In Three Colors

(from “Liner Notes”)

Moved & spontaneous
in the early days,
notes precisely notated
got too far, cannot play them
up & be held down.
Success discovered a framework
a feeling that goes
high on mental score.
Used where a particular mood
moves, he feels
hoping to blow
actual different
rows of notes,
lines according to acting methods
each with a familiar flavor—
say, freedom—anxiously
moaning, repetitive,
inuadible under churchlike pressure, a-
nother integral part of the play
given this projective flash
unexpected in 1959, or
so ago.

Roger Hecht, 2017

Remixed work:
Liner Notes for Charles Mingus’ Mingus Ah Uhm, by Diane Dorr-Dorynek


(from “Liner Notes”)

More choicely plucked
in fact or tone
like fat green olives.
Exuberant technical gift
sparked off the hand.
The word cool on muted horn.
Observe how he handles what
no mariner is more capable of.
Effects breathe
such strong sense, a roisterous
Mississippi slap, two fisted.
It was admirably carried
like a burden for
example, or a foot, that was
strongly chorded under its own steam
discovered like shot silk.
Accent of experience.
Velvet guts on a repeated note.
In it the emotion has been contained.
Such range. One has to listen.

Roger Hecht, 2017

Remixed work:
Liner Notes for Miles Davis’ Milestones, by Charles Edward Smith

And the Angels Sing

(from “Liner Notes”)

Going through the minded world it is
obvious what is never heard.
In fact, it is triumphant.
Now the walls blow
group duets, turning
power    into reason,
like beat & baseline confirm
chant, & organized moonlight.
Even the strolling city gained
something swift: wizardry,
hard brass surprising
earlier outings down the
range. It is a
brilliant turning,
a zitherless
line, a melancholy
piñata in
ever mocking
rain, hinted in earlier

Roger Hecht, 2017

Remixed work:
Liner Notes for Herb Alpert & the Tijuana Brass’ !!Going Places!!,
by Charles Champlin

Tangled Up

(from “Liner Notes”)

Breeding greed, the
land where
old America
only faintly hearing
dreams in the shadows
on walls.
No politician anywhere.
The sign posts
hard, cold-blooded,
embracing night & wind.
To state things plainly.
Riverbanks bouncing
against the
chaos of feeling.
Kiss her, or
speak of regret,
dignity, generosity.
You’re making love to her–
Listen, if we work at it
art tells us what to feel:
not to remain a boy

Roger Hecht, 2017

Remixed work:
Liner Notes for Bob Dylan’s Blood on the Tracks, by Pete Hamill

Right from my Heart

I shall be telling this with a sigh
If suddenly you forget me
I go from loving to not loving you
You know how this is:
Life is a barren field
Frozen with snow
If you sit down at set of sun
Watch behind the curtains
White heat.
A green river
Sweet evenings come and go, love,
The time will come
Where there ain’t been no light
The stars in heaven will shine:
But O heart! heart! heart!
Night, sleep, death and the stars
Everything carries me to you

Archana Kapoor Nagpal, 2017

Remixed poems:
Love After Love, by Derek Walcott
Midsummer, Tobago, by Derek Walcott
I Do Not Love You Except Because I Love You, by Pablo
Count That Day Lost, by George Eliot
Sweet Endings Come And Go, Love, by George Eliot
The Road Not Taken, by Robert Frost
If You Forget Me, by Pablo Neruda
A Clear Midnight, by Walt Whitman
O Captain! My Captain!, by Walt Whitman
Dreams, by Langston Hughes
Men, by Maya Angelou

Jenny in Rome: An Ode

look now, Jenny:
Rome under sun!
new stone, old stone,
sun on domes, urns,
on fort, on tree, down well —
flow of now, poured pure
to flow round pure stones.

sun sunk down
new routes for stone
— uneven, murky —
down, down, down.
stones under stone:
red stone, end-of-world stone.

to ken Rome, well up —
up to more stone
over new flow routes:
up slender tree, over round dome!
do you see, Jenny?

one Rome of stone
— new, old —
down under, up over,
turned round… Now

do you see?
up, over, round, under:
you see, you know,

you feel Rome now
— your Rome, our Rome —


Bill Waters, 2017

Algorithmic approach:
Phonewords for 867-5309 (from the song “Jenny”)

Remixed work:
Jenny, by Sigrid Undset

Rodney Dangerfield Meets
Oscar Wilde: A Mashup
in (sort-of) triolet form

Look out for number one
and try not to step in number two.
Only the shallow know themselves.
Look out for number one.
Nothing that actually occurs
is of the smallest importance.
Look out for number one
and try not to step in number two.

Bill Waters, 2017

Remixed works:
Quotations from Rodney Dangerfield (lines 1, 2, 4, 7, 8)
Quotations from Oscar Wilde (lines 3, 5, 6)

Work Dream

I dreamed I was a book. The missing letters were missing so that, no matter what I thought they were, I could never be quite certain. There are no real gatekeepers. And no mission. Have you ever wondered is Florida real? Funny, right? You can do a lot of stuff. The guests at a wedding breakfast reach for their swords and hack the would-be groom to pieces. It’s like deciding to be a samurai or a dandy: you’re in for a miserable end, but one you’ll be able to face with honor. We cope with liquor and drugs and sex. That’s not going to change. It’s probably something we have in common with small punk rock record labels. Never talk to cops. Eat with your hands. The best work should scare you.

Howie Good, 2017

Remixed works:
Quotes from small press editors, at Entropymag