Brushwork

If I were a jazz pianist I would pay
my dues in one lump sum on a tip
from some country singer on his way

down who gives me the shirt off his back
a Nudie with piping and plenty
of rhinestones that catch the stage

lights just so and sweep in reflection
across the polished planes of my 1890
rosewood Steinway Grand Modal C

a beaut with a pedigree, one I won’t fail
to mention from the stage in the second set
during the pause between How High The Moon

and I Love The Life I Live from behind
a bobbing cigarette, sharing the remarkable
fact that this is the very same piano

Mose Allison played in a two night stand
at the Blue Note in 1962.  Later I’ll work Jimmy
the trumpet player’s name into a tune and trade

winks with the guy on upright bass
the drummer slack jawed oblivious, lost
to us all in some very tasty brushwork.