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.
Oct 10, 2016
Oct 10, 2016 at 7:49 AM UTC
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.
