Karl Garson
Playing the Train
for Donald Byrd
Nights, noise out of time
drove him from the building
and into the subway where tracks
clicked like the good sidemen
he couldn’t afford.
He’d work the valves quietly
and ride them to the end of the line.
Dozens of trips and he’d know
the flip side of silence
is recorded alone,
and being there has nothing
to do with where you are.
Listening to Eva Cassidy
Her, Live at Blues Alley, while
midnight rolls on and
Sagittarius leads the moon
and Capricornus
west across the swale
between the hills
above Nederlo Creek
and into the narrows
of Johnstown Valley,
I recall dialing
the coordinates
of Aquila
(there, hard above,
quite clearly)
into the sextant
as we flew
deliberately west
to the combat zone.
Even there, the
firmament
was constant,
nights,
as my friends
fell like Icarus
to the South
China Sea or
the land
we’d grown
up romanticizing
as Indochina.
Let me tell you
how it was, how
their familiar
voices would call,
“Mayday,” after “Mayday,”
into the
insignificance
offered them
by the McNamaras
and Westmorlands;
the cosseted
criminals we
still choose to shield
from guilt.
I recall the best,
will not forget
the shards of
Bill, Jim, Jay, Barney
and the rest,
that turn and turn
until they are smaller,
smaller still
in the shoals
and paddies
that looked so lovely
when the sun was right.
Eva has moved on
from Bridge Over
Troubled Water
had her lovely way
with Autumn Leaves
and would have us believe
It’s a Wonderful World.
It is going on late
in the CD, and
although she
has never flown
above the Mekong
choked with freighters
delivering nothingness
into oblivion,
I do not care.
Instead, I blessed her
for her delivery,
with spot on pitch,
soul perfect clarity,
these thirteen songs
the few of us
are left behind to hear.
Mulligan
When I can’t sleep
because I’m in NJ
and not the Wyeth,
winter fields
of Wisconsin I miss
to the point of
suicide,
I walk out
to the back of
the garage
and if I’m blessed
with clear sky
I look at the few strong stars
that survive there.
I stand in the cold,
small-hour quiet, and
think very hard
of the constant, solid
bedrock Bill Crow and
Gus Johnson put down for
Bob Brookmeyer and
Gerry,
and Gerry,
Sweet Jesus, and Gerry
to play their melodic tennis upon,
there in May ’62,
in Manhattan,
so Weill’s
Lost in the Stars
could spin into the universe
and sparkle back to us,
to hold,
now.
This firmly in mind
I look up
and up again at those
thin Jersey stars
to say
an inadequate thanks;
my thin reed
too small a tribute
to that celestial sax;
that baritone;
that long, slow pledge
that moan, that love played
absolutely,
and absolutely
never meant to go away.