
Trumpet with paper straight mute inserted; below are (left to right) straight, wah-wah (Harmon), and cup mutes. (Photo credit: Wikipedia)

Jazz at the Plaza (Photo credit: Wikipedia)
This is a poem found in a journal of Jazz and Literature called “Brilliant Corners”. The author of the poem is Joel Dias-Porter I put in ( ) what scripture it suggested to me
“Did Miles mute his horn, because
a breeze can carry kites a gust might mutilate?”
(He did not even bend a reed)
Call him poet, professor. Call me shaky grasper of the chisel,
caught in a run-on rush to hammer it all.
(I ran a good race, to the end)
Finally, finally, I come to believe in loss as a way of knowing.
(I consider all loss as gain)
How long does it take to hear what silence can say?
(Be still and know)
I stand at a stoplight, waiting for the colors to change.
At forty-five one has to deal with eyesight fading.
(I see dimly through a glass)
Not fading like blue from the knees of your favorite jeans
or lights on a stage above a silenced microphone,
but like a goateed poet in a stingy brim hat
covering the bets of a hooded man with holes for eyes
and blades of scythes where his fingernails should be.
Finally, finally, I come to believe in loss as a way of knowing.
If the Blues is a river, doesn’t it carry in and wash away?
(What have you come here to see)
LEDs are replacing halogen and incandescent lamps,
so the headlights of some approaching cars are slightly blues
as his velvet tone joins the voices of all my fallen fathers.
(Father forgive them)
And I tremble ever so softly, softly, like a kite in a breeze
or the reed in a Harmon mute during a note’s last linger.
(All these things will pass but love will remain)
Finally, finally… I come to believe in loss as a way of knowing
(follow him)
Finely, finally.