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This Tear

This Tear
©2013 Laurie Early

Yes, it is painful to want something you can’t have
but worse not to hunger at all.
I can’t live without passion, or my love for you,
so 
if that means tears, let them fall…..

This tear, this tear, this tear
forming in my eye
this tear, this single tear,
the first of many I will cry.
I tried to hold it back, I tried to keep it in,
I tried to keep this tear inside, but
oh no, this tear, won’t obey me, and it won’t hide.

This tear, this tear, this tear
rolling down my cheek
this tear, this quiet tear,
says all the words that I can’t speak.
I want to run away from love I can’t explain,
but there is no escape when tears don’t dull the pain,
and I fear, after this tear,
I’ll never be the same.

This tear, this tear, this tear
falling into space
this tear has left me now,
as others rush to take its place.
I can’t control my heart, my mind is restless too,
and every passing thought, pulls me right back to you,
But this tear keeps you so near
So, I won’t regret this tear.

No, I won’t regret this tear.

 

[Featured photo above is by Joy Misa of the Netherlands from her series of photos taken in a car-wash – so amazing, just like jazz.]

Banana Puddin’ Jazz: Jazzy Ladies Night

Post Performance UPDATE:  In addition to  an edited version being streamed to television/internet on BRIC (Brooklyn Public Network), an audience member captured some of the event on their cellphone and uploaded to YouTube – not my best angle, but the sound is pretty clear.

On Saturday, May 2nd, 2015, 9:30 PM – Arlee Leonard and I will be singing at the Nuyorican Poet’s Cafe along with some amazing jazz musicians who just happen to also be women.

Miki Yamanaka will be at the piano, Adi Meyerson on bass, and Josephine Josafina on the drums.

You know, Rome Neal never disappoints with his Banana Puddin’ Jazz events, so, come on down to 3rd Street, give a listen, and then sing or play in the Jam Session that follows!

Tickets are $15

LINKS:

In Remembrance

30 March 2015: Ulysses L. Slaughter, Jr. would have been celebrating 59 years on earth today, if he had not left “All Too Soon”.

He passed from this earthly plane in 2008, but I still think of him all the time, especially on days like this, his birthday, for if he was still here, all his friends would probably be loudly singing at his home, eating a ton of soul food, and enjoying a tremendous celebration of his life.

One of his favorite songs to sing was, “Here’s to Life”. He told me the first time he heard it was at a friend’s home. They had the Shirley Horn album, and they put it on for him to listen to. He said he lay down on their carpet, and closed his eyes, and was instantly transported by the song. Now, whenever I hear anyone singing “Here’s to Life” I hear Ulysses’ voice, the two are inseparable to me.  I visualize him blissfully reposing on that livingroom carpet with “Here’s to Life” in his ears, mind, and heart.  (Chokes me up every time.)

Shortly before he unexpectedly passed away, I wrote a song for him, “It’s Because I Love You”. It’s a somewhat slow, blusey kind of ballad, and I began writing it on an airplane, as I was heading back to New York from visiting family out of state, the last week in September.

It was a Monday flight, and Ulysses and I had confirmed plans to meet that same Wednesday, October 1st. We had very big plans for Wednesday: plans to make a five-year plan; plans for my songs; and immediate plans for an Autumn showcase at Minton’s with some of his other students. He said he had decided he was going to retire early and dedicate himself to music, to focus on nurturing my career and other singers he cared about.

It was an idyllic time, full of hope and promise. I was afraid something might happen to him, and as I flew back to be with him, this song came to me. I worked on it for another day and it was done. (I planned to sing it to him a capella.)

On that sunny Wednesday morning, as I prepared to leave, I gave “U” a quick call to let him know I was going out the door.  He always called right back or texted me within a few minutes, but this time there was silence. He did not return my call. I called again. I texted; he did not return any of my texts. Something was wrong.  By the time I was about to get on the train I had a feeling that he was not at home waiting for me and that I should not go there, a horrible feeling, so, I went back to my apartment and began calling friends and the foundation where he worked, but everyone said they did not know where he was. A couple of days later he was found in his studio – yes, he was gone.

My life changed when his ended. My worst fears were realized, and now, I dedicate my musical life to his memory. I continually thank him for all the joy and love he instilled in me in the very short time we were together.

I did get to sing my song to Ulysses, but not how I imagined – just the two of us in his music studio beside his upright piano that proudly had something like: “Fully Acclimatized for Florida” painted in block letters on the back of it.

I sang the song to him at his funeral, as he blissfully reposed in the front of a large Brooklyn church full of over a hundred or more people.  But, I did not see any of them, all I could see was the beautiful man that taught me how to love music again and how to trust my own instincts.  All I could do was tell him how much I loved him with my song.

One of the last things Ulysses said to me before I left on my family trip was that I should listen to “Ruby My Dear” and after he passed I remembered this instruction to me when I was tearfully reviewing my personal notebook and saw it scrawled on a page.  To me, the lyrics turned out to be the perfect instructions for grieving his loss.  I am forever grateful to him for that advice and for every little thing he did to make my life a happier one.  I hope I made his life a little bit happier too….that is my hope.

ulysses piano

Song for Ulysses
(It’s Because I Love You)
©2008 Laurie Early

You know I adore you
can’t help but let my feelings show
It’s because I love you
It’s because I love you so

My heart travels with you
no matter where or when you go, and
that’s because I love you
that’s because I love you so

It’s because I love you
I would fly to where you are
It’s because I love you
I made a wish upon that star
I asked for your protection
from illness, pain, and strife
It’s because I love you
I trust you with my life.

Why do I deserve you?
I don’t think I’ll ever know, but
Maybe it’s because I love you
Maybe it’s because I love you so

It’s because I love you, It’s because I love you
It’s because I love you, It’s because I love you
It’s because I love you, I can face any fear
but this fear I have of losing you

Why do I deserve you?
I don’t think I’ll ever know, but
Maybe it’s because I love you
Maybe it’s because I love you

I do, I do, I do love you,
Oh, sweet man,
I love you so.

sorrows garden

“Sorrow’s Garden” mixed-media collage by Laurie Early

 

Ulysses can be heard singing “My One and Only Love” here at YouTube

Unexpected Treasures

While thinking about the things that make me happy, things that cost little or nothing at all, it occurred to me that I discover, appreciate, or see little treasures every day, whether I am outside or at home–everyday surprises, unexpected treasures.

These treasures can be as simple as time spent in conversation with a friend or someone you just met, discovering a beautiful architectural trim on a building down the street, appreciating a special space you have purposefully created in a room, or experiencing something unexpectedly profound–something that causes you to feel connected to the universe, comforts you, or challenges you to go in another direction. Finding and exploring a treasure can happen when your mind is relaxed and open, or when it is stressed and occupied with other thoughts.  There are no rules, and seeing something cool can happen at any time.

When I started writing down all the inspiring things I encounter each day (more about this in my post Keeping Notebooks) I realized how much these little things mean to me.  I will sporadically share some of these stories here on Moments, Memories, & Jazz.  Today, I will tell you about two street messages that were surprising and wonderful.

moon man“Moon Man”

It doesn’t matter where you live, or what your usual or daily routine is, if you open your mind and heart you will be able to find “inspiration triggers”.  That is what I call creative prompts “inspiration triggers.”

I might be thinking about a question, or a person, or a difficult situation, and then, as if in response, I hear a song playing on a store’s sound-system with lyrics that contain the exact advice I should take, or I look up and see something written on a wall, or perhaps I see a photo of something that makes me shift my priorities and realize that I should not take myself so seriously, that there are larger problems in the world. It is very comforting to feel this synchronicity, this symbolic answer to a question in my heart.

Another variation on this idea is discovering physical signs that confirm thoughts I am contemplating, or should be contemplating. Because I am someone who reads a lot into everything (okay, yes, I over-think things sometimes) these found messages and images often seem to be signs from the universe that I am in the right place at the right time.

And…this is exactly what happened, on one somewhat overcast Saturday, as I was walking to choir rehearsal.  I was singing a song with lyrics I wrote.  It was created for a couple of friends in Italy with lyrics about a personified moon, a “Roman Moon”.  It is a song about falling in love with the nights in Rome, the silver moonlight, being enraptured with music. When I sing songs that remind me of my time in Italy, I begin to miss being there, and walking along the fabulous cobblestone streets.  So, I was feeling a little disconnected.

Then, as I traveled deeper through the Lower East Side, walking East towards Tompkins Square Park, something made me suddenly look up. Perhaps I needed to switch hands–that large cup of tea I carry with me to all rehearsals can be VERY hot–I don’t know, but whatever it was, I was stopped in my tracks, someone had written “Moon Man” in script with black spray-paint on the 2nd floor of a red brick tenement building.

I stood there for a few minutes, looking at it, wondering who managed to paint it all the way up there. It was just the perfect confirmation for me at that moment.  I knew I would get back to Rome. That’s what it made me feel.  I took a photo with my old flip-phone; a lovely sign to save.

"Tu sei lei e lo sei sempre stata!"

“Tu sei lei e lo sei sempre stata!” Rome, 2014

“Tu Sei Lei”

Last September, when I was able to get back to San Lorenzo, my favorite Roman neighborhood, I stayed at a B&B that was new to me.  It was very quiet and had a shared kitchen so I was able to meet some other interesting travelers at breakfast each morning.  (That was a wonderful unexpected treasure – meeting cool people over cornetti e caffè, croissants and coffee.)

Even though I had booked for an extended stay, it was not possible for me to stay in one room for the entire stay. I had to switch to a room overlooking the street for my last two days in Rome.  I had a big window that I kept open in order to keep my air-conditioner off as much as possible (It was still pretty hot, even though it was almost Autumn.)

On my first night in the new room, I saw that there were cars and scooters and cycles lined up on the curb outside and it looked so cool to me that I took some photos; sticking my camera out the window.  I wanted to capture everything I could in pictures; Who knows when I will be able to come back?  (I need visual memories!)  I did not notice anything unusual outside that evening.

However, in the morning I awoke to see an even better view and it pushed aside any feelings of sadness I had started to experience, knowing that soon, I would again, be leaving.  Now fully visible in the sunshine was a message in Italian scrawled in white spray-paint on the street, “Tu sei lei e lo sei sempre stata!”  I was so excited, my translation skills are still not that intuitive so I wrote it down and looked it up.  Best meanings include: “You are her and you always have been her!” or “You are the one and it has always been you!”

I took photos. I ran downstairs to street level to get a better view. I took some more photos.  I felt like this was a gift.  Not a rational thought, but that is how it felt to me.

Later that morning, after posting it on social media, an Italian girlfriend tells me that this phrase is from a song by Ligabue,  “Tu sei lei“, “You are her” (or “you are the one”.) She sends me a link to listen to it and I feel so connected, so in the moment, so happy to be in my little B&B getting ready to explore this wonderful city again.

I discover other personal confirmations in the song lyrics as they go on to say “it must mean something” and it sure does, to me.  They describe a woman with a foreign name, which I have, who turns up again, which I did, showing up in Rome a fourth time (I never in my life could have imagined I would visit Italy once, let alone four times!) and able to live alone, which is what I had been doing for the first time during my travels, a new experience; my family was at home, far away in the USA.

Of course my logical mind tells me that someone wrote this sulla strada, on the street,  for their girlfriend, or for another special reason, or they were just drunk and happened to have a can of spray-paint and wanted to celebrate their favorite song at that moment…but, the artistic part of my being, my magical-thinking brain, tells me that this was a lovely message that was waiting for me to arrive, waiting especially to make me feel welcome as I opened up my window to a fantastic morning in Rome.

Ciao ciao for now.

 

How Could I Forget Your Eyes?


How Could I Forget Your Eyes

©2012 Laurie Early
(Music by Alfonso Deidda)

How could I forget your eyes?
Eyes that changed my life when they met with mine.
I took just one look at your face, and
this world became a brand new place,
and I have never felt a love like this one
surround me before,
(I feel so lucky, baby.)

How could I forget your eyes?
Eyes revealing secrets I have never known.
You taught me to balance, and then,
I learned that I could trust my heart again,
so tell me,
how could I forget your eyes?

And, if I just stop for a second, and
breathe a moment,
I dream what a dream
our little life could be.

I remember glances you gave me.
Is there a chance you’ll save me
from living a life without you near?
(Baby, that’s my fear.)

So tell me, how could I forget those sweet eyes?
What would life be like without your loving gaze?
I can’t see a day without you;
from our first kiss I’ve known that this is true.
No, baby, I could not forget your eyes.

I could not forget your eyes.

Pasquini Boy (detail)

Alice Pasquini – Street Art – detail of wall, San Lorenzo, Rome

 

NY Sunset - photo by Laurie Early

Clark Terry Lives

Last month I was writing a post for my music page (something else I was going to share with you for the month of March,) but then, the unexpected happened…Clark Terry passed away. So, instead, I decided to write about him and to dedicate all my creative efforts in 2015 to his memory; a way of thanking him for the inspiration, education, and joy he gave to me and thousands of other people around the world.

In terms of inspiration, I am certainly talking about his overall musical inspiration: his incredible trumpet technique; his unique sound; his original compositions; and his mentorship. However, I also include the inspiration he intrinsically exuded as a human being, as a man, as a nurturer, a teacher, as someone who freely shared his knowledge of music and life. He accomplished so many things in his 94-years on earth, and I believe that the energy and love he invested here will live on– through the recordings of his marvelous performances (that we are so lucky to have in this technological age); through the legacy of his compositions (which will forever be played again and again, and be loved, and celebrated, and interpreted by musicians everywhere); and through the love he instilled in the hearts of the many, many, many students, and others, he taught and guided (that kind of love will never die).

I was never able to hear Clark perform on stage, or to personally meet with him, but I have a wonderful memory of his kind words to me (about lyrics I had written for him). This communication was due to his amazing and also incredibly kind wife, Gwen, so I would like to thank her here for that assistance. Their encouragement has been one of the highlights of my musical life and I thank them for that.

In 2012, I was thrilled to be able to volunteer at a fundraising concert for Clark that was organized by the Jazz Foundation of America (JFA).  So much love and positive energy were generated that night. The JFA is a fantastic organization and I encourage anyone who would like to express their appreciation of Clark and his legacy consider doing so through a donation via this link. (On Clark’s website it is expressed this way: In lieu of flowers: The family is asking that donations be made to the Jazz Foundation of America which has helped over the years to make sure that Clark’s needs were met. When making donations online that they be noted “In Honor of Clark Terry.”)

Because I live in New York City, I was fortunate enough to be able to attend the funeral yesterday at the Abyssinian Baptist Church. During the “Tributes” portion of the program, Dr. David Dempsey spoke about how there is core of people that will carry on Clark’s work.  He invited all of us assembled together in that church, everyone celebrating Clark’s life, to say out loud, “Clark Terry Lives!” And so we did just that, it was very powerful, and he truly does.


I close with lyrics I wrote for Clark Terry’s song “One Foot in the Gutter” – not specifically about him, as he had both feet firmly on the pavement, but the overall sentiment is true, his life and music was a blessing to me and to the world.

One Foot in the Gutter

My heart heard heaven;
he was playin’ his sweet trumpet on the sidewalk.
He had one foot in the gutter,
but his soul was free.

His blissful solo
just floated all around him in the darkness,
and each note,
was as clear as can be.

Yet people just kept walking by.
They did not hear a sound.

This earthly angel
was playin’ a simple melody of freedom,
and his song,
was a blessing to me.

©2013 Laurie Early

pantheon ceiling

Contrafact & Controversy

I would like to share my perspective on music-related things as I see them now, as I am experiencing them now, or as I have experienced them in the past, but I have to admit that I am fighting an urge to start my “jazz blogging” with a full disclaimer about my relative inexperience discussing this complex musical form.

I won’t bore you with my issues about sharing my opinions in public, however, I will say that if I am not aware of the full-story on a particular subject, I am open to hearing the perspectives of others.

From the outset, I freely admit that I do not know a thimble-full of the history and theory that other jazz musicians and music scholars have spent their lives acquiring. I wish there was a way I could go back in time, to have made more informed choices about my musical studies – but just like everything else in real-time, in real-life, there are no “do-overs”. So, if I am lucky, I will just be able to take the other musical and life skills I have acquired and apply them as best as I can while I sharpen my jazz skills.

CONTRAFACT
For this blog entry, I recently became aware of differing opinions on the meaning and general use (or non-use) of the term “contrafact”. There was a discussion going on during my weekly jazz workshop about improvisation and what you would call a melody line written over another song’s changes. (“Changes” for my non-musician friends, are another name for the sequence of chords played in any particular song.) Helpful as I am, I immediately offered what I thought was valuable information, that this was called a “contrafact”. I was very surprised to see several musicians simultaneously tilt their heads to one side and squint their eyes at me. Was I suddenly offering such a strange phrase? Did they all forget their eyeglasses? No, apparently not a single person in the room had heard this term before. “A what?” some of them asked. They thought I was making it up. I was immediately confused, thinking I had used the term incorrectly, perhaps it wasn’t a jazz term after all.

Personally, I do not see anything wrong with this term and I have read it many times on the internet when I was first learning about all the wonderful standard songs, and trying to figure out which ones were the best for jam sessions, or the favorites of jazz musicians. There are many famous songs that are contrafacts of other great songs, the first one that springs to mind is Ornithology by Charlie Parker, which was written on the changes for How High the Moon. Not to mention the many, many songs written on the changes for I’ve Got Rhythm by George Gershwin. There are so many songs written on these chords that you don’t even have to say the whole name of the song anymore, they are known simply as the “Rhythm Changes.”

CONTROVERSY
Getting back to my story, this particular evening class went on as usual, but one person did approach me to let me know that he had heard the term before, and he strongly emphasized to me that it was not used by jazz musicians, at least none of the musicians he had ever met. I told him I had heard it used, that I had studied some articles online about them, and had even successfully composed one. But, he was so adamant that I was not using an acceptable jazz term that he caused me to doubt myself, and I immediately looked it up on online to make sure I was not losing my mind.

After finding it at Wikipedia, I instant-messaged the definition to a good friend across the room, a pianist, who had heard the whole exchange and was making sympathetic faces at me. (He thanked me later via email, and said he knew I would send him something about it.) For those of you who would like to see the definition,  travel to Wikipedia.

I look forward to hearing and learning more about melody lines written on established changes. A few months ago, I heard one musician say that he felt that contrafacts are not “standards” in and of themselves, even if they are just as popular, or more popular than the song changes they were written on. I don’t agree with this, I feel they are separate songs in their own right, because if you had no background accompaniment at all, if you sang them a capella, they are songs – complete songs, with no other reference to another piece; that is how I judge them.

Please share your contrafact experiences with me, I am curious to know how other musicians feel about this type of composition.

[Featured photo above is by Joy Misa of the Netherlands from her series of photos taken in a car-wash – so amazing, just like jazz.]

Keeping Notebooks

While contemplating my life, with a focus on things I do everyday, I decided to write about a tool that has become very important to me – a simple notebook.  (I prefer the 5″ x 8″ lined 80-page spiral-bound style as this fits easily into my bag.)  It is my personal “external hard-drive” and helps me keep track of my day-to-day activities, as well as providing quick storage of creative ideas and prompts.  I carry one with me every day; it’s always available for use, unlike the internet.

A peek at August of 2010

A peek at August of 2010 (checklist example lower right)

My system for TASKS
Over 20 years ago I worked with a woman who told me about how she kept track of tasks she needed to do.  I tried her system and it immediately helped me get organized at the office. I modified the idea a little and have used it ever since to make sure I get things done in all aspects of my life.

Basically my system works this way: If I am in a meeting and I am asked to take action on something, or if I am on the bus and something I need to do randomly comes to mind, I write this task down and draw a circle next to it on the page.  All my handwritten “To Do” lists have circles. (You can see a little bit of what this looks like in the photo above.  On the lower right, under the white post-it note, is a checklist of song lyrics I needed to copyright back in 2010.  All the circles are checked so I know I finished the copyrights.) I use these circles as a visual reminder that the task or action needs to be done.  When I complete the task I place a checkmark in the circle and I look for other open circles until all are completed and checked off.  If I have to report on the task (usually in business situations) I make a mark in the circle to tell myself I have started, and when I complete the item I add the completion date.

To recap here are the steps:

  1. Draw a circle next to the task reminder, or in the margin of the page near the item;
  2. As you start work on the task make a mark to break the circle, it will look like a Q now; (This step is optional – I only do this if I have to report to someone on the item and they might ask me if I had started work on the action);
  3. Check off the circle when you complete the task/action circle checkmark;
  4. Add date completed next to the check mark (optional – I only do this if I have to report to someone on the item in case they ask me when I completed the action);
  5. If action is no longer needed, X-out the circle;
  6. Periodically scan your notes looking for open circles – those are your outstanding tasks.

These little circles help me keep on top of my bills, payment due dates, follow-ups with my contacts, travel preparation, and all kinds of crazy “To Do” lists.

Some of my older notebooks

Some of my older notebooks in all their glory

Personal INTROSPECTION
In addition to all the everyday “boring” things I write down, these daily notebooks are where I collect my thoughts and make observations about what I am thinking and feeling at any given time.  Part of my introspection process involves creating collages, and each of the notebooks has a unique collaged cover.  These covers are created as I begin using a new book so the cover reflects things I am thinking about at the time.  On the back covers I write the month and year the book was created, and when it is full, the month and year completed.  For easy reference I store the notebooks in chronological order on my bookshelf at home.  I go back to them frequently to see what I was doing at a specific point in time, to remember when I met a particular person,  to locate a quote or story to use for a song lyric, or just for random inspiration!

Other STUFF I write about or do in my notebooks
I use a gluestick or clear tape to adhere a lot of different papers into my pages including ticket stubs, programs I have attended, business cards, photos, etc. You can see from my photos on this page that I use post-it notes to jot things down when I don’t have my notebook close by at the moment I hear something I want to keep.  Here are some other things I do:

  • I journal about special days, or perhaps a quick overview if it is a particularly fast-moving but special day;
  • Descriptions of places I have visited, special foods eaten, and things that I did;
  • Notes on projects I am working on, art projects, family things, de-cluttering plans, repairs that need to be done around my apartment, things like that;
  • Post-its and other notes that include things I have seen or overheard in passing on the street, while traveling, etc. – a LOT of these! (You can see some funny examples in the “peek at August 2010” photo);
  • Small collages — little thought pieces in images, relating to songs I am writing or studying, or other topics that interest me at the moment;
  • All kinds of quotes– including quotes from friends, movie lines, life stories told to me, and things I have said myself (I know, it sounds weird to quote myself, but sometimes I say things and when I hear it come out of my mouth I think, “hmmmm, that is interesting,” or, “wow, good song lyric.”)
  • Walnut ship design notesI write down or sketch creative ideas all the time.  (This is a sketch I did for some sailing ships with walnut shell hulls.  They came out pretty well and I gave them away as gifts.) These are things I want to do, or just crazy ideas that are interesting to me but not something to do right now, or ever.  (I am thinking of a time I sketched schematics for a pre-frozen dessert that could be sold from street carts in units and assembled per order- sounds complicated but it really was quite simple – I just don’t feel like spending my energy on a frozen dessert business.  I wrote the idea down anyway.)
  • Of course, the majority of my pages are song notes in process as I am always juggling a few song ideas in various stages of completion;
  • I keep track of notes from my weekly Jazz Workshop with Barry Harris and also things we have worked on at his chorus rehearsals, and this sometimes includes full song lyrics as he often does not distribute lead sheets but instead dictates the lyrics to us.

 

Rainy Afternoon

The inside back of one of my notebooks with collage

I love my daily notebooks, and I will admit that I have some other handy reference notebooks too including:

  • some for special trips I have taken;
  • one for passwords and website information;
  • several for my Italian language studies;
  • a couple for keeping a record of soft-block carvings and other artwork I have created;
  • one for logging all my digital sound files (which are stored on flash drives) so I will know where to find them once I have saved them;
  • and, a very small notebook that has a built-in elastic band (to keep it closed). I divided up the pages and added alphabetical headings and I maintain lists of song titles with the keys I sing them in and other notes, like tempo/style – very handy to have when I go to jazz jam sessions.

 

LastScan

“Spring Forth” c. 2010

 

Poems for Billy Strayhorn (I)

This poem is the first I am posting here from my series of poems inspired by specific compositions by Billy Strayhorn. As you read my words, I encourage you to listen to the Alessandro Vaccari Quartet* performing a lovely version of Strayhorn’s Isfahan that I discovered recently on YouTube.

My Isfahan
©2009 Laurie Early

Poets speak your name
and sigh,
ink in quill,
for calligraphic lace,
my love,
cannot hold you still.

A mystical poem
can’t ever enclose,
the fragrance
of such a rose,
your gardens harbor those,
my Isfahan.

Jasmine in the wind
‘neath saffron-colored skies.
Tea served near the square,
with Persian lullabies.

Your tranquil flowing streams
and mosaics gleam…
turquoise, gold,
and green,
my Isfahan.

You are half the world,
my Isfahan.

 

Another poem in this series is:  (II) Chelsea Bridge


*Alessandro Vaccari Quartet
17 giugno 2011 – PER LA RASSEGNA “EFFETTO JAZZ” 2011
Alessandro Vaccari – ten sax
Emiliano Pintori – keyboards
Roberto Beneventi – double bass
Vittorio Sicbaldi – drums
Località: Barchessoni di San Martino Spino, Mirandola, Modena, ITALY

If I Had a Dog

I am not really a “dog-person”. Don’t get me wrong, I like dogs, I just never owned one myself. As a child we had a dog in the house, but he belonged to my brother and I never really bonded to him (the dog that is, my brother was cool).

But, if I could have a dog, if I lived somewhere that had a large yard, or place for a dog to play and generally live a happy life, then I would choose a Bull Terrier. Yes, that would be the one I would get, because to me they are the most wonderful dogs on the planet.

Everyone in my family is aware of this affection I have for the breed, and when we pass a Bull Terrier on the street, or see one on television, someone always says: “Look! There’s your dog!

YELLOW tnI think my yearning for a Bull Terrier is due to a couple of factors: 1. when I was about 4 or 5 years old I spent the day with a Brooklyn family that had a large white Bull Terrier. She was a very loving dog who seemed to radiate an aura of protectiveness over all the children. I remember falling off a top bunk bed I was playing on, and the dog was immediately there, perhaps checking to see how I was doing, she seemed concerned. I don’t think any of the adults in the house even knew I had injured myself. And, 2. I was thrilled to see that this was the breed of dog Bill Sykes had in the movie version of “Oliver!” I loved that movie, and every time I watched it, I was reminded of how much I wanted that dog, and how loyal they are, in addition to being so cute.

Set of five Bull Terrier cards

Some years ago I designed and hand-carved a soft-block Bull Terrier “stamp” and I used it to make prints and a few personal greeting cards. I think I wrote: “Have a dog-gone great birthday!“ something like that, as the inscription. The next time I used the stamp I wanted a little variety so I created some sets of blank greeting cards where I added a little collage border over the jagged edges of the image.

I printed the Terrier with black ink onto different papers–my favorite turned out to be some Japanese novel pages I had pulled from old books I had bought from the NY Public Library–I think that text in the background adds some character to each face; (my husband said it looked like “The Matrix”). Then I surrounded each print with layers of small pieces of tissue paper. To make the sets, I added a little of the tissue design to each envelope flap to coordinate with the card colors. They turned out so festive and I haven’t decided which one I will frame and display.

blue smallThe other cool thing about these collage prints, besides their versatility as wall decor or cards, is that they are not “frilly” and they seem to radiate an energy because of the tissue placement and colors.

I had a lot of fun making these pieces and I think I will use this tissue border style to make some other similar items with different images in the center.

Stay tuned.