WORDS AND MUSIC BY THE POET

WORDS AND MUSIC BY THE POET

These words are taking me away from my piano
All art requires dedication, but music, a special dedication
Art gives grace to the human who decides to dedicate
A life, or even part of a life, to art
When I’m done with these words, I’ll be at the piano
Finding my way around the key of E
Alone, just me and the piano keys
When you make music, mind flows into body, maybe like dance,
Music involves you with inflexible laws of physics
Which become laws of the musician’s heart and soul and muscle memory
I write these words in a dive with Alternative Rock in the background
I glance at the waitress, the bartender, customers
As I manifest this poem into these words
And I am not alone—just me and these words
Hemingway wrote in La Closerie des Lilas for the same reason
None of this can happen when I am in the key of E
It is only the articulation of my fingers on certain select piano keys
No music can be in the background; the only music that is
I make
Writing poetry is closer to waking life than playing music is
We are immersed in words much of the day
Not so, the specific piano keys you must depress—and no others—in E
You must wrench yourself away from everything
When you come to the piano
That is why it is sometimes hard to practice
You don’t want to leave everything
Unless music is everything to you
And it is when you are playing
A spell overtakes you and the ecstasy
Makes you wonder later why you weren’t at the piano sooner

SEDUCTION

The day was seductive.
Maybe I felt too good.
You’re always second-guessing your mood
When you have bipolar disorder
I don’t think I’m manic
A day like today can make a guy think money doesn’t matter
That a life devoted to liberal arts is a good idea
Make you shrug off for a moment the debt you undertook
And you’re still paying on your education 27 years later,
That 17 years of your life in school, impoverished,
Did something good to your soul, and it is a good idea
To do something good to your soul
That jamming on keys with a blues guitar player all morning
And a walk in the park with a sober friend, talking
On a sunny, 75-degree day
Would make you feel so good you question whether you’re manic,
Forget that you’re years past due for a teeth cleaning
That you can’t get the root canal and a few crowns
And though your home is Canada, you used the remaining balance
On your American credit card to pay for your oil change
That just yesterday I went out for a cup of tea instead of breakfast

TOO MUCH ART

Too much art can ruin a guy
Make a guy think that scales and well-crafted phrases matter
More than the well-being of people, more than wishing well
For those whose lives we touch, for yourself
Then, when someone’s father needs to be put in extended-care,
Or your car breaks, your world collapses
You won’t know how to deal
How to care
Religion puts it all in perspective
Gives your soul strength of life you need to get by
I preached today; I’m alright with the world
The rear axel on my car sounds like it will probably break soon
It could be the differential; maybe only shocks—I’m not a mechanic
Either way I won’t be able to fix it
I emerge out from my protected home life
I’m listening to club music I don’t particularly like
Because it’s the young barkeep’s style and it makes her happy
The whole idea of it all is cute, and
I’ve heard enough Jethro Tull in my day,
Sympathy for the Devil over 50 years
The music morphs
It’s anemic, vapid pop and
I sadly reflect that it may reflect her generation
You hope not, wish that you had Whitman’s gift of optimism
Too much art can ruin a guy
I was in church, today, and I’m alright with the world

SCALES

I will be at scales, tonight
Despite my flaws, Carol accepts me as perfect for her
She is perfect for me, our world is perfect
As perfect as can be this side of eternity
But the world isn’t Carol
My world can’t be only Carol, can’t be only our world
The world doesn’t care about me as does Carol—why would it?
There are 24 key signatures, all with their scales
48, if you count pentatonic scales, then there are 7 modes in every key
Though, to me, the modes are another matter
This all is expected of me, of every musician; I expect it of me
If I’m not careful, I’ll rest content in Carol’s valuation of my worth
Rest in the perfect world our own, in our care for each other
Carol doesn’t care about scales—why would she?
Though she is my whole world, we are the whole world to each other
The world is not Carol
If I’m going to solo in Santana, I had better be sure in my scales
Then, eternity is more than scales
And the man playing the scales is as the music in eternity
Time was, that man was all that mattered to me
But the world is not eternity
Even if I think I’ll find eternity planted in the world, through the world
It isn’t either-or, the world and eternity
It’s good to plant my feet on the ground, even if the ground be art
Carol likes it when I play a song for her

LIKE DANNY RAND’S IRON FIST

Esteem is non-transferable
Maybe a life of ambition has netted accomplishments which are admired
And you’re proud of what you’ve amounted to,
Honors, awards, and achievements amassed and acquired in college
You list them in an early resumé but not in maturity,
Their merit fades like ability with age, fading skillsets
And the memory of what you once were, once could do is not the same
As the ability itself and proficiency, even if at one time
It was your own, was who you are, what you are, were
One can measure age by abilities one has lost
Maybe we have rested on our esteem too long,
Taking credit instead for actual ability

—Then there may be other considerations—

But respect from mastery of a discipline is a non-transferable asset
That status of my Harvard degree in religion and culture doesn’t translate
Onto the dance floor from the digital keyboard of my piano to listeners
It’s the actuality of tonal rhythm my technique must generate.
Into every new world an expansive soul is summoned because it is new
Esteem cannot be imported but must be earned afresh as Danny Rand
Fought the mythic dragon and earned by his own efforts The Iron Fist
Contending to master arts of new disciplines in answer to wisdom’s howl
The expansive soul’s ventures grow comfortable in unfamiliar realms
Didn’t Leonardo’s poetry, inventions, astronomy, and architecture color
The brushstrokes of the Mona Lisa?  And Newton wrote theology;
Bach taught Latin; Einstein played the violin; not cowering before
The daunting other, the ignominy of beginning, the risk of failed esteem
And my Kung Fu master was going to ask me to leave his studio
Because I wasn’t getting it.  Much later, he made me star in videos
He filmed for newcomers as promos at his New Year’s celebration
And another student and I were teaching assistants when we brought him
To Harvard phys-ed and packed the gym.  At the Chinese Cultural Center
One of the senior students watched me and made signs, as his English
Wasn’t good, imitating my awkward beginnings there and how I am now
The nobility of my experiences with behavior health sciences,
Contending with the fog of a mind touched with fire, sedated by meds
Swimming through barely functioning, losing excellences I once knew
Or my 26 years clean and sober and serenity’s radical recast of success
Now I awaken nude in incompetence, wishing for nobility to transfer
Into a world that never knew me before,
Who I was, what I was, what I could do
Only my performance in this iteration of identity

TUNNEL EXIT

It’s hard to find words for joy
And who wants to read happy poems?
Poetry begins in a pang
And sings the still, sad song of humanity
But I’m done with sad
This growing blithe spirit of mine
Hail to me my blithe spirit
“O friends, no more these sad tones
“Let us instead strike up more pleasing and more joyful ones!”
But what would those joyful tones be?
I don’t know, standing here bathed in light
Just at the tunnel exit, the darkness behind me
The interminable tunnel, the darkness when you’re in it
And I’ve been in it so long, so interminably long
Don’t we coalesce in misery together like an overcast sky
This amassing thunder-cloud with its strike of God-shock
That Götterfunken Schiller revealed; Beethoven immortalized
This confrontation with misery, this visit with trauma
This release, these successive explosions of what is not
Moksha, the liberation of which the Indic speak
There is no sunshine like just after the thunder-storm
Inspiring the shepherd’s hymn of thanksgiving
I can enjoy in golden moments, enjoy playing the keys, the music
I act effortlessly at times, have drive
Not compel a soporific lethargy to get it done
The tunnel behind me reaches back in misery
Back, behind the blithe light in which I now stand
At the tunnel exit
And today I am happy, happy at this moment I want

I CAN’T PRACTICE TONIGHT

My own car is parked across town at my partner’s place
I can’t practice my keyboards tonight
Making music is a far cry from nowhere, now
In this scattered mind driven to alarmed glances out the window
Every ten minutes by anxiety from the 911 call
I made again only three days ago, and three days before that
In broad daylight the first time, and then at 4AM the second time
I was still up, reading, when they vandalized my friend’s pickup truck
They attached a charger to his battery the first time with obvious intent
Same guys, same truck, same hollering obscenities at 3AM, loud hip-hop
Blaring in the parking lot from the apartment that lets him in
We glared eye-to-eye while I walked from the doorway to my own car
Next day, and I don’t know how it would have turned out
Had it come to other than eye contact, watching my every move
It isn’t just my dimmed apartment lights
—I don’t think he knows which window is mine—
It’s more my alarmed glance out the window at every clamor
Thump, car-door shut, every yell from the parking lot, or scream
My mobile phone always within reach, my scattered nerves
—I don’t want another Night on Bald Mountain—
My own car parked across town tonight, at my partner’s place
I can’t practice my keyboards tonight

I WOULDN’T SAY REGRET

Staring absently, the waitress
Demurred to evoke words
In reply to what he thought jocose
Signifying his accidental dissonance in most anything not
Music
At the piano
A good part of the day
Notes singing out a pentatonic sequence
Which were the scales’ iteration of their name
In every key
“It’s fun!” he exclaimed
While I sat on the couch that afternoon visit
Not even a song to me or most anybody
It’s why he’s so good
I mean good
Why his accidental dissonance, maybe, in most anything not
Music

He likes to check out music stores
Why wouldn’t he?
“Listen to this lick; it modulates!” he exclaimed,
After he caught my attention
Playing the baby-grand piano upon asking my permission
In the music store I worked at back then
That day we met, that time
When two roads diverged before me
And I took a different road
Than the one we were both traveling by, then

The crowd wasn’t really listening
At the Grand Hotel’s Cupola Bar on Mackinac Island
Chit-chat, chit, chatter, chitter-chatter
Where we renewed our old friendship
It looked to me like the thrill is gone
Nor, I suppose, on the cruise ships how he makes his living now

Everybody’s got to make a buck

Prone to cults, his harmonic dissonance in everything not
Music,
Almost lost him his parents when he was 20 something
Rethinking the Christian cult’s imperative to renounce his family forever
He narrowly escaped
Now I’ve lost him to Q-Anon
Fortunately, he’s not prone to violence
If we stick to music, we can still talk
He recently sent me some interesting altered blues changes
I’m learning them on my new digital B3 organ copy
I’m going to send him a recording when I’ve got the changes down
I can still talk about music with him, though I fear I’ve lost him
But I always knew him to be out there
Scherzoid in most anything not
Music

WE ALL SEE THE SAME MOON

He had a Kawai baby grand piano in his living room
It wasn’t a Bosendorfer, Steinway, or Yamaha
But he had a baby grand and my roommate a long time ago
Had an inherited Steinway with real ivory keys, she let me play it
Play way into the night, a nurse now, and a music school graduate
With her inherited Steinway, and he is a psychologist with his Kawai
Laura Rain played Blues on Whyte in Edmonton, and
The Edmonton Bluesfest; I heard she played Buddy Guy’s
I first heard Monkey Junk at the Salmon Arm Folk and Roots Festival
Playing on a side stage; Taj Mahal headlined on the mainstage
My sister had a Taj Mahal album in the ‘70’s; and Monkey Junk
Can fill a moderate concert hall and they’ll always work in Canada
My friend the psychologist got a friend of his to cast his wedding rings
And having lived in Southwest Florida for decades could always get gigs
He wouldn’t be able to fill a concert hall, but there weren’t any, anyways
Just the symphony hall, and I heard B. B. King play there, once
And I’m a Swedenborgian minister of a small, aging, dwindling church
An accomplished piano player in Nashville asks me spiritual questions
And critiques recordings of my original music free of charge
He plays cruise ships and exclusive summer resort hotel bars, solo,
With an illustrious past, having performed with industry giants,
Making a living in an undependable business.  We’re all making a living.
And there’s a place for art in life, however life ends up construed
Whatever life is called, or identity defined, be it by a career, aspiration
Passion or calling, writing on a business card, how others know you
Like my friend with the Kawai, or his friend who cast his wedding rings
Or the music graduate with her inherited Steinway, who is a nurse
B. B. King, Taj Mahal, Monkey Junk, Laura Rain, my musical friends,
My musical inclinations, the thousands I spent on instruments
I, a Swedenborgian minister at a small, aging, dwindling church,
Still happy, contented with my life, contented with my inclinations
And their manifestation, my pay, the recognition of my peers, my friends,
My musical instruments and their exercise, my career, my attainments,
Those I yet pursue in these advanced years, the lingering dreams I cherish
The moderate drive moving my intentions through happy reflections

RESTING MY INCLINATIONS

I am resting my inclinations, my aging body
No longer responsive to my inclinations
As my youthful body was
Whenever I wanted to do pretty much anything
Be it lifting heavy rocks on the construction site
Or playfully leaping from boulder to boulder
In a modern art fountain set on the ground of the Harvard campus
Now I want to play my B3, but I can’t
My finger joints are sore, my muscles ache from last night
When the kick playing reached my physical capacity
I had to stop
And now I have to rest, rest my inclinations, restore my body
I may be able to play tonight, want to put in at least some practice time
Maybe, though, not till tomorrow; I have to rest now and I can’t play
My body is no longer responsive to my inclinations
As when I was younger, effortlessly, and everything was effortless
Careless, insouciant, fun, indifferent to consequences I would pay later

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