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We Real Cool" is a poem written in 1959 by poet Gwendolyn Brooks and published in her 1960 book The Bean Eaters, her third collection of poetry. The poem has been featured on broadsides, re-printed in literature textbooks and is widely studied in literature classes. It is cited as "one of the most celebrated examples of jazz poetry". [1] [2] [3]
Its bandstand was a long runway behind the bar that proved convenient when the club abandoned jazz in later years to feature strippers. Noted songwriters Jim Holvay and Gary Beisbier (who penned hit songs for the Buckinghams in the late 1960s) were part of an R&B band called The Chicagoans who played at the Metropole Cafe in fall 1963.
The poem is characterized by its use of the montage, a cinematic technique of quickly cutting from one scene to another in order to juxtapose disparate images, and its use of contemporary jazz modes like boogie-woogie, bop and bebop, both as subjects in the individual short poems and as a method of structuring and writing the poetry. [5]
In 1971, Les Crane used a spoken-word recording of the poem as the lead track of his album Desiderata. [20] His producers had assumed that the poem was too old to be copyrighted, but the publicity surrounding the record led to clarification of Ehrmann's authorship and the eventual payment of royalties.
Pod's and Jerry's, officially the Catagonia Club, [1] was a cabaret and jazz club on 133rd Street in Harlem, New York City. It was one of the thriving speakeasies during the Prohibition era when the street was known as "Swing Street". It was established in 1925 by Charles "Pod" Hollingsworth and Jeremiah (Jerry) Preston.
In the early 1940s, the club became known for its jam sessions, where many of the players involved in the birth of bebop played together. Al Tinney led Monroe's house band, which included Max Roach, "Little" Benny Harris, George Treadwell, and Victor Coulsen. Charlie Parker was a featured soloist at the club in 1943.
Paschal's La Carrousel was a jazz club in Atlanta, Georgia. Opened in 1960, it became known as Atlanta's "jazz mecca" as it featured top-name artists such as Aretha Franklin, Dizzy Gillespie, Gladys Knight, and Jimmy Smith. It was the only nightclub in Atlanta open to blacks in the then-segregated city.
The Muse Is Music: Jazz Poetry from the Harlem Renaissance to Spoken Word. Urbana: University of Illinois Press, 2011. Kingan, Renee M. " 'Taking It Out!': Jayne Cortez's Collaborations with the Firespitters", in Thompson, Gordon. Black Music, Black Poetry: Blues and Jazz's Impact on African American Versification. London: Ashgate, 2014 ...
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