In the maturity of America’s now almost 250 years, the music known worldwide as jazz and the literary artform celebrated as poetry have become prized attributes of the American identity. They have done so by employing creative innovations to simultaneously confirm the basic elements of what we recognize as freedom––such as peaceful protests, voting rights, self-expression––and by assisting and bearing witness to evolutions of the same.
Democracy and jazz by their very nature embrace diversity and inclusiveness. They in fact depend on them as proof of their essential value and validity. Likewise, poetry has forever had a tendency to decline domination by the will of a single despotic human figure. And the greatest talents in the world of jazz or any other form of music welcome the advantages of allowing gifted colleagues to enjoy their individual space upon a shared stage.
To celebrate National Poetry Month and Jazz Appreciation Month in 2026, is to express gratitude for the creative instinct’s ability to absorb the most destructive forces that invade our lives and transform them into the most healing and liberating. Many are pointing at this moment to America’s war against Iran, Russia’s against Ukraine, environmental crises, and dysfunctional leadership as evidence of the worst that we bring upon ourselves. Others, determined to keep hope alive and inspiration active, utilize creative tools at hand to hold oppression in check and let freedom ring as long and loudly as it can.
To read the poem, The Example of Thelonious Monk’s Winged Fingertips, included with article, PLEASE CLICK HERE.
Aberjhani
While I always enjoyed gospel music with its uplifting messages, but not to the point of worship, and the early message from black rock 'n' roll like Bo Diddly and Little Richard that struck a primal cord in me, I never fully embraced the creative freedom and genius of jazz.
My little tech and teacher's college embraced all kinds of art to come to campus to perform and enlighten us. We were mostly common folk, the first in our families to go to college, and relatively uneducated.
One time, a progressive jazz band from Chicago came to perform for us. They had a flat tire on the way and arrived about an hour late, making most of us in the audience fidget. It took them a while to set up. They played for about 15 minutes, and when they saw that the audience was not responding at all, packed up and left the stage.
By contrast, a famous classical guitarist from either Mexico or Spain came to campus to play for us on his acoustic guitar. We sat captivated the whole time as his fingers on the strings reached the highest points of the balcony and his staccato playing made our hearts sing.
And then, one time, I had a late night date in Washington, DC. We entered a jazz club and the only place to sit was right alongside the jazz band. It was impossible to talk with her and it was the only date that I had with her.
Forgive me, for my lack of understanding and sophistication.
Ron