Beat Night
(Jazzmouth material follows at bottom)
(Jazzmouth material follows at bottom)
I created Beat Night in 1999 in Portsmouth, NH. It is a series featuring spoken word and improvised music. It is now in it’s 20th year. Most of the time it occurred in the club “The Press Room” on Congress St, in Downtown Portsmouth. “Beat Night” also had a second home, briefly, at The Cornelia St Café in Greenwich Village, NYC The impulse that led me to create “Beat Night” (beyond loving poetry, and music-both together and separately) was that, as a musician I always loved collaborating with artists from other disciplines. Before I left NYC for Portsmouth I wrote music for theatre, dance, film, etc. In Portsmouth I found I was just playing music gigs. With New England’s rich tradition of great poets it was a kind of natural thought for a person like me to end up collaborating with poets.
I came up with the name “Beat Night” not just as a reference to the Beats (our modern knee-jerk response to poetry/music), but as a reference to the word “beat” just as a musical element hopefully implying that there will be music with poetry of all types. By the way, it was my friend David Amram who first started doing improvised jazz with the “Beat” poets in the 1950’s and is the model for what many of us still think of today when musicians improvise with spoken word artists!
My band “Groove Bacteria” provided the music for “Beat Night” and I was the host. Since I left Portsmouth about eight years ago there have been various hosts. The current host who has held the position brilliantly for quite some time now is the poet Mike Nelson. My former band, in a slightly altered form, still provides the music and is now called “The Beat Night Band".
We recorded a cd in 2000, called "Beat Nights at the Electric Cave." The Electric Cave was the name of the recording studio. Below are 2 tracks from that cd as well as a third track we recorded at the studio on a separate occasion with the amazing poet Young Dawkins, who was the slam champion of Scotland and now lives in Tasmania. We had planned on making a full cd with Young but it was never completed. The "Electric Cave" cd is pretty much sold out but I have a couple still available on this site, Go to "The Store" section.
I hope you also enjoy the many photos and copies of old posters that are in the Beat Night/Jazzmouth "Gallery"
Below are two vintage posters from the earliest days of Beat Night.
More on the Gallery Page (From the archives of poet John-Michael Albert)
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A track from "Beat Nights at the Electric Cave"
"Life" written and performed by Chris Elliot. Music by Larry Simon and
Groove Bacteria
"Life" written and performed by Chris Elliot. Music by Larry Simon and
Groove Bacteria
Also from "Beat Nights at the Electric Cave"
"Black Rose" written and performed by Michelle Brochu. Music by Larry Simon and Groove Bacteria
"Black Rose" written and performed by Michelle Brochu. Music by Larry Simon and Groove Bacteria
This piece is Young Dawkins performing his work "My Wishes" accompanied by Groove Bacteria's Hammond organ player, Scip Gallant
Below is an article written for the Seacoast's "Edge" magazine, by Jeanne McCartin on the occasion of Beat Nights' 20th anniversary in 2019. It has a lot of great history and info on the series.
By Jeanné McCartin
Posted Apr 18, 2019 at 3:01 AM
On Thursday, April 18, Beat Night will celebrate its 20th anniversary of shared thoughts on love, angst, humor, an imaginary last will, et al, offered in tandem with a live band.
Over the decades, hundreds of poets have taken to the stage, commingling their words with the notes of the Beat Night Band. The monthly session has moved three times, had numerous hosts and experienced other changes along the way, but is still going strong, with a special year in the offing and possible additions on the way.
Beat Night was founded by Larry Simon, a New York City transplant.The idea of combining multiple arts into a single project was a longtime interest of Simon’s. So when the owner of the Crazy Cat Lounge asked if Simon’s band Groove Bacteria was interested in being its house band, he pitched the idea of a jazz and poetry night.
“I’ve always, as a musician, been involved and interested in doing more than music. Before I moved to Portsmouth, I worked with film-makers, dance companies and others,” he says. “So when I moved here in 1996, I thought, ‘Here I am in New England, which has this reputation for great poetry, ... I’m going to look into starting a music and poetry thing.’”
Crazy Cat, located in the old Elvis Room space on Congress Street in Portsmouth, went for the idea. (Fun fact: “The band played its first gig ever at the Elvis Room just before it closed,” Simon says. “That’s its roots.”) Simon reached out to poet Mimi White who directed him to interested poets. Things came together, and Beat Night was born.
Before the year ended, the project moved to the Press Room and stayed there until it closed for renovations in 2017, which is when the sessions moved to the Book and Bar on Pleasant Street in Portsmouth.
Simon’s Beat Night tenure ran until about eight years ago when he returned to New York. He returns on occasion to perform, and plans to be in the band line-up for the 20th anniversary celebration.
“I put a lot of effort into Beat Night. I earned the nickname ‘The Emperor,’” Simon says. “We even had a tiny theme song the entire audience learned! ... The song was my email so future readers knew how to reach me to get booked.”
“It was a kind of bogus Gregorian chant ... about 15 seconds long,” he adds. “It was really fun to have everyone sing it in two- part harmony.”
Typically, the place “was pretty packed,” he says. “I used to keep things exciting by working hard to keep it fresh and always get new people involved.”
“Cool stuff” has happened at the event over the years, Simon says. Beat Night inspired people to write, and a few who met there went on to get married, “and who knows what else.”
It produced “Beat Nights at the Electric Cave” 15 years ago, with some of the top regional writers at the time.
Some things have changed, he says. But one thing remains the same: The arts intertwine.
The evening is unrehearsed, always has been. What makes it come together is listening, Simon says.
“The best (poets) actually feel like a member of the band. We work off of each other’s energy. When they crescendo, we react, and so forth. It is really like jazz, it works best when everyone is really listening and checks their ego at the door,” Simon says. “One of the biggest reasons I think my guys in the band work so well with poets is that they aren’t egotistical. The ‘art’ comes first, not themselves.”
Musician Frank Laurino has been with the band since shortly after Beat Night began. Today, he’s joined by Mike Barron (drums) and Scip Gallant (keys) from the original lineup, Dave Tonkin (guitar) and Chris Stambaugh (bass). Laurino handle’s percussion including the bongos which he picked up after joining 19 years ago.
The regular “guests” are Cynthia Chatis on flute; Don Davis on horns and Scott Solsky on guitar.
There are no rehearsals between spoken word and musical artist. They’re all out there without a net, Laurino says.
“It’s all one, two, three play,” he says. What makes it work is trust, he says.
“The best performances are when the poet feels comfortable that these guys behind them are amplifying what they say,” Laurino says. “We’ve worked at this so long - 20 years now - we can turn on a dime, read each other’s minds. ... So, I think they’re generally surprised that there is this soundtrack to their work.”
The band listens and tunes into the poet’s words, changes and intent.
“The trust goes three ways. Poet, band and audience are equal partners in this.” Laurino says. “I think everyone comes together with the hope that something amazing is going to happen and nine times out of 10, it does.”
After Simon moved back to New York, Bruce Pingree, who was involved and had been supportive since year two, took over for a time. Pingree was followed by a number of different hosst and organizers over the course of a few years. In 2014, Michael Nelson, who served as Portsmouth’s Poet Laureate for 2017-18, stepped in to take over the duties.
The project experienced a few other changes over time. Only two featured poets present these days, and the Book and Bar is now its permanent home.
Nelson says attendance was up in the new location, and grew quickly. He contributes it to an influx in the under 21 patron, who no longer required adult accompaniment.
“We thought the move was temporary, but the renovations took longer than expected,” Nelson explains. “We were there so long and it was going so well, and the fact younger people could come was a deciding factor. We couldn’t imagine going back to the Press Room and losing that younger audience. ... I don’t know that Beat Night would survive into the future without a young crowd.”
Sticking with tradition, the second half of the night is an open mic. People interested in performing sign up during the break, after the feature poets perform. As many as 20 artists are packed into the second half.
This month’s Beat Night will present an all-female featured artist lineup. The idea is an extension of Nelson’s laureate program which focused on the under-heard voices of the community.
“When you look at publishing statisticsm women are still less heard from than men,” he says. “I wanted to extend the all-women theme to Beat Night for its 20th year.”
Ayanna Gallant and Maya Williams will do the honors for the 20th anniversary Beat Night on April 18. Both poets appear in “Lunation: A Good Fat Anthology of 114 Women Poets.” The collection, co-edited by Nelson and Wendy Cannella, is Nelson’s last Portsmouth Poet Laureate project, and was published in March by Senile Monk Press.
Over the years, Beat Night added a number of “big” annual events, Nelson says. In February, it holds the Erotic Poetry Night, “one of the biggest of the year.” There’s the popular “Undead Beat Night,” equally as well attended.
″‘Undead Beat Night’ was started by Bruce Pingree, and he still comes around for it,” Nelson says. “The last time we co-hosted together.”
These special theme events have proven so popular, organizers are considering additional ones in the future.
First is the big anniversary session, Nelson says, with a seven-piece band for the gala, and Simon, “The Godfather,” in the house.
“I’m hosting Beat Night now, but it’s not mine. It’s the result of a lot of people over the years,” he says. “I stick with it because it’s an amazing community. ... Because it would be a shame to let it go and let it die. ... Some people have their religion and go to church on Sunday. This is my religion, this is my church.”
Go & Do
What: Beat Night 20th Anniversary Celebration
When: 7 p.m., Thursday, April 18, 2019
Posted Apr 18, 2019 at 3:01 AM
On Thursday, April 18, Beat Night will celebrate its 20th anniversary of shared thoughts on love, angst, humor, an imaginary last will, et al, offered in tandem with a live band.
Over the decades, hundreds of poets have taken to the stage, commingling their words with the notes of the Beat Night Band. The monthly session has moved three times, had numerous hosts and experienced other changes along the way, but is still going strong, with a special year in the offing and possible additions on the way.
Beat Night was founded by Larry Simon, a New York City transplant.The idea of combining multiple arts into a single project was a longtime interest of Simon’s. So when the owner of the Crazy Cat Lounge asked if Simon’s band Groove Bacteria was interested in being its house band, he pitched the idea of a jazz and poetry night.
“I’ve always, as a musician, been involved and interested in doing more than music. Before I moved to Portsmouth, I worked with film-makers, dance companies and others,” he says. “So when I moved here in 1996, I thought, ‘Here I am in New England, which has this reputation for great poetry, ... I’m going to look into starting a music and poetry thing.’”
Crazy Cat, located in the old Elvis Room space on Congress Street in Portsmouth, went for the idea. (Fun fact: “The band played its first gig ever at the Elvis Room just before it closed,” Simon says. “That’s its roots.”) Simon reached out to poet Mimi White who directed him to interested poets. Things came together, and Beat Night was born.
Before the year ended, the project moved to the Press Room and stayed there until it closed for renovations in 2017, which is when the sessions moved to the Book and Bar on Pleasant Street in Portsmouth.
Simon’s Beat Night tenure ran until about eight years ago when he returned to New York. He returns on occasion to perform, and plans to be in the band line-up for the 20th anniversary celebration.
“I put a lot of effort into Beat Night. I earned the nickname ‘The Emperor,’” Simon says. “We even had a tiny theme song the entire audience learned! ... The song was my email so future readers knew how to reach me to get booked.”
“It was a kind of bogus Gregorian chant ... about 15 seconds long,” he adds. “It was really fun to have everyone sing it in two- part harmony.”
Typically, the place “was pretty packed,” he says. “I used to keep things exciting by working hard to keep it fresh and always get new people involved.”
“Cool stuff” has happened at the event over the years, Simon says. Beat Night inspired people to write, and a few who met there went on to get married, “and who knows what else.”
It produced “Beat Nights at the Electric Cave” 15 years ago, with some of the top regional writers at the time.
Some things have changed, he says. But one thing remains the same: The arts intertwine.
The evening is unrehearsed, always has been. What makes it come together is listening, Simon says.
“The best (poets) actually feel like a member of the band. We work off of each other’s energy. When they crescendo, we react, and so forth. It is really like jazz, it works best when everyone is really listening and checks their ego at the door,” Simon says. “One of the biggest reasons I think my guys in the band work so well with poets is that they aren’t egotistical. The ‘art’ comes first, not themselves.”
Musician Frank Laurino has been with the band since shortly after Beat Night began. Today, he’s joined by Mike Barron (drums) and Scip Gallant (keys) from the original lineup, Dave Tonkin (guitar) and Chris Stambaugh (bass). Laurino handle’s percussion including the bongos which he picked up after joining 19 years ago.
The regular “guests” are Cynthia Chatis on flute; Don Davis on horns and Scott Solsky on guitar.
There are no rehearsals between spoken word and musical artist. They’re all out there without a net, Laurino says.
“It’s all one, two, three play,” he says. What makes it work is trust, he says.
“The best performances are when the poet feels comfortable that these guys behind them are amplifying what they say,” Laurino says. “We’ve worked at this so long - 20 years now - we can turn on a dime, read each other’s minds. ... So, I think they’re generally surprised that there is this soundtrack to their work.”
The band listens and tunes into the poet’s words, changes and intent.
“The trust goes three ways. Poet, band and audience are equal partners in this.” Laurino says. “I think everyone comes together with the hope that something amazing is going to happen and nine times out of 10, it does.”
After Simon moved back to New York, Bruce Pingree, who was involved and had been supportive since year two, took over for a time. Pingree was followed by a number of different hosst and organizers over the course of a few years. In 2014, Michael Nelson, who served as Portsmouth’s Poet Laureate for 2017-18, stepped in to take over the duties.
The project experienced a few other changes over time. Only two featured poets present these days, and the Book and Bar is now its permanent home.
Nelson says attendance was up in the new location, and grew quickly. He contributes it to an influx in the under 21 patron, who no longer required adult accompaniment.
“We thought the move was temporary, but the renovations took longer than expected,” Nelson explains. “We were there so long and it was going so well, and the fact younger people could come was a deciding factor. We couldn’t imagine going back to the Press Room and losing that younger audience. ... I don’t know that Beat Night would survive into the future without a young crowd.”
Sticking with tradition, the second half of the night is an open mic. People interested in performing sign up during the break, after the feature poets perform. As many as 20 artists are packed into the second half.
This month’s Beat Night will present an all-female featured artist lineup. The idea is an extension of Nelson’s laureate program which focused on the under-heard voices of the community.
“When you look at publishing statisticsm women are still less heard from than men,” he says. “I wanted to extend the all-women theme to Beat Night for its 20th year.”
Ayanna Gallant and Maya Williams will do the honors for the 20th anniversary Beat Night on April 18. Both poets appear in “Lunation: A Good Fat Anthology of 114 Women Poets.” The collection, co-edited by Nelson and Wendy Cannella, is Nelson’s last Portsmouth Poet Laureate project, and was published in March by Senile Monk Press.
Over the years, Beat Night added a number of “big” annual events, Nelson says. In February, it holds the Erotic Poetry Night, “one of the biggest of the year.” There’s the popular “Undead Beat Night,” equally as well attended.
″‘Undead Beat Night’ was started by Bruce Pingree, and he still comes around for it,” Nelson says. “The last time we co-hosted together.”
These special theme events have proven so popular, organizers are considering additional ones in the future.
First is the big anniversary session, Nelson says, with a seven-piece band for the gala, and Simon, “The Godfather,” in the house.
“I’m hosting Beat Night now, but it’s not mine. It’s the result of a lot of people over the years,” he says. “I stick with it because it’s an amazing community. ... Because it would be a shame to let it go and let it die. ... Some people have their religion and go to church on Sunday. This is my religion, this is my church.”
Go & Do
What: Beat Night 20th Anniversary Celebration
When: 7 p.m., Thursday, April 18, 2019
The Jazzmouth Festival
Jazzmouth, the Seacoast Poetry and Jazz festival, existed from 2005-2012 in Downtown Portsmouth New Hampshire. It was created by Larry Simon who was the artistic director. After 2012 Jazzmouth still existed for a few years in a smaller form.
Artists who appeared over the years included Ray Manzarek, Michael McClure, Mose Allison, David Amram, Bob Dorough, Sheila Jordan, Eric Mingus, Ed Sanders, Anrdre Codrescu, and former U.S. Poet Laureates Billy Collins, Donald Hall, Charles Simic (Pulitzer winner) and Robert Pinsky. David Amram was with us virtually every year.
Jazzmouth was a four-day festival celebrating poetry and jazz and the connections between them. It was an exciting, all-inclusive festival, with events ranging from films to workshops, from musical performances to poetry readings, as well as events for young writers and musicians and even readings for toddlers. All taking place at a series of venues within a few blocks of each other in the heart of Portsmouth's historic downtown. Jazzmouth featured local artists as well as national acts.
I’m hoping to bring the festival back in the near future.
Artists who appeared over the years included Ray Manzarek, Michael McClure, Mose Allison, David Amram, Bob Dorough, Sheila Jordan, Eric Mingus, Ed Sanders, Anrdre Codrescu, and former U.S. Poet Laureates Billy Collins, Donald Hall, Charles Simic (Pulitzer winner) and Robert Pinsky. David Amram was with us virtually every year.
Jazzmouth was a four-day festival celebrating poetry and jazz and the connections between them. It was an exciting, all-inclusive festival, with events ranging from films to workshops, from musical performances to poetry readings, as well as events for young writers and musicians and even readings for toddlers. All taking place at a series of venues within a few blocks of each other in the heart of Portsmouth's historic downtown. Jazzmouth featured local artists as well as national acts.
I’m hoping to bring the festival back in the near future.
The Jazzmouth Festival always had a close relationship with all the area media, in particular the Portsmouth Herald and a very fine arts and news periodical called "The Wire". For a few years the issue of "The Wire" that came out during festival week came with a free CD featuring that year's featured performers. Below are pictures of two of those cd's.
Jazzmouth 2005 CD
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Jazzmouth 2006 cd
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Every year the festival ended with a joyful, marathon, music/poetry brunch at "The Library Restaurant" on State Street, in Portsmouth. In 2009 two of our guests were Ray Manzarek (of the Doors) and Beat poet Michael McClure . They often worked together. They came to the brunch only planning on enjoying the food and listening to the music and poetry. But they got caught up in the spirit of the occasion and did a fantastic impromptu performance that I was lucky enough to record. The track is below. You'll hear Ray throw in quite a few very familiar licks from his days with The Doors. Please do not duplicate this rare recording.
Ray Manzarek and Michael McClure. Live at "The Library Restaurant" Jazzmouth brunch, 2009.
Below is one of many articles that came out over the years about the Jazzmouth festival. This one was by Chris Hislop from The Portsmouth Herald, in 2009.
Michael McClure and Ray Manzarek
Jazzmouth: Minds will be melding and music-making
By Christopher Hislop
The Portsmouth Herald
APRIL 22-25 | JAZZMOUTH POETRY AND JAZZ FESTIVAL, with Former US Poet Laureate Robert Pinsky and former keyboardist for The Doors Ray Manzarek, Beat Poet Michael McClure, poet John Sinclair and more, Portsmouth.
The week of Jazzmouth Festival includes events throughout the Portsmouth community known to draw people from near and far. These events include a workshop, readings, events for children and youth, films, brunches, readings, music and others. Jazzmouth celebrates spoken word and music as a literary festival. It is unique because local musicians and performers share the stage with national and international stars.
What: The “Main Event”
When: Saturday, April 24, 8 p.m.: Jazzmouth Presents: Robert Pinsky, Michael McClure, Ray Manzarek and Special Guests. Additionally, the show will feature the Larry Simon Ensemble, led by guitarist and Jazzmouth founder, Larry Simon with special guests, along with some of the Seacoast area’s favorite spoken word artists.
Tickets: $32 & $26 in advance; $35 & $28 day of; students (with ID) $2 off
In a world dominated by digital interface, social media, and outlandishly large television sets, the Seacoast’s own poetry and jazz festival — known formally as Jazzmouth, enters its sixth year at the forefront of celebrating the enlightening and inspiring human tradition of live performance.
The sixth incarnation of Jazzmouth offers an eclectic assemblage of performers including former U.S. Poet Laureate Robert Pinsky, legendary beat poet Michael McClure, Rock and Roll Hall of Fame inductee Ray Manzarek (founder of The Doors), famed activist and poet John Sinclair, Boston based Slam-Poet Iyeoka Okoawo, Seacoast native (now residing in Scotland) Young Dawkins and Jazzmouth founder and curator Larry Simon’s own Groove Bacteria.
“Jazzmouth celebrates the spirit of creativity,” said Simon.
“The commercial mainstream is as strong, or stronger than ever. With the Internet we now have access to almost anything we want, but for many people, poetry and jazz is kind of exotic and they may not know where to begin. It’s hard for independent, creative, non-commercial endeavors to reach the public in a significant way. Jazzmouth brings four days of poetry and jazz to the Seacoast Community (April 22-25), featuring world-renowned artists and brilliant artists from our own community. In particular, this year we offer a very rare chance to hear Michael McClure and Ray Manzarek together. They very seldom perform on the East Coast.”
*********
McClure, who is touring in support of his latest volume of poetry titled, “Mysteriosos,” is excited to be traveling from his home state of California to New Hampshire to be a part of the Jazzmouth festivities (he and Manzarek will be at The Music Hall on Saturday, April 24 as part of the “Main Event”).
“It (Jazzmouth) represents a whole style — an all-encompassing festivity that I believe in very much,” McClure said in a recent phone interview. “A mixed stage of stars, sharing an evening — sharing a space, cultivated in differing genres — a panorama of consciousness. I’m excited to be a part of it.”
McClure is a significant part of the Beat Generation, and is immortalized as the character Pat McLear in Jack Kerouac’s “Big Sur.” He was a close friend of the Doors co-founder and lead singer Jim Morrison, and met future musical collaborator, Doors co-founder and keys extraordinaire Ray Manzarek at the third recording session of the Doors self-titled debut album.
“I was like his older brother ...; or closest friend,” McClure said of Morrison.
After Morrison’s passing in 1971, McClure fell out of touch with the rest of the band, until, about 20 years later when he was performing at McCabe’s Guitar Shop in Los Angeles. It was there he saw (without initially realizing it) Manzarek on stage playing piano accompaniment behind Michael C. Ford’s spoken word.
“I approached him (Manzarek) after the gig to see about him potentially accompanying me on stage sometime and I realized, this was Ray Manzarek,” McClure said. “We sort of looked at each other, and I said ‘you’re Ray Manzarek,’ to which he responded, ‘you’re Michael McClure.’”
This reconnect would ultimately lead to the past 20 years of performance and recorded collaboration.
Manzarek, who also currently resides in California, also recalls that evening well.
“When Michael approached me with the idea of collaborating with him, I said, ‘cool cat, let’s do it,” Manzarek said in a recent phone interview. “My inspiration comes from playing behind a brilliant American Icon/Poet. I told him that I particularly enjoyed his piece ‘Stanzas in Turmoil,’ and would love to play behind that.”
“Six weeks later we were performing at a college gig, receiving a standing ovation, and we looked at each other and said, ‘we’ve got to do more of this,’” McClure said.
McClure and Manzarek’s work on stage is mostly improvisational and they both cite Miles Davis as a jumping off point as far as the music is concerned.
“We know what we’re going to do before we hit stage,” McClure said. “Sort of like Miles Davis...; We know what we’re going to do, and then we get there and we do something else.”
“We have the styles worked out,” Manzarek said. “But we play it different every time. The Madness of my fingers is what makes it happen. These 10 little digits of mine have a mind of their own, and they need to be exercised. The only way to do that is on stage before an audience.”
******
John Sinclair comes to Portsmouth by way of Chicago (or Amsterdam, depending on where he’s at on the days leading up to Jazzmouth). Sinclair has a storied history as a writer and political activist, and even had a stint managing the band MC5. He was the leader of the White Panther Party, an anti-racist group who sought out assisting the Black Panthers during the Civil Rights movement. Sinclair is also known for the time he spent in prison after giving two joints of marijuana to an undercover officer. There was a huge effort to free him from incarceration (he was sentenced to 10 years) which culminated in an event dubbed the “Ten for Two” rally, which immortalized Sinclair from that point forward when John Lennon performed the tune “John Sinclair,” which later showed up on his album “Some Time in New York City.” Sinclair was released from prison three days after the rally — 29 months in to his sentence.
Sinclair is no stranger to Portsmouth, where he performed regularly at the Press Room (where he will be on Friday, April 23) in the past. This will be his first area performance in seven years.
“Sinclair was one of the original guys when it comes to performance poetry,” Press Room general manager, Jazzmouth board member, and local performer, Bruce Pingree said in a recent interview. “He’s a hero of mine because of the stuff he did in the 60s and 70s. He is the bridge between the generations of poets. He inspires people to stand up for what they think is right, and get their voices heard. Sinclair is the reason I got into performance poetry, and I’m excited to have him back.”
“I don’t watch television nor care anything about it,” Sinclair said in a recent interview. “I treasure live performances of blues and jazz and their derivatives. My poems are written to be performed with musical accompaniment, hopefully before an audience—always a difficult proposition because poetry in performance is not really what people are looking for now. How would they even know about it unless those of us who do it didn’t keep trying to put it before them?”
Sinclair, who is also a disc jockey on his own Radio Free Amsterdam, has, along with Pingree, a respect for the culture and tradition of Blues and Jazz music that runs deep and is often the basis for his live performances, which may also serve as history lessons into the world of both genres.
“Blues and jazz music created & developed by African Americans are at the heart of the American cultural experience,” said Sinclair. “Blues & jazz are America’s classical music and the essential recordings must be preserved & passed on from generation to generation in order that Americans may begin to understand their own history.”
*****
Thus far, Jazzmouth has succeeded into seamlessly integrating the togetherness of local community and the wealth of talent that resides herein, with the likes of renowned international artists.
“As far as I know there is no other like it,” Simon said regarding the fest. “Every year we’ve been overjoyed at how it went. A very important part of my philosophy, as the creator and artistic director of the Festival is that I book shows in which members of our community get to share the stage with world famous artists such as Billy Collins, Ray Manzarek, Mose Allison and Donald Hall. I think we’ve realized that vision very well.
My vision is that the Festival will be an International destination every April. I started it in part because I live in Portsmouth and couldn’t help but observe that this is the ideal location. We have great restaurants, hotels and performance venues. We are a beautiful city, a great destination, half way between Boston and Portland. Airports are nearby and the area is chock full of brilliant poets and musicians.”
The bottom line is, Jazzmouth is in its 6th year as a legitimate hotbed of inspiring performance, and communal artistic development and participation. All that are involved —performers and fans alike, are excited to be in Seacoast, New Hampshire to celebrate and experience the revelry that ensues at such an event of grandeur.
“I know that the Jazzmouth Festival is a good place to be, and I’m happy to be seeing all my friends in NH...;” Sinclair said. “I think we can expect to have a very good time together and I’m sure I’ll be scintillated and inspired by the Portsmouth musicians who have agreed to back me up” (Larry Simon’s Groove Bacteria).
“I Honestly don’t have a favorite part of Jazzmouth,” Simon said. “People should come to everything. You never know what will happen; unexpected collaborations, a student reading that makes you rethink what a 14-year-old is capable of (in a positive way) and so on. Come to everything —that is the beauty of a festival that celebrates unrestricted creativity.”
“The point of life is to fully occupy your body, not disembody it in ‘cyber-space’ —which is nothing more than an alternative, faux reality” said Manzarek about the importance of live performance.
“Beauty, Entertainment, Consciousness, Intelligence,” said McClure when asked what fans could expect when they come out to take in the events that make up the Jazzmouth Festival.
And when the music’s over?
“If you’re looking, you might just find us enjoying a lobster roll,” Manzarek quipped.
By Christopher Hislop
The Portsmouth Herald
APRIL 22-25 | JAZZMOUTH POETRY AND JAZZ FESTIVAL, with Former US Poet Laureate Robert Pinsky and former keyboardist for The Doors Ray Manzarek, Beat Poet Michael McClure, poet John Sinclair and more, Portsmouth.
The week of Jazzmouth Festival includes events throughout the Portsmouth community known to draw people from near and far. These events include a workshop, readings, events for children and youth, films, brunches, readings, music and others. Jazzmouth celebrates spoken word and music as a literary festival. It is unique because local musicians and performers share the stage with national and international stars.
What: The “Main Event”
When: Saturday, April 24, 8 p.m.: Jazzmouth Presents: Robert Pinsky, Michael McClure, Ray Manzarek and Special Guests. Additionally, the show will feature the Larry Simon Ensemble, led by guitarist and Jazzmouth founder, Larry Simon with special guests, along with some of the Seacoast area’s favorite spoken word artists.
Tickets: $32 & $26 in advance; $35 & $28 day of; students (with ID) $2 off
In a world dominated by digital interface, social media, and outlandishly large television sets, the Seacoast’s own poetry and jazz festival — known formally as Jazzmouth, enters its sixth year at the forefront of celebrating the enlightening and inspiring human tradition of live performance.
The sixth incarnation of Jazzmouth offers an eclectic assemblage of performers including former U.S. Poet Laureate Robert Pinsky, legendary beat poet Michael McClure, Rock and Roll Hall of Fame inductee Ray Manzarek (founder of The Doors), famed activist and poet John Sinclair, Boston based Slam-Poet Iyeoka Okoawo, Seacoast native (now residing in Scotland) Young Dawkins and Jazzmouth founder and curator Larry Simon’s own Groove Bacteria.
“Jazzmouth celebrates the spirit of creativity,” said Simon.
“The commercial mainstream is as strong, or stronger than ever. With the Internet we now have access to almost anything we want, but for many people, poetry and jazz is kind of exotic and they may not know where to begin. It’s hard for independent, creative, non-commercial endeavors to reach the public in a significant way. Jazzmouth brings four days of poetry and jazz to the Seacoast Community (April 22-25), featuring world-renowned artists and brilliant artists from our own community. In particular, this year we offer a very rare chance to hear Michael McClure and Ray Manzarek together. They very seldom perform on the East Coast.”
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McClure, who is touring in support of his latest volume of poetry titled, “Mysteriosos,” is excited to be traveling from his home state of California to New Hampshire to be a part of the Jazzmouth festivities (he and Manzarek will be at The Music Hall on Saturday, April 24 as part of the “Main Event”).
“It (Jazzmouth) represents a whole style — an all-encompassing festivity that I believe in very much,” McClure said in a recent phone interview. “A mixed stage of stars, sharing an evening — sharing a space, cultivated in differing genres — a panorama of consciousness. I’m excited to be a part of it.”
McClure is a significant part of the Beat Generation, and is immortalized as the character Pat McLear in Jack Kerouac’s “Big Sur.” He was a close friend of the Doors co-founder and lead singer Jim Morrison, and met future musical collaborator, Doors co-founder and keys extraordinaire Ray Manzarek at the third recording session of the Doors self-titled debut album.
“I was like his older brother ...; or closest friend,” McClure said of Morrison.
After Morrison’s passing in 1971, McClure fell out of touch with the rest of the band, until, about 20 years later when he was performing at McCabe’s Guitar Shop in Los Angeles. It was there he saw (without initially realizing it) Manzarek on stage playing piano accompaniment behind Michael C. Ford’s spoken word.
“I approached him (Manzarek) after the gig to see about him potentially accompanying me on stage sometime and I realized, this was Ray Manzarek,” McClure said. “We sort of looked at each other, and I said ‘you’re Ray Manzarek,’ to which he responded, ‘you’re Michael McClure.’”
This reconnect would ultimately lead to the past 20 years of performance and recorded collaboration.
Manzarek, who also currently resides in California, also recalls that evening well.
“When Michael approached me with the idea of collaborating with him, I said, ‘cool cat, let’s do it,” Manzarek said in a recent phone interview. “My inspiration comes from playing behind a brilliant American Icon/Poet. I told him that I particularly enjoyed his piece ‘Stanzas in Turmoil,’ and would love to play behind that.”
“Six weeks later we were performing at a college gig, receiving a standing ovation, and we looked at each other and said, ‘we’ve got to do more of this,’” McClure said.
McClure and Manzarek’s work on stage is mostly improvisational and they both cite Miles Davis as a jumping off point as far as the music is concerned.
“We know what we’re going to do before we hit stage,” McClure said. “Sort of like Miles Davis...; We know what we’re going to do, and then we get there and we do something else.”
“We have the styles worked out,” Manzarek said. “But we play it different every time. The Madness of my fingers is what makes it happen. These 10 little digits of mine have a mind of their own, and they need to be exercised. The only way to do that is on stage before an audience.”
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John Sinclair comes to Portsmouth by way of Chicago (or Amsterdam, depending on where he’s at on the days leading up to Jazzmouth). Sinclair has a storied history as a writer and political activist, and even had a stint managing the band MC5. He was the leader of the White Panther Party, an anti-racist group who sought out assisting the Black Panthers during the Civil Rights movement. Sinclair is also known for the time he spent in prison after giving two joints of marijuana to an undercover officer. There was a huge effort to free him from incarceration (he was sentenced to 10 years) which culminated in an event dubbed the “Ten for Two” rally, which immortalized Sinclair from that point forward when John Lennon performed the tune “John Sinclair,” which later showed up on his album “Some Time in New York City.” Sinclair was released from prison three days after the rally — 29 months in to his sentence.
Sinclair is no stranger to Portsmouth, where he performed regularly at the Press Room (where he will be on Friday, April 23) in the past. This will be his first area performance in seven years.
“Sinclair was one of the original guys when it comes to performance poetry,” Press Room general manager, Jazzmouth board member, and local performer, Bruce Pingree said in a recent interview. “He’s a hero of mine because of the stuff he did in the 60s and 70s. He is the bridge between the generations of poets. He inspires people to stand up for what they think is right, and get their voices heard. Sinclair is the reason I got into performance poetry, and I’m excited to have him back.”
“I don’t watch television nor care anything about it,” Sinclair said in a recent interview. “I treasure live performances of blues and jazz and their derivatives. My poems are written to be performed with musical accompaniment, hopefully before an audience—always a difficult proposition because poetry in performance is not really what people are looking for now. How would they even know about it unless those of us who do it didn’t keep trying to put it before them?”
Sinclair, who is also a disc jockey on his own Radio Free Amsterdam, has, along with Pingree, a respect for the culture and tradition of Blues and Jazz music that runs deep and is often the basis for his live performances, which may also serve as history lessons into the world of both genres.
“Blues and jazz music created & developed by African Americans are at the heart of the American cultural experience,” said Sinclair. “Blues & jazz are America’s classical music and the essential recordings must be preserved & passed on from generation to generation in order that Americans may begin to understand their own history.”
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Thus far, Jazzmouth has succeeded into seamlessly integrating the togetherness of local community and the wealth of talent that resides herein, with the likes of renowned international artists.
“As far as I know there is no other like it,” Simon said regarding the fest. “Every year we’ve been overjoyed at how it went. A very important part of my philosophy, as the creator and artistic director of the Festival is that I book shows in which members of our community get to share the stage with world famous artists such as Billy Collins, Ray Manzarek, Mose Allison and Donald Hall. I think we’ve realized that vision very well.
My vision is that the Festival will be an International destination every April. I started it in part because I live in Portsmouth and couldn’t help but observe that this is the ideal location. We have great restaurants, hotels and performance venues. We are a beautiful city, a great destination, half way between Boston and Portland. Airports are nearby and the area is chock full of brilliant poets and musicians.”
The bottom line is, Jazzmouth is in its 6th year as a legitimate hotbed of inspiring performance, and communal artistic development and participation. All that are involved —performers and fans alike, are excited to be in Seacoast, New Hampshire to celebrate and experience the revelry that ensues at such an event of grandeur.
“I know that the Jazzmouth Festival is a good place to be, and I’m happy to be seeing all my friends in NH...;” Sinclair said. “I think we can expect to have a very good time together and I’m sure I’ll be scintillated and inspired by the Portsmouth musicians who have agreed to back me up” (Larry Simon’s Groove Bacteria).
“I Honestly don’t have a favorite part of Jazzmouth,” Simon said. “People should come to everything. You never know what will happen; unexpected collaborations, a student reading that makes you rethink what a 14-year-old is capable of (in a positive way) and so on. Come to everything —that is the beauty of a festival that celebrates unrestricted creativity.”
“The point of life is to fully occupy your body, not disembody it in ‘cyber-space’ —which is nothing more than an alternative, faux reality” said Manzarek about the importance of live performance.
“Beauty, Entertainment, Consciousness, Intelligence,” said McClure when asked what fans could expect when they come out to take in the events that make up the Jazzmouth Festival.
And when the music’s over?
“If you’re looking, you might just find us enjoying a lobster roll,” Manzarek quipped.