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The Sunday Poem is published weekly, and strives to include the poet reading their work.
Catherine Lee reads her poem at its conclusion.
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photo by Heinrich Klaffs/CC BY-SA 2.0/Wikimedia Commons
Rahsaan Roland Kirk; Hamburg, 1972
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Kirk’s Works
Hearing Rahsaan Roland Kirk recordings
you could likely miss
the pleasure of that reedman’s kisser,
import of his so unique technique.
In his original,
“Making Love After Hours”
you hear in unison three reed instruments.
Dude he plays them all
himself by himself
harmonizing with himself, with us
“Nose don’t need no clothes” Kirk says,
he knows
it blows
and maybe you will figure too
beside his mouthblown solo
sound flute notes he’s able to finesse
that emanate from nasal orifice.
In pained original,
“Inflated Tear”
he wails of how as little boy,
he accidentally lost his sight
and learned what superhuman
effort he would need expend
with sounds
envisioning
“Bright Moments”
to us all.
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Listen to Catherine Lee read her poem
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Catherine Lee is a widely published neo-Beat who reads solo and performs with improvising musicians “on poem.” Among these were joint gigs (1986-87) with poet/hipster tedjoans, whose “Jazz is my religion” griot mantra continues to inspires her. Lots of Lee’s multimedia projects are archived on Soundcloud and VIMEO. A more detailed artistic profile is located at GetCreativeSanAntonio and Lee can be reached at Jazz-Ovation-Inn.com.
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Listen to the 1967 recording of Rahsaan Roland Kirk playing “Making Love After Hours,” with Lonnie Smith (piano); Charles Crosby (drums); and Kirk (flute and tenor saxophone) [Rhino/Atlantic]
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Watch a 1967 filmed performance of Rahsaan Roland Kirk playing “The Inflated Tear”
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Click here to read previous editions of The Sunday Poem
Click here for information about how to submit your poetry or short fiction
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