jazz born from hardship
with voices as instrument
love it or hate it
pick an instrument
ride the wave, choose another
potpourri of rhythms
Above is a link to a mini documentary on role of voice in jazz featuring the greats! Sara Vaughn, Billie Holiday, Ella Fitzgerald, Tony Bennett, Art Tatum. AWESOME!
Carpe Diem Sparkling Stars #19
James A. Emanuel (1921-2013) “jazz-haiku”
IN HIS OWN WORDS:
(the founder of “jazz-haiku”) James A. Emanuel
James A. Emanuel was born June 15, 1921, in Alliance, Nebraska. He earned a B.A. from Howard University, an M.A. from Northwestern University, and a Ph.D. from Columbia University. Among his books of poetry are Jazz from the Haiku King (1999), De la rage au coeur, (Thaon, 1992, translated by Jean Migrenne and Amiot Lenganey), Whole Grain: Collected Poems, 1958-1989 (1990), The Quagmire Effect (1988), Deadly James and Other Poems (1987), The Broken Bowl: New and Uncollected Poems (1983), Black Man Abroad: The Toulouse Poems (1978), and At Bay (1969). He is also the author of Langston Hughes (1967) and the editor, with Theodore L. Gross, of Dark Symphony: Negro Literature in America (1968). Emanuel’s essays and other writings have been included in many anthologies and periodicals. Among his honors are a John Hay Whitney Award, a Saxton Memorial Fellowship, and a Special Distinction Award from the Black American Literature Forum. James Emanuel has been a professor of English at the University of Grenoble and the University of Toulouse, among other universities. He lived in Paris at the time of his passing (September 28, 2013). (Biography from the Academy of American Poets website.)
From: Whole Grain : Collected Poems, 1958-1989; Lotus Press, Detroit, 1991; with translations by Jean Migrenne.[…] In 1992 in “Le Barry,” the country home of the Plassard family in southwest France, where I have now and then composed poetry for over twenty-five years, I planned an apparently new literary genre, the “jazz haiku”. My “breakaway haiku” in Deadly James and Other Poems (1987) had begun my experiments with the Japanese 3-line form, adhering to its 5-7-5 syllabic pattern, but widening its sensory impact beyond the capacity of the usual single impression. My haiku added the toughness of poverty and racial injustice, the declarative emphasis made possible by narrative style, and the technical challenge of time. […] © James A. Emanuel.
Published in response to prompt from Carpe Diem Haiku
follow link for further reading