“Since 1970” — a poem by Phil Linz

September 12th, 2019





Larry Knupp, 1952 – 2017



Since 1970

(for Larry)



It’s all about the jazz…
…………Sonny Fortune at Boomer’s
…………Illinois Jacquet on 58th Street
…………Duvivier and Cheatham at Highlights

It’s all about the jazz…
…………Tito Puente, Ray Barreto, Celia Cruz
…………Blindfold tests on West End Avenue
…………Smoky Schaefer concerts at Wollman Rink

It’s all about the jazz…
…………The only white boy at Gil Scott-Heron
………….“I’m a mulatto;” the angry brothers laughing
…………Black urban poetry years before rap

It’s all about the jazz…
…………Tennis in Baldwin with pitchers afterward
…………The Mini Cinema, Tower Records and J&R
…………Radio City and Highlights at NYU, and Pace

It’s all about the jazz…
…………The real Ray Lundin ripping up the notebook
…………Harry Katzan and FORTRAN on punch cards
…………Texaco, Pfizer, Levitton and the City of New York

It’s all about the jazz…
…………Newport and Kool and JVC and Ken Burns
…………Peggy and Anita and Sassy and Ella
…………Dizzy and Dexter and Stan and Basie

It’s all about the jazz…
…………Closing the bar after we’d dropped off the girls
…………Asthma and diabetes and now pneumonia
…………A loving partner in Ruth Ann, twenty years, now

It’s all about the jazz…
…………All the changes a lifetime brings
T……….The growth; the continuance; the collections
…………A friendship lasting more than thirty years:

It’s always, always, always:  it’s always all about the jazz.


……………………………………….East Brunswick, NJ/August 02







Phil Linz was born in Brooklyn, NY, and was raised in the Rockaway Beach section of Queens, NY.  He has also lived in New Orleans, Tucson, Los Angeles, New York City (East Village), Morrisville, PA, Croton-on-Hudson, NY, and Pooler, GA; since October 2011 he has lived in Wilmington, DE.  After almost 40 years as a working chemist, Mr. Linz retired in May, 2018.

He’s been writing poetry since 1971 and is the founder and publisher of Fierce Grace Press, which specializes in chapbooks, believing in the concept of “Publishing Under the Radar.”

A new book called The Chapbooks” includes selections from his eight published and two unpublished collections; tentative publication date is October 2019,  “Since 1970,” included in the book, was written for Larry Krupp, a drinking & jazz buddy; Larry passed in April, 2017.

Mr. Linz may be reached at linzp18@verizon.net.




Clark Terry and Wes Montgomery play “Just Friends”







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In this Issue

Interviews with three outstanding, acclaimed writers and scholars who discuss their books on Irving Berlin, George Gershwin, and Cole Porter, and their subjects’ lives in and out of music. These interviews – which each include photos and several full-length songs – provide readers easy access to an entertaining and enlightening learning experience about these three giants of American popular music.


The winter collection of poetry offers readers a look at the culture of jazz music through the imaginative writings of its 32 contributors. Within these 41 poems, writers express their deep connection to the music – and those who play it – in their own inventive and often philosophical language that communicates much, but especially love, sentiment, struggle, loss, and joy.


NBC Radio-photo by Ray Lee Jackson / Public domain
In a Jerry Jazz Musician interview, acclaimed biographer James Kaplan (Frank: The Voice and Sinatra: The Chairman) talks about his book, Irving Berlin: New York Genius, and Berlin's unparalleled musical career and business success, his intense sense of family and patriotism during a complex and evolving time, and the artist's permanent cultural significance.


Library of Congress, Prints & Photographs Division, Carl Van Vechten Collection
Richard Crawford’s Summertime: George Gershwin’s Life in Music is a rich, detailed and rewarding musical biography that describes Gershwin's work throughout every stage of his career. In a Jerry Jazz Musician interview, Crawford discusses his book and the man he has described as a “fresh voice of the Jazz Age” who “challenged Americans to rethink their assumptions about composition and performance, nationalism, cultural hierarchy, and the racial divide.”


photo unattributed/ Public domain
In a Jerry Jazz Musician interview with The Letters of Cole Porter co-author Dominic McHugh, he explains that “several of the big biographical tropes that we associate with Porter are either modified or contested by the letters,” and that “when you put together these letters, and add our quite extensive commentary between the letters, it creates a different picture of him.” Mr. McHugh discusses his book, and what the letters reveal about the life – in-and-out of music – of Cole Porter.

Book Excerpt

The introduction to John Burnside's The Music of Time: Poetry in the Twentieth Century – excerpted here in its entirety with the gracious consent of Princeton University Press – is the author's fascinating observation concerning the idea of how poets respond to what the Russian poet Osip Mandelstam called “the noise of time,” weaving it into a kind of music.

Short Fiction

photo Creative Commons CC0
Short Fiction Contest-winning story #53 — “Market & Fifth, San Francisco, 1986,” by Paul Perilli


photo by Bouna Ndaiye
Interview with Gerald Horne, author of Jazz and Justice: Racism and the Political Economy of the Music


photo by Brian McMillen
"Our Father, Who Art McCoy Tyner" -- a poem by John Stupp


"Speaking in Tongues" by Charles Ingham
Charles Ingham’s “Jazz Narratives” connect time, place, and subject in a way that ultimately allows the viewer a unique way of experiencing jazz history This edition’s narratives are “Released from Camarillo State Hospital, Charlie Parker Plays Jack’s Basket Room,”“Diz Railing at the Cosmos,” and “Speaking in Tongues”

Book Excerpt

A ten page excerpt from The Letters of Cole Porter by Cliff Eisen and Dominic McHugh that features correspondence in the time frame of June to August, 1953, including those Porter had with George Byron (the man who married Jerome Kern’s widow), fellow writer Abe Burrows, Noel Coward, his secretary Madeline P. Smith, close friend Sam Stark, and his lawyer John Wharton.


photo by William Gottlieb/Library of Congress
Con Chapman, author of Rabbit's Blues: The Life and Music of Johnny Hodges discusses the great Ellington saxophonist

Jazz History Quiz #134

Photo by Brian McMillen/Brian McMillen Photography
Influenced by Charlie Parker and Phil Woods (pictured), before forming his own group this alto player got his start in Buddy Rich’s Big Band, and shortly thereafter played with Lionel Hampton. While leading his own band, he was famous for playing bebop covers of songs such as “The I Love Lucy Theme,” “Come Fly With Me,” and “Hooray for Hollywood,” and often performed with singer Eddie Jefferson. Who is he?

Book Excerpt

This story, excerpted from Irving Berlin: New York Genius by James Kaplan, describes how Berlin came to write his first major hit song, “Alexander’s Ragtime Band,” and speaks to its historic musical and cultural significance.


News about the poet Arlene Corwin


photo of Stephane Grappelli by Veryl Oakland
Veryl Oakland’s “Jazz in Available Light” — photos (and stories) of violinists Joe Venuti, Stephane Grappelli, Jean-Luc Ponty, Zbigniew Seifert, and Leroy Jenkins

Great Encounters

photo of Sidney Bechet by William Gottlieb/Library of Congress
In this edition of "Great Encounters," Con Chapman, author of Rabbit’s Blues: The Life and Music of Johnny Hodges, writes about Hodges’ early musical training, and the first meeting he had with Sidney Bechet, the influential and legendary reed player who Hodges called “tops in my book.”

Book Excerpt

In the introduction to Jazz and Justice: Racism and the Political Economy of the Music, author Gerald Horne writes about the severe cultural and economic obstacles jazz musicians have encountered since the music's inception

“What are 4 or 5 of your all-time favorite Blue Note albums?”

"What are 4 or 5 of your all-time favorite Blue Note albums?"
Dianne Reeves, Nate Chinen, Gary Giddins, Michael Cuscuna, Eliane Elias and Ashley Kahn are among the 12 writers, musicians, and music executives who list and write about their favorite Blue Note albums

Pressed for All Time

In this edition, producer Helen Keane tells Michael Jarrett, author of Pressed For All Time: Producing the Great Jazz Albums about how the collaboration of Tony Bennett and Bill Evans began, culminating in the 1975 recording, The Tony Bennett/Bill Evans Album.


photo by William Gottlieb/Library of Congress
"Every Soul is a Circus," by Dig Wayne

In the Previous Issue

photo by Carol Friedman
“The Jazz Photography Issue” features an interview with today’s most eminent jazz portrait photographer Carol Friedman, news from Michael Cuscuna about newly released Francis Wolff photos, as well as archived interviews with William Gottlieb, Herman Leonard, Lee Tanner, a piece on Milt Hinton, a new edition of photos from Veryl Oakland, and much more…

Contributing writers

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