument for almost 50 years. Who is he?

Short Fiction

Short Fiction Contest-winning story #68 — “Saharan Blues on the Seine,” by Aishatu Ado...Aminata, a displaced Malian living in Paris, is haunted by vivid memories of her homeland. Through a supernatural encounter with her grandmother, she realizes that preserving her musical heritage through performance is an act of resistance that can transform her grief into art rather than running from it.

Feature

Excerpts from David Rife’s Jazz Fiction: Take Two – Vol. 14 - "World War II and jazz"...A substantial number of novels and stories with jazz music as a component of the story have been published over the years, and the scholar David J. Rife has written short essay/reviews of them. In this 14th edition featuring excerpts from his outstanding literary resource, Rife writes about stories whose theme is World War II and jazz

Poetry

“Summer Wind” – a poem (for July) by Jerrice J. Baptiste...Jerrice's 12-month 2025 calendar of jazz poetry winds through the year with her poetic grace while inviting us to wander through music by the likes of Charlie Parker, Antonio Carlos Jobim, Hoagy Carmichael, Sarah Vaughan, Melody Gardot and Nina Simone. She welcomes July with a poem that conjurs up the great Frank Sinatra tune…

Feature

“What one song best represents your expectations for 2025?” Readers respond...When asked to name the song that best represents their expectations for 2025, respondents often cited songs of protest and of the civil rights era, but so were songs of optimism and appreciation, including Bob Thiele and George David Weiss’ composition “What a Wonderful World,” made famous by Louis Armstrong, who first performed it live in 1959. The result is a fascinating and extensive outlook on the upcoming year.

Playlist

“Eight is Great!” – a playlist by Bob Hecht...The cover of the 1959 album The Greatest Trumpet of Them All by the Dizzy Gillespie Octet. A song from the album, “Just by Myself,” is featured on Bob Hecht’s new 28-song playlist – this one devoted to octets.

Short Fiction

“Steven and Mira: Paris May 1968” – a short story by Steven P. Unger...The story – a finalist in the recently concluded 68th Short Fiction Contest – is a semiautobiographical tale of a café-hopping tour of Paris in the revolutionary summer of 1968, and a romance cut short by the overwhelming realities of national strikes, police violence at home and abroad, and finally the assassination of Bobby Kennedy.

Interview

photo by Brian McMillen
Interview with Phillip Freeman, author of In the Brewing Luminous: The Life and Music of Cecil Taylor...The author discusses Cecil Taylor – the most eminent free jazz musician of his era, whose music marked the farthest boundary of avant-garde jazz.

Short Fiction

“Every Night at Ten,” a short story by Dennis A. Blackledge...Smothering parents, heavy-handed school officials, and a dead President conspire to keep a close-knit group of smalltown junior high kids from breaking loose. But the discovery of a song on late-night radio — one supposedly loaded with dirty words — changes everything.

Short Fiction

art by Marsha Hammel
“Stuck in the Groove” – a short story by David Rudd...The story – a short-listed entry in the recently concluded 68th Short Fiction Contest – is about a saxophonist who moves away from playing bebop to experimenting with free jazz, discovering its liberating potential and possible pitfalls along the way…

Art

photo by Giovanni Piesco
The Photographs of Giovanni Piesco: Art Farmer and Benny Golson...Beginning in 1990, the noted photographer Giovanni Piesco began taking backstage photographs of many of the great musicians who played in Amsterdam’s Bimhuis, that city’s main jazz venue which is considered one of the finest in the world. Jerry Jazz Musician will occasionally publish portraits of jazz musicians that Giovanni has taken over the years. This edition features the May 10, 1996 photos of the tenor saxophonist, composer and arranger Benny Golson, and the February 13, 1997 photos of trumpet and flugelhorn player Art Farmer.

Interview

“The Fire Each Time” – an interview with New York Times best-selling author Frederick Joseph, by John Kendall Hawkins...A conversation with the two-time New York Times bestselling author of The Black Friend and Patriarchy Blues, who in 2023 was honored with the Malcolm X and Dr. Betty Shabazz Vanguard Award,. He has also been a member of The Root list of “100 Most Influential African Americans.”

Interview

Interview with Jonathon Grasse: author of Jazz Revolutionary: The Life and Music of Eric Dolphy....The multi-instrumentalist Eric Dolphy was a pioneer of avant-garde technique. His life cut short in 1964 at the age of 36, his brilliant career touched fellow musical artists, critics, and fans through his innovative work as a composer, sideman and bandleader. Jonathon Grasse’s Jazz Revolutionary is a significant exploration of Dolphy’s historic recorded works, and reminds readers of the complexity of his biography along the way. Grasse discusses his book in a December, 2024 interview.

Feature

Dmitry Rozhkov, CC BY-SA 4.0 via Wikimedia Commons
“Thoughts on Matthew Shipp’s Improvisational Style” – an essay by Jim Feast..Short of all the musicians being mind readers, what accounts for free jazz musicians’ – in this instance those playing with the pianist Matthew Shipp – incredible ability for mutual attunement as they play?

Community

Stewart Butterfield, CC BY 2.0, via Wikimedia Commons
Community Bookshelf #4...“Community Bookshelf” is a twice-yearly space where writers who have been published on Jerry Jazz Musician can share news about their recently authored books and/or recordings. This edition includes information about books published within the last six months or so (September, 2024 – March, 2025)

Interview

Interview with James Kaplan, author of 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans and the Lost Empire of Cool...The esteemed writer tells a vibrant story about the jazz world before, during, and after the 1959 recording of Kind of Blue, and how the album’s three genius musicians came together, played together, and grew together (and often apart) throughout the experience.

Community

Nominations for the Pushcart Prize XLIX...Announcing the six writers nominated for the Pushcart Prize v. XLIX, whose work was published in Jerry Jazz Musician during 2024.

Contributing Writers

Click the image to view the writers, poets and artists whose work has been published on Jerry Jazz Musician, and find links to their work

Coming Soon

An interview with Sascha Feinstein, author of Writing Jazz: Conversations with Critics and Biographers.... An interview with Tad Richards, author of Listening to Prestige:  Chronicling Its Classic Jazz Recordings, 1949 - 1972...  Also, a new Jazz History Quiz, and lots of short fiction; poetry; photography; interviews; playlists; and much more in the works...

Interview Archive

Ella Fitzgerald/IISG, CC BY-SA 2.0 , via Wikimedia Commons
Click to view the complete 25-year archive of Jerry Jazz Musician interviews, including those recently published with Judith Tick on Ella Fitzgerald (pictured),; Laura Flam and Emily Sieu Liebowitz on the Girl Groups of the 60's; Tad Richards on Small Group Swing; Stephanie Stein Crease on Chick Webb; Brent Hayes Edwards on Henry Threadgill; Richard Koloda on Albert Ayler; Glenn Mott on Stanley Crouch; Richard Carlin and Ken Bloom on Eubie Blake; Richard Brent Turner on jazz and Islam; Alyn Shipton on the art of jazz; Shawn Levy on the original queens of standup comedy; Travis Atria on the expatriate trumpeter Arthur Briggs; Kitt Shapiro on her life with her mother, Eartha Kitt; Will Friedwald on Nat King Cole; Wayne Enstice on the drummer Dottie Dodgion; the drummer Joe La Barbera on Bill Evans; Philip Clark on Dave Brubeck; Nicholas Buccola on James Baldwin and William F. Buckley; Ricky Riccardi on Louis Armstrong; Dan Morgenstern and Christian Sands on Erroll Garner; Maria Golia on Ornette Coleman.