PEREGRINATION: Poems for All Points Between Departure and Return

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Would you like to tell us about a lower price? A collection of poems concerning journey and travel.

Read more Read less. Kindle Cloud Reader Read instantly in your browser. Product details File Size: November 5, Sold by: Share your thoughts with other customers. Write a customer review. Showing of 1 reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. Kindle Edition Verified Purchase. I really enjoy the range of poems. They take me places and then bring me back changed. This is the way it should be.

Read it a second time, was even better than the first!

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Learn more about Amazon Prime. I associated it with several drugs I had given up.

I wanted to avoid the drugs and the related writing. But I was really happy to find that the early poems were really fantastic, naturalistic, like To Aunt Rose , which is one I chose for the set, and The End. To Aunt Rose is describing a Jewish family setting with which I was totally familiar: I was wondering actually to what extent the poems themselves inspired the music.

For Aunt Rose, for instance, it is classical guitar that you chose as a background. I was wondering how you made these choices after reading the poems. It was kind of intuitive. But also now if I think about it later, I felt like the kind of repetition, the repeating practice of a classical music phrase was sort of consistent with the character of Aunt Rose. You know, her repeating her ideology, like kind of a broken practice, a practice that had become emotionally deep.

You know, Allen was critical of them but actually he wrote about his characters with some affection. You said you chose three poems, I think the Shrouded Stranger as well, which is also an early poem and so when you read them, did you choose them because they were your favorite or because you thought that the music was coming to you as you read? Yeah, more of the latter you know. There was always the love of the poems but these suggested something and I think I love them!

Did Ginsberg give you any indications as to what he wanted for the poems in terms of music? He was a great live reader, no matter what the musicians presented, he made a really strong effort to go with. So there was sometimes maybe too much respect! Allen met a lot of musicians over the course of his career, and well, some of the collaborations were more successful than others. Would you say that you are reinterpreting the poem with the musical setting or that you are supporting it somehow?

How do you perceive the finished object as not a poem but a performance?

Yeah, I understand the question. John Lurie once said something very interesting about film scoring, and I think it also applies to setting poetry. The music without question alters the words. It alters the reality, the way the words are perceived without question, in another way. Absolutely and every occurrence of a performance is different from the previous and the next. When you saw Ginsberg reading Kaddish , you saw a one-time performance.

Yeah, and every performance of the words is different in itself. Depending on what music you put with those words. You could take a recording of a poem, a reading, and set different musics to it and create drastically different outcomes for the listener. And when you say that his poetry had an impact on you, do you think it also applied to the music you created as a musician?

Everything that you experience in your life has some effect on what you play, so yes, on some immeasurable degree. You were talking about being from New Jersey and you said you just wanted to get out of there, but retrospectively today would you see it differently? Now, would you say that there is a community of artists from New Jersey? And it was a jazz trio backing him up and both Baraka and Ginsberg were fantastic readers, they got along. You know the reality is that oftentimes when there are smaller towns in the proximity of a great city, the great city kind of siphons off the artistic talent.

Some very interesting artists live in New Jersey but there is no reason for there to be a local scene. People get on the trains from Paterson, from South Orange, Orange, from Newark and are in New York in twenty or thirty minutes, it costs like a buck or two. He stayed for the autochtonous poetry of New Jersey not the poetry scene! But what I meant was that maybe there was a geography, a common ground to those artists, I was wondering if you felt that, precisely because of the proximity to New York maybe….

So you know the amount of guts that it took to be out!

Arrivals and Departures

It must have been astounding. Do you have anything else you wanted to say about the session because we did digress a bit…. I remember when we were recording that piece we did a first take that was absolutely atrocious. Did you feel that as you were growing up? Well, I grew up in South Orange, which was a white suburb, which bordered on Newark.

What do you know about it? Did you get into the history of the riots and all that? Yes, I did learn a bit about that, actually, from Philip Roth!

Yeah he would know! So my family moved to Orange. I was born in Newark. But they moved as they earned a little bit of money. But after the riots happened, it became a polarized city. Not only were the majority black and extremely poor, but the white sections that remained unsafe—when I was a teenager this guy Anthony Imperiale won a city council seat. He was going on radio late night, drunk, railing on black people. He bought a tank, he drove down the streets in a tank! Newark had the most people killed in the riots of any city.

There were parts of Newark that were burnt in the riots that are still today vacant lots. There was a good music scene going on there, but it was not at all an avant-garde music scene, you know it was a working-class black music scene with people like Jack McDuff, Etta Jones, Houston Person, Jimmy Mcgriff. It was funky hard groove jazz. And you got influenced by that and then by the New York scene? I was always influenced by both, I mean I was a white kid, listening tothings that were marketed at white kids at the time: The Doors, Cream, all the hippie stuff.

But when we drove around late at night we would listen to the radio station that would playWes Montgomery, Grant Greene, that organ-groovebased jazz. We always thought black style was cool, I always knew that that was hip. Bitoun Julien, Strange Brew: Referred to as CP. Ginsberg Allen, Deliberate Prose: Schumacher Michael, Dharma Lion: Spontaneous insight— the sequence of thought-forms passing naturally through ordinary mind— was always motif and method of these compositions.

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