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Metrical circle maps divides the bar duration into equal sized bins (48 in this case) and maps metrical positions to the corresponding bin. (Labels normalized to 4/4 measure). A 1951 live recording from the Lighthouse in Hermosa Beach, California, captures West Coast jazzers Shorty Rogers (trumpet) and Art Pepper (alto sax) in an informal setting, atypical compared to their commercially recorded efforts. Although the recording balance leans a bit toward the drums (not a bad thing necessarily considering Shelly Manne is the drummer), the music is obviously inspired. Alto saxophonist Charlie Parker’s composition is considered one of the “anthems” of bop. A Savoy CD set contains four different live versions from early 1949–a golden opportunity to study Bird’s creativity.

Since 2000 it has been recorded by pianist Keith Jarrett’s trio, harmonica player Hendrik Meurkens, guitarist John Pizzarelli with clarinetist Buddy Defranco, and by bassoonist Daniel Smith in his 2007 release.

Wardell Gray, an incomparable tenor saxophonist who performed with Parker on several occasions, was part of an excellent jam group recorded live in 1950. Along with Gray is his cohort from Count Basie’s band, trumpeter Clark Terry, and the Parker-inspired alto saxophonist Sonny Criss. The group jells magnificently and turns in an exceptional performance.

Alto saxophonist Charlie Parker was in California recording for Dial records in 1946-47, but following a breakdown which required hospitalization at Camarillo State Hospital, he returned to New York to continue recording for Dial. However, at the time, he was also under contract to Savoy with whom he’d signed in 1944, so the recording of “Scrapple from the Apple,” made on November 4, 1947, for Dial Records, appears on both labels. It features a young Miles Davis on trumpet, an equally young Max Roach on drums, Duke Jordan on piano, and Tommy Potter on bass. A second pressing is said to be from a live performance that same year at the Savoy ballroom in Harlem. The original recording is available on several Parker compilations including the Complete Dial Sessions.

Scrapple, which came to the Philadelphia region from Germany, is a loaf of cooked pig parts thickened with cornmeal or buckwheat usually spiced with sage and pepper. Once cooled, the loaf is sliced, fried, and served as a breakfast side dish, often with syrup. Not just a culinary transplant, scrapple exists because of the interplay of Old and New World traditions and ingredients.

By the mid-nineteenth century, production of scrapple industrialized. The Civil War increased the need for industrialized food production; at the same time, more people were living in cities and becoming less familiar with rural food traditions. In 1863, Joshua Habersett opened Habersett Pork Products in Middletown Township, Delaware County, Pennsylvania, the first company to mass produce scrapple.

Hines, Mary Anne, Gordon M. Marshall, and William Woys Weaver. The Larder Invaded: Reflections on Three Centuries of Philadelphia Food and Drink : A Joint Exhibition Held 17 November 1986 to 25 April 1987. The Historical Society of Pennsylvania, 1987.After processing and cooking, a brown block of scrapple speckled with dark brown spots is far from visually interesting. This comical image of a Quaker (resembling William Penn) and a hog waiting at a table for scrapple was printed in the menu for the first annual dinner of The Pennsylvania Society of New York in 1899. The Pennsylvania Society formed to bring together Pennsylvania residents who lived in New York City in order to socialize, discuss topics of Pennsylvania’s history, and indulge in some of Pennsylvania’s regional dishes. The Pennsylvania Society later reprinted this scrapple image in its 1901 yearbook above a review of the annual dinner. The Pennsylvania Society still meets annually, but a copy of the program from its gathering in 2011 showed the dinner menu as sliced tenderloin of beef, spinach and Gruyere cheese potato soufflé, and sautéed asparagus—without mention of scrapple. (Year Book of the Pennsylvania Society of New York)As a rural tradition during hog-butchering time, scrapple dates to the sixteenth century in Germany, where it was called panhas, pawnhos, or pan haas, meaning “pan rabbit.” While parts of the pig became sausages or bacon, the rest, “everything but the oink,” was collected for scrapple and for black or blood puddings, of which scrapple is a variant. The German product did not include cornmeal, which was not available in Europe.

Various kinds of cooked and thickened loaves of pig parts can be found throughout the U.S. In the South, liver mush denoted the addition of pig liver, while Ohioans substituted oatmeal for cornmeal and called it goetta. Scrapple, however, has retained its deep connection to the Philadelphia region. In the early twenty-first century, festivals celebrating scrapple took place in Bridgeville, Delaware, and at the Reading Terminal Market in Philadelphia. The locavore movement, which celebrates regional cuisine, showed signs of making scrapple popular again as an edible artifact of the region’s rural roots.Cookbooks and newspapers offered home cooks advice on making the dish. Domestic Cookery, published in 1869 by Elizabeth Ellicott Lea, detailed the culinary culture of Pennsylvania Germans and the Tidewater South for “young housekeepers” who had not learned these recipes at their mothers’ or grandmothers’ knees. Its scrapple recipe was a basic one: “Take eight pounds of scraps of pork that will not do for sausage; boil it in four gallons of water; when tender, chop fine, strain the liquor and pour it back into the pot; put in the meat; season it with sage, summer savory, salt and pepper to taste; stir in a quart of corn meal; after simmering a few minutes, thicken it with buckwheat flour very thick.”

Modern commercial scrapple is often sold in one-, two-, or five-pound packages consisting of a single block, which is usually cut into half-inch slices to properly cook. After a brief period of frying, slices of scrapple gain a crispy brown coating that holds the pork and cornmeal mixture together. Many scrapple eaters add syrup, as depicted here. Not everyone embraces the flavor and texture of scrapple. Indeed, at least for those who did not grow up with it, scrapple can be described as an acquired taste. (Photograph by Joshua Lisowski for the Encyclopedia of Greater Philadelphia.)

The popularity of scrapple at the turn of the twentieth century spurred thousands of Philadelphia-area scrapple producers to industrialize the production process to create thousands of pounds of scrapple per week. Companies like J.J. Felin & Co. slaughtered their own hogs, processed the meat in an adjacent building, and used industrial-size vats to mix the scrapple ingredients. Pictured here outside a processing facility in 1904 is a butcher for J.J. Felin alongside hog heads (a major component of Felin’s recipe for scrapple) and tin containers filled with the finished product. (Leslie’s Illustrated Weekly Newspaper)

German immigrants to Pennsylvania, mistakenly called Pennsylvania Dutch, shared their culture with English settlers, who had similar food traditions. The English influence can be seen in the shift in the product’s name. No longer called panhaas, except in rural communities, it became scrapple (or Philadelphia scrapple) by the 1820s—at least in print.Mary Rizzo is the Public Historian in Residence at the Mid-Atlantic Regional Center for the Humanities (MARCH) at Rutgers University-Camden. (Author information current at time of publication.)

Scrapple has, thus far, avoided the fame and fetishization so many other regionally specific meats have experienced. But when I saw a friend excitedly Instagram a scrapple sandwich from a new Brooklyn bagel shop, I realized I should have seen it coming. When treated right, scrapple is, in my mind, far superior to your average breakfast sausage. Maybe that’s because it’s like breakfast sausage squared—sliced and seared in a skillet, it produces a soft but crunchy, salty, heavily pork-y and offal-y bite that was meant to be layered under eggs.But if you’ve had offal or charcuterie made from it before, scrapple is probably not so exotic. As historian William Woys Weaver wrote in Country Scrapple, “change the name to polenta nera [black polenta, or polenta made with buckwheat], you can sell scrapple in any upscale restaurant.” Which may be exactly what’s happening. In addition to Shelsky’s, scrapple is on the menu at Williamsburg restaurants Egg and Fedoroff’s Roast Pork. It’s shown up at the Hog’s Apothecary in Oakland and Redbird in L.A. (though there it was described by one Yelp reviewer as “grilled polenta with tasty pork scraps on top”) and was even toasted in a waffle iron and topped with mayo and crispy bits of cabbage, okonomiyaki-style, at Ivan Ramen.

George Weld, the chef and owner of Egg, didn’t grow up eating scrapple but put pan-fried scrapple on the menu as a side dish after a cousin from Delaware said he had to have it, and Weld realized it was close enough to livermush (a coarse Southern meat loaf made of pig liver, head meat, and cornmeal) to match the Southern flavors he was going for with the menu. “Getting people to eat scrapple is a pretty funny experience at the restaurant,” he says. “It’s probably the most commonly discussed thing in front-of-house meetings: How do you describe scrapple so that people aren’t immediately turned off by it?” At first, listing the ingredients—cornmeal, pork kidney, hearts—made customers order sausage instead. But by describing it as analogous to a pan-fried country pâté, they started to win some people over. “Put it in the category of French charcuterie, and everyone’s OK with it.”By clicking Go, I agree to recieve news and updates from TASTE and Penguin Random House. I acknowledge that I have read and agree to the Penguin Random House’s Privacy Policy and Terms of Use and understand that Penguin Random House collects certain categories of personal information for the purposes listed in that policy, discloses, sells, or shares certain personal information and retains personal information in accordance with the policy. You can opt-out of the sale or sharing of personal information anytime.

Because more than anything, scrapple is what it sounds like—scraps. One recipe from 1853 writes that the cook should use “pork that will not do for sausage,” such as hearts, livers, kidneys, and random scraps of skin all boiled together, leading many from outside the region to look down at the dish. An article in The Montreal Gazette from 1909 insists that it’s something people from Pittsburgh must “pretend to enjoy” but concedes that it has its health benefits: “Scrapple-fed children in the country are healthier and make progress at school.”Obviously I’m not the only one in the world to know and love scrapple, the meat-and-grain-and-spice loaf brought to America’s mid-Atlantic states by German immigrants hundreds of years ago. Scrapple is a product of the middle colonies—Pennsylvania, Maryland, Delaware, New Jersey, lower New York—and the specifics of their colonial population. When I was a kid, my grandpa would fry it up with pancakes at his farm in New Jersey, or we would order it at breakfast down the Jersey shore. Instead of the Puritans of New England or the slave traders of the South, the middle colonies attracted non-English European settlers, including Germans, Swedes, and Dutch. Many were Quakers, who believed in religious tolerance, simplicity, and frugality. These core beliefs, it turns out, are a great recipe for scrapple.

The two largest brands of scrapple in Philadelphia are Habbersett and Rapa, controlling approximately half and one-quarter of the market respectively. Rapa accounts for about three-quarters of the Baltimore market. The title of jazz artist Charlie Parker’s 1947 composition “Scrapple from the Apple” is inspired by the food scrapple, in the Big Apple (New York City).Scrapple is fully cooked when purchased. It is then typically cut into 1⁄4-to-3⁄4-inch-thick (0.6 to 1.9 cm) slices and pan-fried until brown to form a crust. It is sometimes first coated with flour. It may be fried in butter or oil and is sometimes deep-fried. Scrapple can also be broiled, which gives the scrapple a crisp exterior.

Scrapple and panhaas are commonly considered an ethnic food of the Pennsylvania Dutch, including the Mennonites and Amish. Scrapple is found in supermarkets throughout the region in both fresh and frozen refrigerated cases.

Scrapple is usually eaten as a breakfast side dish. It can be served plain or with either sweet or savory condiments: apple butter, ketchup, jelly, maple syrup, honey, or mustard. Scrapple is typically made of hog offal, such as the head, heart, liver, and other trimmings, which are boiled with any bones attached (often the entire head), to make a broth. Once cooked, bones and fat are removed, the meat is reserved, and (dry) cornmeal is boiled in the broth to make a mush. The meat, finely minced, is returned to the pot and seasonings, typically sage, thyme, savory, black pepper, and others are added. The mush is formed into loaves and allowed to cool thoroughly until set. The proportions and seasoning are very much a matter of the region and the cook’s taste. A few manufacturers have introduced beef and turkey varieties and color the loaf to retain the traditional coloration derived from the original pork liver base.Wenn Sie damit einverstanden sind, verwenden wir auch Cookies, um Ihr Einkaufserlebnis in den Stores zu ergänzen. Dies wird auch in unseren Cookie-Bestimmungen beschrieben. Dies beinhaltet die Verwendung von Cookies von Erst- und Drittanbietern, die Standardgeräteinformationen wie eine eindeutige Kennzeichnung speichern oder darauf zugreifen. Drittanbieter verwenden Cookies, um personalisierte Anzeigen zu schalten, deren Wirksamkeit zu messen, Erkenntnisse über Zielgruppen zu generieren und Produkte zu entwickeln und zu verbessern. Klicken Sie auf „Cookies anpassen“, um diese Cookies abzulehnen, detailliertere Einstellungen vorzunehmen oder mehr zu erfahren. Sie können Ihre Auswahl jederzeit ändern, indem Sie die Cookie-Einstellungen, wie in den Cookie-Bestimmungen beschrieben, aufrufen. Um mehr darüber zu erfahren, wie und zu welchen Zwecken Amazon personenbezogene Daten (z. B. den Bestellverlauf im Amazon Store) verwendet, lesen Sie bitte unsere Datenschutzerklärung.

In southwest Ohio and northern Kentucky the top breakfast meat is goetta (pronounced “get-UH”), a loose sausage made with ground pork and beef, steel-cut oats, onions, garlic and a lot of spices including mace, marjoram, ginger, coriander, white pepper and cloves. The breakfast sausage is formed into thick patties and then pan fried. Some restaurants serve rectangles of handmade goetta; commercial purveyors sell the sausage in tubes that can be sliced into rounds at home. No matter the shape, the slightly mushy texture with crisp, crumbly edges and the pungent spice of the sausage remain constants.Goetta was first introduced to the U.S. through an influx of German immigrants to Cincinnati in the 1830s. In Germany it had been known as gruetzwurst, a dish farm workers ate for breakfast, lunch or dinner. Made up with organ meats, oats and a lot of pungent spices, the gruetzwurst was a way to use up scraps of meat and cheaper cuts or pork and beef. As the sausage evolved in the U.S. to become known as goetta, it became a favored breakfast food with higher-quality ingredients. Commercial brands such as Glier’s Goetta and Queen City Sausage standardized the sausage, though butcher shops all around Cincinnati make their own versions.

Factory-sealed goetta has a four-month shelf life in the refrigerator. Once opened, the sausage should be eaten within a week. Freshly-made goetta has a week-long shelf life too, as long as it’s kept cold. Goetta should be wrapped up or sealed in an air-tight container in order to prolong the freshness.The different varieties of goetta depend on who is making it. Each butcher, chef and home cook has their own recipe, though the base of steel-cut oats, beef, pork, onion and garlic usually remain the same. Another way goetta can be different is how it’s served. Some people slice rounds from a tube of goetta, others make it in loaf pans that create rectangles of the meat, but traditionally both are pan fried in bacon fat or vegetable oil.Cooking pre-made goetta is easy. The first step is to heat a skillet with a teaspoon of lard or vegetable oil, and once the fat starts sizzling add thick slices of the sausage, making sure not to crowd the pan. Cook for a few minutes. The meat will turn from pale to golden as it crisps. Do not move it around in the pan; instead, let the goetta rest so the soft sausage can firm, otherwise it might crumble or break. After a visible crust develops, gently flip the slice of goetta and cook the other side the same way.

In southwest Ohio and northern Kentucky many butcher shops will sell a version of their own goetta. It can also be found in the regional grocery stores under brands like Glier’s Goetta and Queen City Sausage. Outside of Ohio and Kentucky it’s harder to source goetta, but the breakfast sausage can be ordered online and shipped.After all these years, goetta remains a popular regional staple. It’s celebrated each August at the Glier’s Goettafest near Newport, Kentucky. Not only does goetta have its own festival, but chefs and home cooks throughout the region use goetta for more than breakfast. Goetta gets crumbled onto pizza and nachos, pressed into sandwiches, baked into frittata, and stirred into chili.

When Germans immigrated to America they brought along the recipe for goetta, a spiced meat and oat patty packed with spices. Originally the food of farm workers, goetta utilized the least expensive parts of the animal, namely organ meats, mixed them with steel-cut oats, and used strong spices like garlic, clove, ginger and mace to balance it out. Today goetta is still a popular breakfast food in Ohio, especially Cincinnati, though ground pork and beef have replaced the meat scraps once used. Like other breakfast meats, goetta can be eaten at any meal and used in array of dishes. The simplest way to use goetta is to pan fry the sausage in bacon fat or vegetable oil and serve as is. Goetta can also be crumbled into the pan and cooked in loose chunks, which then can be put on pizza, on top of nachos, and in another Ohio specialty, Cincinnati chili. Slices of goetta can also be fried and put on sandwiches, or even served as a main course. Of course, you can make your own sausage for goetta at home. There are many different recipes for goetta, but most call for one pound each of ground pork and ground beef; 2 1/2 cups steel-cut oats; eight cups water; one large onion, diced; four garlic cloves, minced; and spices such as mace, marjoram, ginger, coriander, white pepper and cloves. The first step is to cook the oats in boiling water with salt and pepper for about two hours. Then, add the ground meat and spices and cook together for about an hour. Pour the mixture into a bread pan and refrigerate overnight. Once settled, the goetta is ready for slicing and pan frying.When you visit the site, Dotdash Meredith and its partners may store or retrieve information on your browser, mostly in the form of cookies. Cookies collect information about your preferences and your devices and are used to make the site work as you expect it to, to understand how you interact with the site, and to show advertisements that are targeted to your interests. You can find out more about our use, change your default settings, and withdraw your consent at any time with effect for the future by visiting Cookies Settings, which can also be found in the footer of the site.

Goetta’s texture is slightly mushier than loose breakfast sausage, and the flavor tends to be sweeter and more complex depending one what spices are used. The richness of pork and beef combine with the nuttiness of the steel-cut oats. Some goetta has traces of warming spices like cinnamon, clove and mace. Other versions feature spicy notes of ginger, garlic and even cayenne pepper.Technically goetta is a type of scrapple, though scrapple has become associated with Germans who settled in Pennsylvania, while goetta is associated with Germans who settled in Cincinnati. Both dishes were created as a way to use up scraps of meat, especially the offal, and are traditionally pan fried. Scrapple is made with pig parts, cornmeal (and/or flour), and spices. Goetta is created with both pork and beef and uses oats as the binder. While both historical foods are breakfast meats and still eaten today, goetta is much more popular as a sought-after dish frequently served in restaurants.

While the A section is based on “Honeysuckle Rose”, the B section or “middle eight” comes from the rhythm changes, which are based on George Gershwin’s “I Got Rhythm”.I have owned the OKKA disc set for many a moon (box no 0730)…uncompromising and influential on my listening; wanted to share it on BC because I want it to be heard by as many people as possible! Also, check out ‘Brotzmann Graphic Works 1959-2015’ published by Wolke…a feast. John Cratchley

This schorching live set from legendary trumpet player Freddie Hubbard captures the bebop icon at the peak of his powers. Bandcamp New & Notable Apr 8, 2023Scrapple from the Apple is another jazz contrafact, composed by Charlie Parker in 1947. It is based over the ‘A’ section chords of the jazz standard, ‘Honeysuckle Rose’.One of the things that people tell me they want to get better at is improvisation – one of the best ways to learn is to transcribe the masters. Dexter Gordon is certainly one of those masters and here is playing Charlie Parker’s, (another incredible ‘master’, if not THE master) ‘Scrapple from the Apple’. This recording is taken from Gordon’s 1963 Blue Note album, Our Man in Paris.

Each lesson will include a lead sheet for Bb & Eb sax, a short passage to transcribe and some recommended recordings. Where I can, I’ll also include a backing track for you to practice along with.

Whilst it’s not strictly a ‘Bebop’ tune, Four, (possibly composed by Miles Davis in 1954, although authorship is disputed) is still a challenge and contains some great jazz language.

Donna Lee is credited to Charlie Parker, (although Miles Davis claimed it in his autobiography as one of his own, which, may or may not be true). Donna Lee, like most Bebop heads is built over the chord changes to a popular standard of the day, this time (Back Home) in Indiana. Billie’s Bounce is a fantastic blues head composed by Charlie Parker in 1945. If you want to take your blues language to the next level, then get stuck in! Despite his regrettably short life Charlie Parker (1920-1955) profoundly influenced the course of jazz. Born in Kansas City, Kansas, Parker left school when 14 years old to hang out with musicians. Within a few years he had played with Earl Hines, Billy Eckstine, Thelonious Monk, and Kenny Clarke. With Dizzy Gillespie he became one of the formative artists of bebop. Marked by extended harmonic progressions, superlative play, and dissonance, bebop marked a shift from jazz for dancers to jazz for listeners. While it had followed a steady progression, much of this happened during the 1943-1944 recording strike, creating a tremendous sense of shock for those who first encountered bebop seemingly arrived fully formed with no visible history.

From 1946-1947 Charlie Parker recorded for Dial Records in California; toward the end of that time he was hospitalized at Camarillo State Hospital, then returned to New York, where he continued on the Dial label. He was also recording for Savoy, which resulted in the November 14, 1947 recording of “Scrapple From the Apple” appearing on both labels. The F Major (AABA form) “Scrapple from the Apple” melody begins as a progression based on “Honeysuckle Rose” (1929) by Fats Waller, then goes to a variation on George Gershwin’s “I Got Rhythm” (1930).Join the growing family of people who believe that music is essential to our community. Your donation supports the work we do, the programs you count on, and the events you enjoy.Asked about the origins of his style, Charlie Parker said “l’d been getting bored with the stereotyped changes that were being used all the time at the time, and I kept thinking there’s bound to be something else. I could hear it sometimes but I couldn’t play it. … I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes I could play the thing I’d been hearing. I came alive.”Die Streitfrage scheint geklärt zu sein: Wer zahlt für die Geflüchteten? Über die Entscheidungen haben wir mit dem Koblenzer Oberbürgermeister David Langner (SPD) gesprochen.Die SWR Big Band hat in Los Angeles einen Grammy gewonnen in der Kategorie “Bestes Arrangement” für den Titel “Scrapple from the apple” aus ihrem Album “Bird Lives”.

Ulrich Müller von der Deutschen Kleiderstiftung bringt Kleidungsstücke in das Flutgebiet in der Ukraine. Was am meisten gebraucht wird, erzählt er im SWR1 Interview.Die NATO-Übung Air Defender 23 wird erhebliche Auswirkungen auf den zivilen Flugverkehr haben, sagt Matthias Maas von der Gewerkschaft der Flugsicherung (GdF).

Laut der DAK erleben 52 Prozent der Berufstätigen in Rheinland-Pfalz regelmäßig Personalmangel in ihrem Arbeitsalltag. Und das hat Folgen: noch mehr Krankheiten und Ausfälle.Jazz has had extensive influence on poetry, and many of our contemporaries, as far-ranging as Wanda Coleman and Marie Ponsot, have used jazz in their poems. They use it because of its malleability, its points of comparison to writing as spontaneous composition, its ecstatic function, its elements of ritual, and its rhythmic interest, embodying Ezra Pound’s swinging dictum of “constant and variant.” Feinstein founded a journal solely devoted to jazz-related literature, Brilliant Corners; Komunyakaa recorded a CD, Love Notes from the Madhouse, with John Tchicai, best known for his reeds on John Coltrane’s Ascension. At the 2004 Geraldine Dodge Poetry Festival in New Jersey, the readings by famous poets were interspersed with the drummer Susie Ibarra’s Trio, trumpeter Dave Douglas, and pianist/composer Uri Caine. Poets today admire and utilize jazz because of its everlasting freshness. As a rhythmic source, jazz provides the illusion of simultaneous spontaneity and inevitability. The velocity of jazz’s rhythms, too, offer progressive and compelling alternatives to iambic meters. These are some of the reasons I am attracted to jazz as a catalyst for my poems.

When I was a jazz-obsessed undergraduate in Indiana, Komunyakaa taught me about the breadth and depth of jazz poetry. He was also the first person to tell me, a young white poet using jazz, that poetry was something to which I could dedicate my life. At that time, I had intended to be a newspaper reporter. Taking my cues from my poetic ancestors Hughes and Crane, I employ jazz both as a political force and as an aesthetic one. I used jazz in my first collection, Discography, as a way to talk about racism, colonialism, and the Holocaust. I also used it as a wider metaphor for invention in art, coming from the belief that art is a legitimate response to suffering and oppression. For me, jazz is a way of hearing and seeing. It is a way of making art that I aspire towards.This breaking of cultural barriers was already true as early as 1926, as seen in the poetry of Langston Hughes and Hart Crane. These two poets used jazz in the same year and city (New York) as a catalyst for their poems, but in different ways. Hughes, for whom the blues form was indistinguishable from poetry, used a jazz aesthetic as a way of talking about culture, race, history, and as a choice—perhaps emblematic of the jazz aesthetic—to be joyful in spite of conditions. Crane, on the other hand, used a jazz aesthetic as a lens or rhythm by which he could discuss the city, his psychological state, and the mania of his enthusiasm for the freedoms jazz represents.

Hughes’s poems were the product of years of practice, talent, and thought, but appear effortless, and are reminiscent of blues figures like Blind Lemon Jefferson and T-Bone Walker. His poems are short, lyrical, filled with allusion—Biblical, historical, blues—and with voices of people in Harlem at the time. His early poems use jazz culture as a framework to discuss Africa, Lincoln, slavery, colonialism, Reconstruction, and apartheid. For Hughes, jazz is an anodyne to suffering; it is symbolic of a response to struggle, and it is the lexicon of Harlem’s streets, its nightlife, its emotional trajectory.Jazz poetry began during jazz’s infancy in the 1920s. Langston Hughes, the first poet especially devoted to jazz, got the idea to use it from Vachel Lindsay, his mentor. In the 1920s and 30s, Hart Crane, Carl Sandburg, and Mina Loy were pioneers of jazz poetry. In the 1950s, jazz-related poetry was popularized by the Beat Generation, and there were frequent jazz-meets-poetry events. Kenneth Patchen came to New York from California in the spring of 1959 to collaborate with bassist Charles Mingus and Mingus’s tenor saxophonist Booker Ervin at Julian Beck’s Living Theatre. They improvised around themes, such as Patchen’s poem “The Murder of Two Men by a Young Kid Wearing Lemon-colored Gloves,” which consists of the suspenseful word “Wait” splattered Pollock-style across the page until the final line, “NOW.”With the rise of the Bebop Revolution in the 1940s, Kenneth Rexroth, who wrote reviews of jazz and a libretto performed by the Modern Jazz Quartet, encouraged the Beats to use the music in their work.Frank O’Hara wrote heavily anthologized jazz-related poems. More recently, poets like Etheridge Knight, Lynda Hull, Robert Creeley, and Paul Zimmer, have used jazz in way that it is elemental to understanding their work. However, it wasn’t until the early 1990s that a deliberate effort was made by editors to anthologize jazz poems and pinpoint a canon of jazz poetry. Since then, jazz has become the raw material for hundreds of contemporary poems internationally.It is worth noting that the breaking of racial boundaries was true not only of jazz poetry, but of the music itself. Jazz was integrated far earlier than other American institutions, such as baseball or the military. In July 1935, Benny Goodman, a Jewish clarinetist, asked Teddy Wilson, a black pianist, to record with Gene Krupa and himself. Today, jazz musicians come not only from Pittsburgh or New York, but from such distinct places as Poland, Nigeria, Japan, Cuba, and Argentina.