"At The Post Office"

I’m in line at my neighborhood post office,
   and it’s pretty loud . . .

While others are bored and busy looking
   at their phones
I am listening to my drummer and bassist
   in my mind.
Their New York swagger
   oozing,
   patiently waiting for me to decide
If this quirky minor blues I’m writing
   is in 7/4, 3/4, or plain ol’ 4/4 time.

The woman in line next to me looks very concerned,
   caught in the crawl of her own decision making.
In my mind I see her
   at a very chic jazz club where my quintet is playing.
Her waitress setting down a Mai Tai for her,
   asking if she can see the band okay.
She nods politely, looking very relaxed.

Back in my mind’s rehearsal
   the drummer and bassist smile at each other
   as they find their contrapuntal footing.
I can see what they’re hearing,
   not really needing a verbal response.

While standing in line
   I have engaged the eternal ears & hearts of
   drummer Elvin Jones and pianist McCoy Tyner.
For their sense of my piece
   and, of course,
Their blessings,
   as the latter assures me that my quirky little 8-bar minor blues
   is different enough from his classic blues Contemplation
   to warrant such a blessing.

Still, I am casting about for options:

Should the intro be in 7/4
   but the melody section be in 4/4, or stay in 7/4?
Should a more complex bass line
   be used when the melody is repeated?

One of the postal clerks
   is sporting huge Elton John sparkly glasses
   and tie-dyed hair.
She begins to hum something similar to my melody.
I am certain she is able to hear my rehearsal
   loud & clear by now . . .

Should the solo section move to 3/4
   but then go to 4/4 when the chords
   start to blossom?
Should the piano double the bass line
   at the end of the solo section,
   or just leave it to the bass?

(I am hoping to also entreat blues icons
   Bessie Smith, Robert Johnson, and Fats Waller
   to weigh in on my piece,
Despite their tragically brief appearances
   on our country’s postage stamps.)

Should a new melody for the horn section
   follow the last soloist
   before the final statement of the original melody?
Should that incorporate
   the bass figure from the end of the solo section?

While inching towards the clerks
   I am trying not to think of all of the hours it took
   just to create the basic solo piano version of this piece —

The harmonization of the melody,
   the phrasing,
   the execution,
   the hand switching,
   the fingering,
   the pedaling,
   the dynamics,
   the exact tempo, the two spots that create physical tension
      for the whole piece!
And let’s not even get into choosing a title . . .

Finally, my package is sealed and mailed,
   having made all of my mental notes
   about this quirky minor blues.

As I walk toward the parking lot,
   the scene fades as I feel the breeze on my face.
I settle into my car, turn the key,
   and turn on my CD of Bach's Gamba Sonatas. 

 

 

 

July 2023

 

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©2023, Michael Smolens