 "Jarreau Jazz-riff Earth-tunes for the Angel of Compassion: Essay with Poem (part 1 of 2)" Postered Poetics art graphic for essay and poem by Aberjhani. The first time I became aware of the name Al Jarreau was when receiving a letter (of the old-school variety penned by hand) from a former college roommate exclaiming how thrilled he and his girlfriend had been to attend one of his concerts. Despite my former roommate's enthusiasm, which rarely bubbled over so heatedly for anything other than football and slightly-older women, I did not really understand all the fuss over Jarreau. Then a couple of years later, in the early 1980s, I got to see the rhythm-bending phenomenon myself in Berkeley, California, on a bill that also featured Carlos Santana and Frankie Beverly and Maze. The world by then had come to know him as the Grammy Award-winning talent behind the albums Look to the Rainbow (1977) and All Fly Home (1978). For my part, I finally got to experience the truth of a statement Jarreau would make many years later: “I have missed the boat over my career by not doing every second or third CD live, because things happen on stage that don't happen in the studio.” (Al Jarreau Biography.com) By its accommodating democratic nature, live jazz is often a music of improvisation. And by his brilliant fluid aesthetics, Al Jarreau was able to adapt his vocal vibrations to whatever genre he chose. But he was also, in essence a flesh, blood, and soul embodiment of jazz. It would not be absolutely wrong to describe him as a male Ella Fitzgerald or as a contemporary Cab Calloway, both of Harlem Renaissance fame, rolled into one. It might be more accurate, however, to say he was a once-in-a-lifetime kind of talent. Among the things to which he alluded that could "happen on stage" was for him to suddenly turn his chest and rib cage into a drum set, transform his clapping hands into tambourines, or absorb an inspiration from the improvisational moment and blast it out of his lungs like a laser cannon lighting up multiple Sonny Rollins solos.  Two phenomenal musicians: Al Jarreau and Randy Crawford. (Getty Image photograph by Sean Gallup) What happened on the stage was the kind of inexplicable enchantment that made music journalists rush to describe the "quintessential jazz musician" who could duplicate the superlative performance of a brilliant quartet, or even an entire orchestra, with just his singular voice and body carved from music. Think of him this way--Al Jarreau did not just perform his music: right before your astonished eyes and heart he brought it to kicking, shouting, dancing, holy cosmic life that left you breathless with wonder. Forced to Make a Difficult Decision The horrible dilemma with which I had to deal the night I saw Jarreau at the Berkeley Coliseum was that he had already been onstage for an hour, took a very short break, then came back for an additional set that lasted even longer. Dependent as I was on the Bay Area Rapid Transit (BART) subway system to get me back to San Francisco, I could not ignore the fact that it was close to midnight and, according to my schedule, the last train to the city would leave at that time. Thoroughly immersed in the essential work of channeling raw creative energy into musical genius, the singer himself clearly had no use for clocks or schedules and the band seemed happy to match him song for song. Knowing no one from whom I could beg for a ride if I chose to stay, I forced myself to leave and head for the subway. Just as I was about to enter the station some blocks away, something incredible caught my attention. It was his voice. Whether due to the unique acoustics of the coliseum or the undiminished intensity of his performance, I could still hear him. It was if the night itself with the surrounding buildings, street lamps, trees, and sweet cool air had become his microphone and speakers. I smiled, then laughed out loud, and then laughed some more while simultaneously trying to sing along with him and hurry down the subway steps. NEXT: Jarreau Jazz-riff Earth-tunes for the Angel of Compassion: Essay with Poem (part 2) Aberjhani ©February 2017 Bright Skylark Literary Productions AUTHOR Author-Poet Aberjhani is currently completing a book of nonfiction narratives about race relations, histories of erasure, the cultural arts, and practices of slavery in his hometown of Savannah, Georgia, USA.
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 “Poetry empowers the simplest of lives to confront the most extreme sorrows with courage, and motivates the mightiest of offices to humbly heed lessons in compassion.” Postered Poetics by Aberjhani. In the debate over the potential repeal of the American Care Act, popularly known as Obamacare, mainstream media commentators commonly refer to the law as President Barack Obama’s “signature achievement.” Whether you describe that tendency as guerrilla decontextualization or simple disrespect, it mostly adds up to a miscalculation of the assessment of President Obama’s impact on American and world history. Said assessment is one which historians will be determining for decades, but for now, by way of introducing the 3 poems that will soon follow, it is enough to note that the American Care Act is only one of many key achievements spearheaded by Mr. Obama on behalf of his American constituents and his fellow leaders in the global community. How is it commentators so easily overlook the fact that under his leadership a downward spiraling recession which nearly brought the country to its red, white and blue knees was effectively strategically reversed, dropping unemployment figures from double digits to when he took office to the current figure below 5 percent? How can they so casually forget that his accomplishments earned him the Nobel Prize for Peace?  Historic 2009 Black History Month American Legacy Magazine cover by artist Allan Burch featuring President Barack H. Obama (center), and pictured in the background starting from the left going clockwise: Malcolm X, Mary McLeod Bethune, Frederick Douglass, and Rev. Dr. Martin Luther King Jr. Original source: http://allanburch.blogspot.com/2009/02/barack-obama-for-american-legacy.html That he became the United States’ first African-American president at the age of 47 is possibly less remarkable than the full two terms during which one generation was born, and another grew into maturity living without the assumption that a black American president––this one accompanied by First Lady Michelle Obama and their two daughters–– was by default an anomaly. The observation is more than just the most commanding fact to cite for Black History Month every year from this point onward. It is one of the most compelling arguments for ramping up improved lessons worldwide in diversity, cultural literacy, and peaceful coexistence. Add to the above the skillful application of leadership principles employed by Mr. Obama to repair diplomatic abroad and whether storms of race-fueled violence at home. Look closely at the risks he took in effort to achieve a diverse workforce with appointments of women, gays, Latinos, Asians, and African Americans to influential offices. And although he obviously boasted a bit when it came to his role as Commander-in-Chief, he was amazingly effective in his position as Chief Comforter following some of the most horrendous natural and man-inflicted disasters in history. Of the poems below, the first was written to commemorate Barack Obama’s historic 2008 election to the presidency. The second and third were written as it became apparent that his presidency was going to meet with serious oppositions of every kind: political, racial, personal, military, betrays, and more. Each of the poems are available in the pages of The River of Winged Dreams. Hope and Audacity Revisited The poem titled “There Upon a Bough of Hope and Audacity” was first published in The Savannah Herald after Barack Obama’s first election to the U.S. presidency. Ironically enough, the poem proposed that Mr. Obama was not to be compared to the great Abraham Lincoln, and yet one of the more noted responses to his re-election in 2012 was a challenge much like one Mr. Lincoln faced a century and a half ago. It was the challenge, whether symbolic or literal, of a growing call for different states to secede from the U.S. President Obama’s re-election was by no means a given. The battle to win was as epic a political struggle as America has ever seen, but U.S. citizens in the end made their choice clear:  There Upon a Bough of Hope and Audacity by Aberjhani originally published in the Savannah Herald to commemorate Barack Hussein Obama's first presidential inauguration.
Angel of Hope’s Persistent Flight “To continue one’s journey in the darkness with one’s footsteps guided by the illumination of remembered radiance is to know courage of a peculiar kind––the courage to demand that light continue to be light even in the surrounding darkness.” --Howard Thurman I. Wreaths of nuclear ash decorate civilian hearts with unresolved blood. Greed, crowned emperor, rules the earth with cold disdain for harmony’s path. War poisons the land like diseased minds downloaded into bowls of tears. Chaos, loving none so much as itself, slurps and spits dead souls like bones. What is belief now? What is faith that will not die? What news from heaven? II. In midnight’s orchard rose’s blossom the secrets that heal daylight’s wounds. Beats of broken hearts flow waves of revelation–– open gates to strength. Cradled in scorched arms, a soldier’s moon keeps its vows–– shines persistent hope. This love that God is curves in figure eights greater than both time and space. Death wins nothing here, gnawing wings that amputate–– then spread, lift up, fly. (from The River of Winged Dreams)  (Postered Poetics title art graphic for Midnight Flight of the Poetry Angels by Aberjhani.) “It was a savage scene, and we stayed there for a long time, watching life feed on itself, the silence interrupted only by the crack of bone or the rush of wind, or the hard thump of a vulture’s wings as it strained to lift itself into the current, until it finally found the higher air and those long and graceful wings became motionless and still like the rest.” ––Barack Obama, Dreams from My Father What once was blood streaks your face with indigo tears and lush midnight tunes. Holding silver hands, you compose a Tao of art that heals broken wings. Lips glow violet, open to reveal tongues bright with pearl metaphors. A speckled halo handcuffs the world’s best liars to soft dark passions. Music’s sweet labors give birth to a springtime rush of sighs rippling dreams. Out of your mouth rhymes blossom like warm paradigms already in flight. Golden, your songs, and noble; spinning stars on their axis of love. On faith’s battered back calm eyes etch prayers that cool a nation’s hot rage. Inside these scarred hearts genius flows incandescent waves of truth made real. Hope drowned in shadows emerges fiercely splendid–– boldly angelic. (The River of Winged Dreams) From the History Channel: “The 44th President: In His Own Words” Author-Poet Aberjhani is currently completing a collection of nonfiction narratives on the cultural arts, history, race relations, literature, and social and political conditions in Savannah, Georgia (USA).
Bright Skylark Literary Productions © 9 January, 2017  "The Earth in Rapture, Our Earth" special PRINCE TRIBUTE EDITION Postered Poetics by Aberjhani (featuring Hubble Spacecraft photography). Should people refer to the increasing occurrence of extreme climate events as evidence, signs, or warnings? Whatever the chosen terminology, it has become clear enough that humanity can no longer ignore the impact human activities have on the Earth. The heart-stopping flash flood that brought Houston, Texas, to a halt earlier this week, the increasing intensity of hurricanes and tornadoes, and the unsettling occurrence of rapid-fire earthquakes in places where few ever popped up before have made something very clear. And that is this: the warnings about climate change that began to emerge decades ago could not have come too soon. The Earth in Rapture, Our Earth The Earth in rapture sings a holy hurricane
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AberjhaniContemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism. 
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