Tuesday, April 05, 2011

Poetry Venue--Barnes and Noble, Ingram Festival

From Josie Mixon:

Good day my fellow poets,

It's that time again for our poetry venue (at Barnes and Noble, Ingram Festival, Wednesday, April 6 at 7 p.m.) Come early for a great poetry workshop with Jim Brandenburg followed by open mic with Josie Mixon (me). Our special guest this Wednesday is Cathy Lee. Please read her wonderful bio below. It will be a wonderful evening of friends, music and poetry. I look forward to seeing you there.

Word Bop: Percussive Voices
Jazz Poet Catherine Lee-- Drummer Kory Cook

Catherine Lee received a BA in English, and through graduate-level technical study of grammar, applies linguistic transformational analysis in her poetics. In Boston, beginning in 1972, Catherine became a desktop publisher, helping create--and being published in--various small press and feminist publications (Sojourner, Maenad, Woman of Power, &c). She has been working poetry with jazz players since 1978, when she inhabited a 5th-floor walkup loft. There she combined literary interests, social change activism, and her deep love of jazz to found a music presenting nonprofit named Studio Red Top, Inc. which she ran for 13+ years, producing 350+ events featuring jazz women. The late Ted Joans, a rent-a-beatnik hipster and 1950s originator of Beat poetry, mentored her between 1986-87. In San Antonio since 2006, jazzers have found Cathy sitting in at Small World jam sessions and with the SA Jazz Poet Society Band. She also participates in Gemini Ink's Last Monday Writer's Workshop and other non-musical poetry events. Local kudos have come as Honorable Mentions and publication in 2 Dreamcatcher anthologies (2009, 2010), The Enigmatist (2010), and Austin Poetry Society 2nd and 3rd place Awards (2010). Cathy published an artist-handmade, signed, limited-edition chapbook, We Free Kin, in April 2009 to commemorate 2 appearances of her Word Bop Workshop band, and has exhibited other altered-book editions of poems in Kerrville and San Antonio. With videographer James E. Sanders, Jr., Catherine has begun producing multi-media editions of her poetry, found at . Photo courtesy of Melanie Rush Davis.

Drummer (and jazz radio 91.7 KRTU-FM’s Music Director) Kory Cook is a versatile, active musician who loves both playing and educating folks about jazz. He’s played with musicians from Alex Coke to the Sons of Hercules to the Central Time Jazz Collective. Favorite performances were in a percussion ensemble playing experimental compositions by Eugene Chadbourne and backing Roky Erickson after zero preparation. Genealogically speaking, he’s Dutch. Both great-great-grandfathers were drummers. His parents met in the mid-‘60s and formed a rock duo, with Dad on drums and mom on the Hammond B3 organ. He first tried drum kit when eight years old. Kory has been working in radio for almost 15 years and has led production on 600+ live performances. Before coming to KRTU, he served as Assistant Music Director at KUT 90.5 FM in Austin. With an appreciation for authentic art, Kory is both a steward of traditional straight ahead, improvisational jazz, and a critical, open eared explorer of those spontaneous and unplanned moments when the music uses his percussive skills to create itself.

We will be performing these poems:

What Makes it
Jazz Poet-try?
Bebop Tourists in Bird’s Yard
Fours Play
Charles Mingus Slipped Backstage
Eastwood Country, West Side Horns
Inspired by Ornette Quartet? Hell Yeah!
Under Tones
No Hassle, No Hustle

OPTIONAL: My poetics FYI: I collaborate with jazz musicians in a rehearsed, yet improvised way. I intentionally fit my words—loosely as a jazz drummer might insert unanticipated beats—into the tune’s structure while musicians play it. The song may have other lyrics, or a well-known title. Just as jazz soloists express ideas to hipsters by “quoting” phrases from other compositions, my song choices deliberately—but subtly—embellish the message in my poetry lyrics with allusions to implied words or concepts. An English BA and master’s level technical study of grammar also influenced my poetics. I incorporate certain “pivot” words that demonstrate semantic and/or syntactic ambiguity, to encompass and reveal multi-layered meanings, somewhat like double-entendres, but deeper. For example, the title of my chapbook, We Free Kin, alludes to the Xmas song title, but can also be pronounced "we freakin'."

Josie Mixon
Jim Brandenburg